uriah heep - chaos and colour

Uriah Heep: Chaos & Colour (2023)

Is there a shelf life for bands putting out new music? Once you hit 40, 50…even 60 years I get the drive to keep putting out fresh music, but to my ears it overwhelmingly results in bands I love releasing bland, toothless music assembled via committee. Recent output by bands like Deep Purple and the Rolling Stones have left me underwhelmed, the tunes lacking any bite. So when I heard Uriah Heep were not only still kicking but releasing new music I was intrigued but honestly not hopeful. And yet here we are with Chaos & Colour, the best Deep Purple album Deep Purple never released, and a fantastic modern version of what the band was doing in their prime. It’s heavy, it rocks hard, and best of all the band still sounds hungry 50 years on.

Continue reading “Uriah Heep: Chaos & Colour (2023)”

Uriah Heep: Uriah Heep (1970)

It was inevitable that I would come back to Uriah Heep. More than any other discovery in the past few years, they’ve been the band I’ve been drawn to the most: a potent proto-metal outfit with progressive tendencies and just some killer, killer tracks. I thought the trilogy of Look at Yourself, Demons & Wizards, and The Magician’s Birthday would be enough (all reviewed here), but both older and newer albums have ensnared me just as deeply. So the plan this week is to finish off the recent acquisitions starting with the American version of their debut, simply titled here as Uriah Heep.

Continue reading “Uriah Heep: Uriah Heep (1970)”
hawkwind - doremi fasol latido

Hawkwind: Doremi Fasol Latido (1972)

It took forever to find a good copy of Doremi Fasol Latido, the third album from space rock pioneers Hawkwind for a price that wasn’t outrageous. The band’s third studio album – and the first to feature one Mr. Ian Fraser Kilmister on bass – marks the change of emphasis of their signature space rock sound from the “space” to the “rock” but I feel like the album gets a bit of short shrift since the live album that documents the touring cycle of the record might be one of the greatest live albums ever recorded. It’s definitely the place where I first heard most of these sings. But the studio effort has a lot going for it, so for me it’s still a part of the band’s essential discography.

Continue reading “Hawkwind: Doremi Fasol Latido (1972)”
black sabbath - mob rules

Black Sabbath: Mob Rules (1981)

Despite being a massive Black Sabbath AND Dio fan, I’m here to sheepishly admit I rarely if ever listen to the albums the two made together. I usually stick to the first six album for both parties, but when I saw a great condition original pressing of Mob Rules at my shop I couldn’t pass it up and take a chance to dig deeper and see what works, what doesn’t, and how it compares to the discography I tend to stick to. Plus that album art…damn if this isn’t maybe one of the best covers in all of heavy metal.

Continue reading “Black Sabbath: Mob Rules (1981)”
zz top's first album

ZZ Top: ZZ Top’s First Album (1971)

Day 20 of the #mayvinylchallenge asks for an unpopular album by a popular band. It’s crazy that as popular as ZZ Top, are there’s not a lot of talk about their debut, wonderfully titled ZZ Top’s First Album, as if they were certain there would be more. One listen to that singular guitar tone and I can understand why. There may not have been a huge hit on the album (their second, Rio Grande Mud, would kick off with “Francine” and “Just Got Paid”) but you can already hear that Gibbons’s tone is there, and the rough and tumble electric blues they would come to dominate for decades was fleshed out if not fully formed from a songwriting perspective from the get-go.

Continue reading “ZZ Top: ZZ Top’s First Album (1971)”
mainhorse

Mainhorse: Mainhorse (1971)

Day 16 of the #mayvinylchallenge celebrates the halfway point of the endeavor and asks for a random pick from your collection. I shuffled through my recent acquisitions and came upon Mainhorse, whose sole eponymous album from 1971 begs a certain question: there are so many lost or forgotten bands out there, are all of these band lost gems, or is there a reason they’re buried? Is this really as good as a lot of the more successful and popular prog rock bands out there, or is it that I’ve heard the popular stuff so much that something relatively obscure sounds like a diamond? I think with Mainhorse the answer is a little of both.

Continue reading “Mainhorse: Mainhorse (1971)”