‘Warrizer’ is the central character to the eight songs on this album, the lyrics throughout reflecting the troubled situation he perceives his life and indeed the world to be in.
Musically, ‘Warrizer‘ gets off to a storming start with ‘G.O.D.’Jawless are most definitely channeling their inner Black Sabbath on this one! It’s an epic track of almost eight minutes length, typically doom laden for the first half, then exploding into a frenzied second period. The vocals are pretty distinct too,sounding quite unfiltered and totally ‘live.’ By that I mean they have the resonance of a stage performance, and I can easily imagine this having been a band from the early ’70s belting the song out from a big Festival stage.
‘War Is Come’ is again down the mid-tempo route with big, stomping riffs and pounding drums. ‘Dark Muzzling‘ is the longest track, spanning almost eight minutes. It’s more of the same, really – atmospheric and heavy, with a lighter, final minute ‘outro.’
‘Deceptive Events’ starts out a little quieter but soon develops dark undertones. There is a danger here that for the first half of the six minutes duration, it becomes just an extension oft the two preceding tracks, but fortunately the pace picks up in the second stanza.
‘Bad Excursion‘ is one of my favourite tracks This may be because it has a bit of a ’70s vibe to it, with short, snappy guitar riffs and a more upbeat tempo. ‘Metaphorical Speech‘ is again more of a ‘rocker’ and, I think, what Jawless do best.
‘Restrained‘ continues the pace, with a slower mid-section that soon rises again for the final two minutes. Final track ‘The Throne of Tramp‘ sees a return to the Sabbath-esque doom heavy, head nod inducing sound.
All in all, while ‘Warrizer’ may not be exactly ground-breaking in its substance, it is an entertaining fifty minutes, with a good mix of doom inspired and plain, good, old fashioned heavy rock.
Know how you’ll be in the queue at the supermarket when it dawns, though you have no idea who they are, the person stood behind you is a sportsman / sportswoman of some fame? Or you’re at a gig and as they take to the stage, before even striking a note, you know the unknown support band are going to be great? Or you hear a band, previously unknown to you, in Bandcamp and realize within seconds they are class; top quality and playing just the sounds you like to hear?
What connects the three examples above, is they have ‘presence.’ There is an aura surrounding these people that sets them distinct to others in their field.
Such is the case with Paralyzed. a hard rock band from Bamberg, Germany.
Paralyzed
You only have to look as far as the MUSIC PAST page on this very blog to see what kind of music excites me – and more to the point, excites me sufficiently to make more people aware… and write about it.
And all that helps explain what attracted me to this band the moment I clicked on their new album, ‘Heavy Road.’
I have to concede knowing very little about Paralyzed other that they formed in 2019, and have just released their second album, a follow-up to January 2021’s eponymous debut LP.
There was also an excellent value, seven track, thirty-four minutes long, EP release ‘Hidden Sun‘ back in the year of their formation, and a seven minute long digital single release, ‘This Woman’ in 2020. (Tracks from‘Heavy Road,’ ‘Paralyzed’and ”Hidden Sun‘ form the ‘live’ set that features at the end of this piece.)
‘Heavy Road’ album artwork
‘Heavy Road’ comprises eight tracks over around forty minutes duration. It is pretty much rooted in a ’70s Rock feel, and thus, just my bag!
Album opener is ‘Devil’s Bride.’ From the opening vocal, there’s a very distinctive sense of Jim Morrison / Doors, which hooked me right away. It ‘modern’ terms, you’d say the riff, for the first three minutes of the seven and a half, is quite doom laden. The song then erupts in intensity and pace. Vocalist Michael Binder seems to morph into a Ian Astbury (The Cult) while executing a couple of searing guitar solos. A terrific start.
‘Orange Carpet,‘ has a real chugging riff. No nonsense hard rock, pure and simple. ‘Mayday’ is more of a mid-tempo, smokey, bluesy number, again with head-nod inducing riff. ‘Black Trees Pt 1‘ opens in dark mood; heavy blues at its finest – slightly rasping vocals over the top of moody, wah wah type guitar solos and deep, resounding bass lines.
