Bad Company Bad Company

Origin: USA / UK

Year: 1974

Subgenre: Hard Rock, Classic Rock

Rating:   77.38   Solid and Above-Average !

The Players:

Paul Rodgers               Vocals

Mick Ralphs                Guitars

Boz Burrell                  Bass Guitar

Simon Kirke                Drums, Percussion

After the breakup of British blues-rockers Free in 1973, vocalist Paul Rodgers was joined by ex-Mott The Hoople guitarist Mick Ralphs, ex-King Crimson bassist Boz Burrell, and an energetic young drummer named Simon Kirke. The resultant musical union came to be known as Bad Company, destined to become one of the most successful rock bands of the mid 70's. The band was the first group to sign with Led Zeppelin's fledgling Swan Song record label and, as a result, endeared themselves to one Peter Grant, Zep's unruly manager. After filling an open slot in Led Zeppelin's (an obvious pattern here) mobile studio at Headley Grange, the band quickly went to work laying down the entire record in just two weeks. 

This debut album, simply entitled Bad Company, was an unexpected smash hit; it went platinum five times over and boasted a number one single in the mid-tempo cruiser Can't Get Enough. Musically, the band's sound was a muscular blend of blues and hard rock, with a nice warm tone to the mix that was at once, earthy and strong. The aforementioned Can't Get Enough begins the album in hard rockin' style, instantly recognizable to old geezers everywhere as an anthem from the past. Other standouts include Rock Steady, Ready For Love, and Movin' On, all of which enjoy routine airplay on classic rock radio, especially in the States. The title track stands out above all though, demonstrating a gunslinger approach to the meanest of blues. Bad Company was actually recorded with the microphones set up in the fields of Headley Grange, while the band played live under a fall moon. The record does contain three mellow tracks, universally tame in tone and delivery, absent of any of the rockers' energy and fiery grooves. Oh well....the other tracks more than make up for these songs (Don't Let Me Down, The Way I Choose, and Seagull). 

In summary, Bad Company was not  only a financial coup for heavy music, but it was also a great example of thickly recorded hard rock that was meant to be played full blast out of car stereos. I write from experience.

Can't Get Enough   82

Rock Steady   79

Ready For Love   77

Don't Let Me Down   72

Bad Company   85

The Way I Choose   73

Movin' On   78

Seagull   73

 

Andromeda

Origin:  England

Year: 1969

Subgenre: Progressive Hard Rock

Rating:  8

The Players:

John Cann                    Guitars, Vocals

Mick Hawksworth        Bass Guitar

Ian McLane                   Drums, Percussion

Formed in 1968 following the breakup of the psych-mod band The Attack, Andromeda released their only album on the RCA label in 1969. Led by guitarist and vocalist John Cann (later DuCann), the group offered up a critically acclaimed set of heavy progressive rock numbers that has now become an underground classic. The foundation of the band's sound is a smothering heavy guitar tone. Cann is devilishly good at creating a multiple of moods, some even emitting a vibe reminiscent of Angel Witch or Diamond Head. This sound is best on display on the track Return To Sanity. Clocking in at over eight minutes, it begins dark and broodingly and then progresses to an all-out heavy rock assault. The album's first track Too Old is very much like early Lucifer's Friend and is another standout cut. One can hear the ghosts of Thin Lizzy on Turns To Dust. Can and company always keep things interesting on this one with their wide array of soundscapes. Other highlights include the Zeppish, straight-ahead rocker The Reason and the psychedelic-tinged closer When To Stop. Unfortunately, the band never took off commercially and leader John Cann was recruited to join Atomic Rooster. He would then travel on and form Bullet, which recorded two albums following a name change to Hard Stuff. Bassist Hawksworth took his talents to Fuzzy Duck and then Ten Years After. A formidable power trio, Andromeda left its mark indelibly stamped with this gem of late 60's heavy rock.

