GLENN HUGHES - Songs In The Key Of Rock

Shug has been bigging this up around the rock press as his return to rock, the album his fans have been wanting him to make, how he's rediscovered his passion for The Rawk, and so on, ad nauseum. Which is complete and utter tosh. For as the title indicates, this is in fact Glenns return to the glory days of Trapeze, fusing his love of rock, Stevie Wonder and funk, aligned to some sweet melodies, and above all else, the voice.

'Tis true, there are rockers, but they are actually the weaker numbers, especially the John Bonham tribute which veers sharply over the line between tribute and parody. However, faults are few and delights are many. So let's begin with the epic power funk ballad which will have grown men weeping into their beer, and women going weak at the knees. It's called "Written All Over You Face", it lasts over eight minutes and it is a truly sublime piece of music which you absolutely have to won. No ifs, no buts, no maybes. Go get it. Now.

Right, you're back. Good. There's more top quality funk on "Get You Stoned", driven along by the powerful drumming of Red Hot Chili Pepper, Chad Smith. If there was any justice in this world, "Courageous" would be all over US radio, and a hit would be born. Horrifically catchy, I have found myself trying to hit notes that have been beyond me for 20 years. Nice.

The wistful, introspection of "The Truth" hits home hard, and is another melodic masterpiece. There's no indication of which guitarist plays which solo, so props have to go to both long standing alumni JJ Marsh, and the much travelled Jeff Kollman. Nice to see that Glenn plays bass all the way through and backing vocals are handled by former Santana bod, Alex Ligertwood.

This is by far, the best piece of solo work Glenn has produced in a long time with perhaps only 3 tracks out of 11 failing to pass muster. So, if you can get past the horrendous cover art, and yearn for the days when music got you higher, then this is essential. Oh, and yes there is a coda.

1880 - Ride

"Ride" is the second release from southern rockers 1880, and finds them kicking out with sass, swagger and attitude. Despite hailing from that obscure part of Georgia, known as California:-)

They're shooting down that highway patrolled by the more metallic boogiemen of years gone by, passing by the signposts marked Molly Hatchet and Blackfoot, with a nod to the countrified sounds of Marshall Tucker, but with enough individulaity to ensire return visits.

It's a brave band that takes on "One Way Out", a beefed up version of an Elmore James song made famous by the Allman Brothers Band, but it's their own "Blind Justice" that stirs the loins most, hitting us across the head, with some hard hitting lyrics aligned to a Molly Hatchet / Blackfoot hybrid moonshine metal riff. The less said about their cover of "Ain't No Sunshine" the better, and then there is their (alleged) ode to Jerry Lee Lewis, "The Jailbait Bop," , which is just downright hot and nasty. Recommended.

http://www.eighteeneighty.com

HILDA - Energectible Bit Flower

Mad as a very mad thing gone a bit mad, but utterly delightful.

Like an especially deranged nursery rhyme set to a repetitive childlike rhythm. Bells chime over a sometimes ambient sometimes world beat sometimes borderline prog, yet compelling meld.

There are shades of angelo branduardi in his highdown fair phase, but this is a unique derangement, unattached to convention. Best track? The choral craziness of "i want you". Bjork can only dream of being this special .

http://www.nordultra.com/

THE PARTY - It's The Small Things That Keep You Awake

The first couple of tracks on this mini album are absolute crackers, "Worry" and "Don't Think I Don't When I Do", a mix of lou reed and the doors. Then for no apparent reason they turn into the fall. Which makes a lot of sense, as you get the impression that James Scott, who is the Party, gives every indication of being just as crotchety as madman Mark E.

Which is no bad thing-ah. But they will need to lose the broken drum machine and the urge to be lo-fi punks. Stick to the splendid pop of "don't think i don't when i do". And watch that number 29 hit with a bullet.

http://www.mysite.freeserve.com/colchesterrecordings

SIST - Talking Points, Not Tragedies

Well it's time to dust down those angular skewed post punk fugazi riffs, align them to a memorable chorus and watch the kiddies bounce for there is a lot of attitude, anger and aggression on display.

That said, this is a well crafted and executed ep, with more hooks than you can shake a wildheart at. And if they're as good live as they claim to be, a raucous night out is to be had by all/

If I had a tracklisting i'd gladly rave about the final track on this six tracker, lauding it for it's economic and angular brutality, but I don't, so I won't:-) But now I do, it's called "Low Amp", and it is truly tremendous. Worth the price of admission on it's own.

http://www.ironmanrecords.co.uk http://www.sistonline.couk

RE:COOPERATION - TransCollaboration

If the words psychedelic and experimental conjoined bring a flush to your brow and a tremor to your heart then you may want to leave the room now.

For this release from texas based uncle buzz records is that and more. The product of five years transatlantic collaboration between uk based david cooper orton and us based james h sidlo, hence the title, the output is based on loops and samples.

Primarily ambient in tone, this is headphones on, dim the lights, back to the womb. But in a good way. Having just returned from bagging another cathedral i can empathise with the solitary choralistic undertones and otherwordly aspect of the project.

I would suspect that this is a work i will return to when i need space apart from the world, and for that alone it is to be commended.

http://www.unclebuzz.com

SPACED OUT - Slow Gin

To be brutally honest the cover art scares me and i would much prefer it if it would leave me alone.

But when i fight my way through to the music therein it's worth it. Heading down progressive fusion boulevard spaced out continue to forge an adventurous and interesting path. It's a rhythmically powerful recording, largely driven by bass and drums, and more jazz oriented than their previous, more traditionally progressive recording.

Granted, others have wandered a similarly offbeat route, but when spaced out whIp up a king crimsonian fury as on "minor blast", then you have to sit back and be impressed.

Some find the notion of music without words daunting but this is an auteur like delight, for those willing to take the time to let their minds listen, as well as their heart.

http://www.spacedoutmusic.com

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