Paralyzed.
‘Pilgrim Boots,‘ is the second track, after the opener, to breach the seven minute mark. Again, there is an undeniable Doors comparison to be made, but hey – that’s all pretty cool by me! Caterina Bohner’s organ work is more noticable on this one, and overall, the track has a vibrant, boogie feel to it.
‘Black Trees Pt 2‘ chugs away for three and a half minutes – all upbeat and again with a couple neat guitar solos thrown in. ‘Coal Mine’ is another slow burner. Building as it progresses, the bass line adopts a doom style feel, threatening; menacing. Michael’s vocal seem to become angrier and his guitar raging.
And then we’re at the album closer, ‘White Jar.‘ Straight off we’re into a short guitar solo, with the organ dancing in the background. More ‘wah wah’ guitar blends in mid-track alongside an almost funky bass line this time. A strong fnish!
I’ve made reference to Paralyzed being very ’70s rock inspired. And they are – or at least they sound that way. Yet – there is more to them than a band living in the past. They have incorporated modern elements into their music, but without going overboard in trying to be ‘different.’
Hard, driving rock will never die. And certainly not when the band producing it has such ‘presence.
One thing you sure won’t be on buying and listening to this album, is Paralyzed.
PARALYZED
Michael Binder – Vocals / Lead Guitar Caterina Bohner – Organ / Rhythm Guitar Philipp Engelbrecht – Bass Florian Thiele – Drums
For the best part of fifty-two minutes, the power and maelstrom that is Man In The Woods raged around me. Yes, their new album, ‘Badlands ‘ runs to around fifty-two minutes – that’s a lot of bang for your buck, and I do mean ‘BANG.’
Man in the Woods
Formed in 2016, this four-piece heavy rock band from Isle of Man released their debut EP, ‘Badlands Part 1‘ in 2018. This consisted four tracks: ‘Icarus Landing‘; ‘Speedeater‘; ‘Toxicology,’ and ‘Angel of Gasoline.’
The intention was to write more tracks that would fit the narrative and release ‘Part 2’ at a later date. But of course, The World took a bit of a wrong turning and, well …
So now, with the additional five tracks written and recorded, the decision was taken to release both parts as one complete tale. Hence the longer than normal length of the new album.
‘Badlands’ album artwork.
In a sense, it was darkly ironic the pandemic and ensuing worldwide lockdown should delay the project. For the inspiration behind the music of Man In The Woods, is one of desolation; of depopulation; annihilation.
I hate to use the description ‘concept album’ because I think that may create an errant perception, but it is certainly ‘themed’ around the inspiration. in their own words:
” … the album looks at the apocalypse which starts with an alien invasion documented in ‘Signals, Saucers and Satellites.’ The album is not in order of events and we chose to order the tracks in regards to the sound rather than the story. In a way we have ended up with a Pulp Fiction, Citizen Kane narrative setup where sections of the story are not in order. But both those films and the concept is quite cool.
“So once the world has been pretty much depopulated by the invasion we look at individual stories within the same universe that don’t all link into one another but set a scene. If you imagine piecing together lots of letters written during WW1 in order to build up a picture of what people experienced, ‘Badlands’ does a similar thing. ‘Trenchfoot‘ is about the soldiers going to war; ‘Iron Strider‘ is about a lone vigilante type character, like Mad Max, who seeks revenge; ‘Angel of Gasoline‘ is about a priest who sacrifices himself after he believes God has left him. Over all each story hopefully leaves you feeling like it’s a shit environment to live.“
Musically, Man In The Woods have been tagged with just about every ‘heavy’ music related hashtag: ‘stoner,’ ‘doom,’ ‘psych,’ ‘rock,’ ‘desert rock,’ ‘sludge,’ …. it doesn’t really matter. I’ll probably do the same at the end of this piece! Truth is, ‘Badlands‘ really encapsulates them all at various points.