Tracks:

Too Old

Day Of The Change

And Now The Sun Shines

Turns To Dust

Return To Sanity

The Reason

I Can't Stop The Sun

When To Stop

Spiritual Beggars Ad Astra

Origin:  Sweden

Year:  2000

Subgenre:  Stoner Rock

Rating:  10

The Players:

Spice                      Vocals, Bass Guitar

Michael Amott        Guitars

Per Wilberg            Keyboards, Vocals

Ludwig Witt           Drums, Percussion

Having been a fan of this Swedish band for some time now, I modestly looked forward to the release of the critically acclaimed album Ad Astra. Spiritual Beggars has always been, in my humble opinion, in the top flite of the entire Stoner Rock movement. Not only is the band heavy as an overgrown anvil, but the songwriting is always superb. Ad Astra doth not disappoint; on the contrary, this is the band's masterpiece. I was simply blown away upon hearing it for the first time. This album is so close to heavy rock perfection, it's scary. Every track exudes a freshness and brightness that hasn't been consistently heard in heavy music since the early 1970's. Of course, it also helps that the Beggars fully embrace that retro lo-fi sound that is the foundation of all Stoner music; the altars of Blue Cheer, Sabbath, and Purple have had their burnt offerings this time around, that's for sure. The album starts off appropriately with frenetic riff-rocker Left Brain Ambassadors, a Purple-like classic complete with moog organ solo. Right off the bat, we're off to the races. Wonderful World intersperses a doomy riff with an infectious melody that reminds one how great life really is. Immediately, Sedated jerks the listener back into reality with a deliciously fuzzed-out intro riff that launches into a rollicking main verse. Angel Of Betrayal is easily the most hummable track on the album; this could have been a major hit with the right marketing (of course, that won't happen). Other highlights include the perky Per Aspera Ad Astra, and the wicked Until The Morning, which successfully melds Sabbath, Alice In Chains, and Uriah Heep into a maelstrom of fire. On Dark Rivers rocks along nicely, while The Goddess delivers infectious riff-mania with as much subtlety as an atomic bomb. There really isn't a weak or mediocre track on this entire album. The closer, Mantra, starts off as a ballad that allows the listener to relax into a keyboard-laden pool, broken only by some great electric blues guitar playing. Of course, the band can't hold back for very long; the track ends with a heavy riff that would make any Trouble fan proud. As a matter of fact, I would have to say that Ad Astra as a whole reminds me of the aura surrounding Trouble's masterpiece Manic Frustration; the songwriting is of superior quality, the riffs are just as infectious, and the bright optimism that both albums share is striking. If you are a fan of 1970's style heavy rock

with a bountiful supply of some of the heaviest riffs alive, than this album is a keeper! Unfortunately, the lead vocalist and bassist for the band, Spice, would leave after this album to make The Mushroom River Band a full-time gig. Although, the band would release more albums after Ad Astra, this album symbolized Spiritual Beggars at its peak. This might be one of the finest heavy rock albums of the new millennium. Strong words, you say?

Tracks:

Left Brain Ambassadors

Wonderful World

Sedated

Angel Of Betrayal

Blessed

Per Aspera Ad Astra

Save Your Soul

Until The Morning

Escaping The Fools

On Dark Rivers

The Goddess

Mantra

The Jimi Hendrix Experience Are You Experienced?

Origin: USA, England

Year: 1967

Subgenre: Heavy Blues / Psychedelic

Rating: 9

The Players:

Jimi Hendrix           Vocals, Guitars

Noel Redding          Bass Guitar

Mitch Mitchell        Drums, Percussion

The heralded year of 1967 marked the birth of this benchmark recording of supersonic guitar wizardry. A contemporary of Pink Floyd's Piper At The Gates Of Dawn and The Beatles' Sgt. Pepper's Lonely Hearts Club Band, The Jimi Hendrix Experience branched out and forged yet a new style of rock'n'roll. Change was clearly in the air, become entrenched in every groove of this record. This album is an explosive debut that introduced the world to the musically profound genius of the one and only Jimi Hendrix. The complex sonic landscapes, innovative compositions, and futuristic guitar skills are all on wild display as Hendrix fused it all together, unleashing this slab of musical brilliance. This debut from the Experience is definitely my favorite of all the studio albums. The loud and aggressive mood is set right from the start on Purple Haze. Unbelievably, this track was actually omitted on the original British recording. What a shame. Following The Experience's appearance at the Monterey Pop Festival, the song became a staple of Hendrix's live performance. The initial riff and galloping drums are now fully recognizable to even the most casual listener of heavy rock; what fan has not heard this song countless times on classic rock stations all over the world? The constructed mayhem and chaos continue and are unmistakable on tracks such as Manic Depression and the bruising Fire. Hopped-up grooves abound everywhere, supercharging the electrical outlet of Jimi's musical passion. There are also several poised and tranquil moments that actually give the listener a chance to catch some breath. The most notable example is the bluesy anthem Hey Joe; it was actually the first single from the album, peaking at number two on the charts (nipping at the heels of The Beatles' Lucy In Sky With Diamonds.) Other serene interjections include the watery The Wind Cries Mary and May This Be Love. Psychedelic rock invades the title track as Hendrix bestows various otherworldly effects upon the listener's all too curious ears. Other rockers include the fiendish I Don't Live Today and the heavy blues of Love Or Confusion. One cannot fail to mention the other two classics fundamental to this album in the form of Foxey Lady and Stone Free. The foreboding feedback of Foxey Lady introduces one of the heaviest songs ever recorded. Tremendous! Everyone knows that Jimi, if not considered the finest and most innovative guitar players ever, was one of the best -- that's indisputable. However, often overlooked are the other two musicians, Mitch Mitchell and Noel Redding. Mitchell delivers a stunning performance on the skins, bashing on equal par with The Who's Keith Moon. Redding is steady and precise, opening the channels for Jimi to soar with his guitar pyrotechnics. The influence of this album and of Jimi's trademark sound was gigantic. That, above all, is the lasting legacy of Are You Experienced. The Jimi Hendrix Experience left a deep mark that would be branded on so many artists that would follow in their footsteps. Examples abound, such as the soulful vocals of King's X's Doug Pinnick, and the guitar sounds of Stevie Ray Vaughan, Frank Marino, and Uli Jon Roth. Add to that the countless cover versions recorded in tribute by groups such as The Red Hot Chili Peppers and even Eric Clapton. Are You Experienced was simply one of the finest albums of the 1960's. There are many events that can be described as milestones in the evolution of heavy rock music; this my friends, was certainly one of them !

Tracks:

Purple Haze

Manic Depression

Hey Joe

Love Or Confusion

May This Be Love

I Don't Live Today

The Wind Cries Mary

Fire

Third Stone From The Sun

Foxey Lady

Are You Experienced?

Aerosmith Aerosmith

Origin:  USA

Year:  1973

Subgenre: Hard Rock, Classic Rock

Rating:   79.13      Solid And Above Average !

The Players:

Steven Tyler          Vocals

Joe Perry               Lead Guitar

Brad Whitford       Guitars

Tom Hamilton        Bass Guitar

Joey Kramer          Drums, Percussion

Aerosmith's debut can be described as a scruffy and straight-forward rock'n'roll album. Not tremendously heavy in tone, it is nevertheless gritty and energetic. It's kind of like The Rolling Stones and Led Zeppelin meet The New York Dolls. The shining star from the outset is one Steven Tyler. His vocals are smoothly delivered; there is no hint of the shrieking that will inhabit future Aerosmith albums (especially from the 1990's on). The man can obviously sing, as is evident especially on the masterpiece Dream On (one of my favorite hard rock ballads ever). Dream On would launch Aerosmith onto the fast track of rock'n'roll stardom; I can actually remember the first time I heard this song on the radio. My reaction then was the same as now: Wow ! 

Not to disregard the harder rockers on the album, Make It opens the record in catchy style, while Somebody, Mama Kin and Walkin' The Dog became perennial classics. Movin' Out also deserves mention as the heaviest track on the album. 

The production is a little rough and the guitars seem thin, which detracts some from the overall experience. Aerosmith would truly reach their potential on future albums such as Rocks and Toys In The Attic, but this debut is definitely a solid and pleasant listen.