In a nutshell, the music throughout is typified by Marc’s gruff, rasping and growled vocals laying over the top of a heavy and, yes, at times, doom-laden bass line. Christian’s pounding a crushing drums permeate every track, while James and David provide the powerful guitar riffs that drive, rhythm and share some intricate solos.
Album opener is ‘Icarus Landing.‘
‘Speedeater,’ to me sounds a bit like a sped-up ‘stoner’ track, if that makes any sense. ‘The Abduction of Barney Hill‘ follows. This is one of my favourite tracks on the album. Here’s why:
‘Philosorapture’ maintains the intensity and pace with a buzzing guitar riff, while ‘Toxicology,‘ slows things down a little as the mood seems to darken with more of a rumbling backing. ‘Trenchfoot‘ as you imagine with it being about soldiers being called to war, is angry and totally psyched up; ‘Angel of Gasoline‘ is the shortest, and I believe, the first song the band wrote together. It’s pretty straight up heavy rock, and rages from start to finish.
I’ve so far omitted tracks #5 and # 9. These are the two longest on the album. The former, ‘Iron Strider,’ breaches the ten minute mark, while closer ‘Signals, Saucers, Satellites‘ is only about thirty seconds shy of that.
I did initially wonder about having such lengthy tracks on an album of this overall duration. I needn’t have worried – they are my two favourites of the nine! (‘Iron Strider‘ just shades it, actually.)
Both, to the musically untrained ear at least,follow pretty much the same structure: with slow builds moving to heavy, steady paced mid sections, before picking up pace, bigger riffs and searing guitar towards the final two / three minutes.
Empiires are a four-piece hard rock band, playing out of Dallas, Texas. Like many bands, they put their enforced pandemic lockdown time to good use and, unable to play live, they focused on releasing a couple of new tracks.
The latest is ‘Stronger‘ which pretty much typifies their style – big, chunky, crunching guitar riffs, strong, bold lead vocals with growled backing and loud, melodic, catchy choruses. Factor in short, snappy, searing guitar solos and a pounding rhythm section and ….. well, what’s not to like?
I know it’s been difficult for all bands these past eighteen months, but I do feel that now is the time for Empiires to match their music with their presence. I can find very little info about them out in the ether, and with a few well produced ‘singles’ behind them now, I’d like to see them doing a little more shouting about it! Why keep your light under a bushel?
As you’ll see, each of the song videos available are of the ‘lyric’ nature. Tied in with my point above, I’d love to see the band feature more in them. In fact, if I’m totally honest, especially with reference to the new song ‘Stronger‘ I think the song sounds ‘stronger’ when listened to without the video as it is.
This is not a criticism, just an observation. The band have the perfect image of a hard rocking band – why not let it help them grow their music?
Just sayin’.
Anyway – back to the music. They guys kick serious ass, so hopefully their enforced additional rehearsal / recording time will pay them due dividend in the months to come now that are back out on the road.
Leviathan were a respected psychedelic rock band from Brighton who, being one of the first British bands to be signed to the Elektra label, recorded three singles in 1969. They also recorded and album, but for whatever reason, it wasn’t released.
In autumn of that year, they split, and drummer Gary Murphy, perhaps a bit disillusioned at the non-release of the album, decided to take a break from the music business.
He was initially adamant, but having been approached by two very persistent ex-members of another Brighton band, The Motion, he eventually relented and agreed to play a jam session …. an that was it! He was hooked.
Hellmet were born.
A month or two later, while on a train journey and discussing just what direction their music should follow, they were overheard by one John Tobler, a respected music reviewer of the time and editor of the underground, Zig Zag magazine.
He took the band under his wing and wrote their first review, in his magazine. He also arranged gigs supporting likes of Groundhogs and Blodwyn Pig, and secured them a slot at the famed Marquee Club venue. All good, high exposure.
As a result of their gigging and growing reputation, they were then approached later in 1970 by local Brighton business who wanted to diversify and break into music management. It was they who financed the recording session at Orange Studios.
An album’s worth of tracks were laid down, but despite the master tapes being hawked around various record labels, no offer of a deal was forthcoming. The acetate, having passed through so many hands, was subsequently lost, and as with his previous band, Leviathan, drummer Gary Murphy had nothing to show for his commitment. The band folded.
(Lucky white heather, eh?)
As seems to happen with surprising regularity, the ‘masters’ somehow turned up fifty years later, and now the album has been made available by Seelie Court.
Musically, the five tracks cover several rock bases: ‘Hazy Shady Lady’ is a blues infused hard rocker; ‘Trust,’ has a Black Sabbath type riff and passes through a few mood and tempo changes, like all good prog tracks are require to do! At times, I’m reminded also of Led Zeppelin’s ‘Dazed and Confused.’ That type of song. ‘Judgement Day (Honest Religion)‘ is a rather sad melodic song about heroin addiction.
‘Sweet Bitch‘ is the first of only two tracks on side two. It’s another standard hard rocker, It’s fast and angry and I’d say my favourite on the album. Album closer ‘What is The Point (Of it All?) is another in the heavy rock mould, but with a jazzy interlude.
I have to say, I’m a bit confused though. The band name, album cover and especially the six paintings of Lucifer that adorn the inside of the gatefold sleeve, seem to contradict the image of the band (see above) and the music they produced.
Overall though, it’s been met with some excitement from collectors of prog rock albums and it’s great to see bands from all these years ago finally get recognition for their creativity.
HELLMET
Terry Aitken – Vocals Stephen Day – Guitar Ray Mellors -Bass Gary Murphy – Drums
If I’ve been puzzled when writing previous posts as to how and why certain albums from the Sixties and Seventies achieved ‘cult’ status, then I’m completely flummoxed as to why THIS, recorded in 1970, has NEVER been released in UK.
Had it not been for me re-reading the sleeve notes to my Sweet albums, I would never have stumbled across this one. You see, I noted Sweet guitarist Andy Scott had previously played with this band. He didn’t actually play on the album, joining after its recording, and his stay was short-lived as the group disbanded not too long after.
It’s amazing though, how a little bit digging around reveals gems like this.
From North Wales, Mayfield’s Mule was formed by guitarist Chris Mayfield in 1969. Chris had previously played with several notable bands of the Sixties, including (the original) Nirvana and Ian Hunter. However, becoming a bit disillusioned at how his music career was panning out, he joined Amen Corner as a roadie.
It was when that band’s sax player, Mike Smith was presented with a few demos of Chris’s own work, that fortunes changed, leading eventually to a record deal. Gathering around him Pete Saunders (keyboards), Steve Bradley (bass) and Sean Jenkins (drums) Mayfield’s Mule was born.
The new band quickly recorded three singles on Parlophone, which between A and B sides swing from heavy rock to blues and country. Over the winter of 1969 / 1970, an album was cut at Abbey Road studios. All tracks were written by Chris himself, and the album covered many bases. Laced liberally with Hammond organ, I guess I’d sum the eponymous album as a blend of Creedence Clearwater Revival meets Canned Heat, meets Mungo Jerry, meets Deep Purple. It depends really what track you listen to!
P.P. Arnold contributes backing vocals on the album which was engineered by Alan Parsons. Mike Smith was also on co-production duties and he’d later join the band himself. So, some ‘big hitters’ were involved with the band at this stage.
Amazingly, for whatever reason, EMI decided against releasing the album in the UK. It did, though, secure a release in Uruguay of all places. Apparently the band had no input or indeed any notion that this was happening!
Not long after this, Andy Scott, who had played with drummer Sean Jenkins in The Elastic Band, joined …. which is where we came in.
(The album has subsequently been released – 2007 -in CD format by the Italian label, Night Wing, but that’s about as far as it goes. Any takers here in the UK?)