Make It      80

Somebody      78

Dream On      90

One Way Street       74

Mama Kin     76

Write Me       75

Movin' Out      78

Walkin' The Dog       80

Death Angel Act III

Origin:  USA
Year:  1990
Subgenre:  Thrash

Rating: 9

The Players:

Mark Osegueda        Vocals

Robert Cavestany     Guitars

Gus Pepa                  Guitars

Dennis Pepa              Bass Guitar

Andrew Galeon        Drums, Percussion

The heavy thrash machine known as Death Angel matures on Act III and forge a blistering, colossal Bay Area release that takes their unique sound to the next level in the metal universe. The band creates a wicked mix of doomy thrash that leaves you begging for more. There are more tempo changes on this release than their previous two which leads to more diverse song dynamics as a whole. The songs are tight, well-produced, and more than demonstrate the band's maturation. Seemingly Endless Time is often Sabbatherian and is a definite highlight of the album. Crunch abounds everywhere, combined with a little funky bass guitar here and there. Along with the bountiful guitar pyrotechnics, Act III makes for a highly memorable listen. Along with Testament, Anthrax, and of course Metallica, Death Angel puts their unique stamp onto the thrash scene. This is the band's most accessible and refined work to date. The poignant A Room With A View may be the best sign of the band's evolution. It is a beautiful and emotional thrill ride topped by Cavestany's emotive guitar work.....full of dynamics. All of the elements combined on this album reveal a heavy rock classic that suitably opens the decade of the 90's in grand style.  

Tracks:

Seemingly Endless Time

Stop

Veil Of Deception

The Organization

Discontinued

A Room With A View

Stagnant

Ex-Tc

Disturbing The Peace

Rush 2112

                   

Origin: Canada 

Year: 1976

Subgenre:  Progressive, Hard Rock

Rating:  85  Essential To Any Collection

The Players:

Geddy Lee   Vocals, Bass

Alex Lifeson  Guitar

Neil Peart   Drums

    

"And the meek shall inherit the earth." With those words, Rush embarked on a fantastic journey into another world and time, chronicling the tale of the bleak planet Megadon, a world without music. As the story progresses, when our unnamed hero discovers an ancient guitar, all hell breaks loose. 2112 was arguably the first progressive-metal concept album; the wizardry of the instrumentation, superior production, and scientific vibe were awe-inspiring. It was also singularly important as the album that finally broke the band into superstardom. One of the prime movers of my early experiences with heavy music, 2112 had me hooked at the tender age of 12. I actually first heard it during "show-and-tell" at school (in retrospect, how twisted is that? Those were definitely the good old days !) and vaguely remember staying up into the wee hours of the morning to record it in its entirety off of the radio during one of those midnight album broadcasts. Even today, through my jaded and half-deaf ears, this album never fails to inspire and impress me. There is even a subtle (not so subtle?) message of anti-censorship permeating the storyline. The band's performance is, of course, flawless. Geddy Lee's high-pitched banshee screams and his superior bass-playing are as recognizable as the complex percussion alchemy of Neil Peart. Alex Lifeson, who for many years inspired me in every possible aspect of guitar playing, effortly traverses from power chords and fiery solos to lush, melodic passages. Let's not forget about the sterling and crystal clear production of the unheralded Terry Brown, who engineered the heaviest and most successful of Rush's albums.

The title track takes up the entire first side and is a technical and artistic achievement of the first order. Boasting seven separate parts to this epic monolith, Rush scampers from blistering metal to atmospheric, mood-enhancing melodies in an instant. Side two contains a myriad of different styles. A Passage To Bangkok, Lessons, and the fantastic Something For Nothing are the notable rockers here. This second half of the album is a bit of a hodge-podge and detracts slightly from the album's overall effectiveness, but after the stunning experience of side one's 2112 in all of its glory, who really cares that much?

After experiencing this album, it was obvious that Rush stepped up to the plate in a big way and led the path for all other heavy rock bands to follow. If ever there was a band that deserved all of the accolades of a generation, it was this exceptionally talented Canadian power trio. A hugely important release, 2112 was a major turning point for Rush, a great leap for heavy music in general, and massively inspirational to legions of fans, myself included.

2112                                       97
I. Overture
II. The Temples of Syrinx
III. Discovery
IV. Presentation
V. Oracle: The Dream
VI. Soliloquy
VII. Grand Finale

A Passage to Bangkok            90
The Twilight Zone                  79
Lessons                                   83
Tears                                       73
Something For Nothing          90