MAYFIELD’S MULE Chris Mayfield – Guitar / Vocals Steve Bradley – Bass / Backing Vocals Sean Jenkins – Drums Pete Saunders – Keyboards + ‘Moxie’ Gowland – Harmonica / Flute Andy Scott – Guitar Mike Smith – Saxophone / Tambourine
Leaf Hound were one of those bands who seemed to morph naturally from the Blues and R&B boom of the late Sixties into a heavier rock centred band of the early Seventies.
The band’s origins lie in the blues rock of South London band, Black Cat Bones, which at one point counted then future Free guitarist, Paul Kossoff and drummer Simon Kirke in their number.
When, in the latter half of 1970 Rod Price left to join Foghat, remaining members and brothers, Derek and Stuart Brooks enlisted the vocal talents of Pete French and his guitarist cousin Mick Halls.
(If Pete’s name rings a bell, it’s because he would later join Atomic Rooster performing vocal duties on their 1971 ‘In Hearing Of‘ album. He would later also play with US band, Cactus, featuring Tim Bogert and Carmine Appice )
With the addition of Keith George Young on drums, the band were re-named Leaf Hound and began gigging around UK, gaining quite a reputation for their brand of raucous rock.
A deal with the Decca label wasn’t long in being offered and by the end of 1970, ‘Growers of Mushroom‘ was recorded – legend has it, in eleven straight hours in Mayfair’s Spot studios.
Strangely though, having toured Germany, the album was licensed to that country’s Telefunken label before being released in UK. Even more weird, was the album being produced without either the title track (see top of post and ‘Freelance Fiend‘ which opens the subsequently released UK version.
In the autumn of 1971, ‘Growers of Mushroom‘ was finally granted its UK release, but by that time, the band had called it quits and all moved on to other projects.
Their legacy is this storming album of heavy rock. It may be pretty generic stuff, at times sounding like Jethro Tull, (the title track and ‘Sad Road to the Sea’) and others with hints of Led Zeppelin / Free, but it does have a character of its own and the more I listen to it, the more I love it!
I should add that my copy is a re-press on the Akarma Record Label. It’s not an original 1971 Decca release, copies of which sold for £4732 and £4218 via Discogs in 2019! This makes the album one of the most expensive major label recordings of the Prog Rock era.
In 2004, Pete French and Mick Halls formed a new version of Leaf Hound, recording an album ‘Unleashed‘ which was well received on release in 20007. I believe they continue to perform live to this day.
This is them back in 2012.
LEAF HOUND Pete French – Vocals Derek Brooks – Guitar Stuart Brooks – Bass Mick Halls – Lead Guitar Keith George Young – Drums
Fuzzy Duck released just five hundred copies of their only album in 1971, resulting in original copies now fetching up to £900. The interest in the band these past fifty years has led to many re-pressings and re-issues. Some, like my copy, have added as bonus tracks, the band’s two singles and their respective B-sides.
Formed in 1971 in North London, their sound was principally of a heavy progressive rock nature, built on a foundation of hammond organ, time signature changes and elements of jazz .
The guitar and organ combine seamlessly and I’d say there are future echoes of Uriah Heep in here. That may not be too far from the truth, for though he didn’t join Heep, organ player Roy Sharland was previously a member of Spice, who were indeed the mighty Heep’s first incarnation.
The track above, ‘Mrs Prout,‘ is typical sounding of what the band were capable of – I just love how the track uses that shuffling drum sound, mixed with a rolling bass line. The second half of the track I’m sure must have been in the subconscious of The Stone Roses when they wrote ‘Fools Gold.’
Looking at the credits on the album sleeve, only four band members are listed. However, from what I can make out, guitarist Garth Watt Roy was also in Fuzzy Duck. Indeed, he wrote their first single, ‘Double Time Woman,’ and contributed to the writing of two other ‘bonus tracks’ on the album. I can only assume he had moved on before the album was recorded? (The aforementioned track and the other two in which Garth wasinvolved, differ, I think from the others in that they have that sharp edge of Atomic Rooster poking through.)
What interested me here, though was the surname, Watt Roy. Not a common one in the music business back in the early Seventies, I’ll wager. I checked, and my hunch was correct – Garth is the older brother of Norman Watt Roy, who played bass in one of my favourite bands, Glencoe.
It’s such a shame Fuzzy Duck din’t leave more of a legacy. This album has seen more visits to my turntable these past few weeks than any other in my collection. I highly recommend it to anyone interested in early Seventies rock.
(I don’t think this video was issued by the band, but the track is the album closer, and shows the lads had a good sense of humour!)
FUZZY DUCK Mick Hawksworth – Bass Roy Sharland – Organ Paul Francis – Drums Graham White – Guitar / Vocals Garth Watt Roy – Guitar
TEAR GAS: line-up #2, who recorded the debut album ‘Piggy Go Getter.’ (Back row, left to right: Davey Batchelor, Chris Glenn & Wullie Munro,) (Front row, left to right: Eddie Campbell & Zal Cleminson.) ***Photo, by John Young in the dressing room of The Electric Ballroom, Glasgow – June 1969)***
It feels a little strange, sitting here at home outside Glasgow, Scotland and writing about one of our city’s most famous ‘unfamous’ bands. I mean, everyone knows that members of Tear Gas ultimately joined forces with Alex Harvey to form ‘The Incredible Alex Harvey Band,’ right?
At least, that’s what was proclaimed on the sticker that adorned the sleeve on my copy of their re-issued debut album, ‘Piggy Go Getter.’ A bit of a ‘Sensational’ cock-up, by the record company, I’d suggest.
Playing the local Glasgow circuit as The Bo-Weavels, the band changed their name to Mustard, when vocalist George Gilmour left. Andy Mulvey, formerly with top Scottish beat band, The Poets, stepped in,
More changes would follow with Mulvey himself moving on. Wullie Munro signed up, taking over on drums. He was backed up in the rhythm section by new bass player Chris Glenn, while Eddie Campbell came in on keyboard duties. Joining forces with the two remaining members of The Bo-Weavels / Mustard, Davey Batchelor and Alistair ‘Zal’ Cleminson, it was decided that another name change was in order, and, in keeping with the ‘mustard’ theme, I guess, the band were re-named, Tear Gas.
They were billed as a ‘heavy rock’ outfit, though I find that hard to comprehend from their debut album, ‘Piggy Go Getter.’ Most of the tracks are pleasant enough, but pretty much soft rock at best, and not so memorable, if I’m honest. The second side of the album has a bit more of a rock edge and perhaps the final track, ‘Witches Come Today,‘ was a better indication of what was to come with the follow-up.
(Tear Gas – second album.front cover.)
The eponymous, second album, now with Ted McKenna on drums, is much more like what I would have expected from a band who were scouted by Alex Harvey when looking for a ‘backing band.’ Having lost his brother, Les, guitarist with Stone The Crows, and who was electrocuted during the soundcheck for a show in Swansea, Harvey searched for solace in his work. He had previously been working with the stage musical, ‘Hair,’ in London but now sought to embark upon a solo career … if only he could find the right band.
Following the release of the second album, Ted Mckenna’s cousin, Hugh Mckenna joined in place of keyboard player Eddie Campbell. Hugh would also take on lead vocals when Davey Batchelor left to pursue a career in production.
The resultant line-up of Zal Cleminson, Chris Glenn, Hugh McKenna and Ted Mckenna was the one ‘spotted’ by Alex Harvey, and though the band had some misgivings about their new ‘boss’ (Alex was about fifteen years older for a start) and his rather autocratic attitude, they realised they had probably gone as far as any ‘big fish in a small pond’ could and …. well, the rest is history as they say.
TEAR GAS (Ultimate / Final Line up) Zal Cleminson – Guitar / Vocals Hugh McKennna – Keyboards / Lead Vocals Ted McKennna – Drums Chris Glenn – Bass / Vocals
Loud Horizon 