#rega planar

[the-vinyl-review]

Fleetwood Mac, Rumours 1977.

Fleetwood Mac’s self titled 1975 album marked a shift in the bands style, a striped back, less complicated and more commercial feel. This was brought to Rumours and was utilised perfectly. A band that for the most part were always marred by internal problems from their professional and their intimate relationships. Drugs were a problem mainly Cocaine. Many argue that while on drugs they created their best work. All of which have always been well documented in the press and in their own words. John and Christine McVie’s marriage ended the year before and put a considerable strain on the band. This time the band brought those problems, frustrations and the feuding to the forefront in their lyrics.

It’s an album that’s just an absolute delight, kicking of with the upbeat and very catchy second hand news (even if the theme is about the breakup of Lindsey Buckingham and Stevie Nicks). Lindsey takes takes the reins for the vocals & I find Lindsey Buckingham is a very underrated signer and is usually overshadowed by Stevie Nicks and Christine McVie. Dreams is next & highlights Stevie Nicks vocals, simplistic yet memorable lyrics that made it an instant hit. Don’t Stop is about moving forward and away from the past and that’s what Christine McVie’s story is about after eight years of marriage to bassist John McVie. The song is more serious than the previous song but still on light side. Go your own way is significant because it’s the bands first top 10 hit in America.

The Chain starts the second side & like many songs on Rumours it’s iconic, being used countless times for adverts and the F1, especially for the midsection Bass that builds slowly with the drums and guitar towards a fast ending with overlapping vocals. It is also the only song that all band members have lyrical credits on at the same time. You make loving fun is a favourite of mine, the keyboard & Bass make it sound funk like. Little solos between the lyrics with a bong-like bass at the chorus gives this song a little more depth than some of the other songs. The story behind the lyrics is a strange one, Christine McVie was having an affair with the band lighting director but to hide it from her husband she told him it was about their Dog.... I can’t see how he fell for that but apparently he did.

Rumours certainly wasn’t breaking any new ground with the song writing, it’s just reoccurring themes that are recycled but that doesn’t matter. On paper it should be depressing but it’s not (well, maybe Oh Daddy). The music for the most part is uplifting. I have to say there was a very strange dynamic going on during the production, it had to be a very strange atmosphere. It must have been very frosty and intense probably the reason some songs were made with each instrument recorded separately. Nevertheless it all worked out unlike the bands issues.

I’m a fan of all their early albums and most of the later ones. while this isn’t my favourite Fleetwood Mac album this is their most rounded & accomplished having made a few unbalanced or sometimes misguided albums. Although it’s easy to see why this album tops most people’s best Fleetwood Mac album list, I guess 40 Million plus sales can’t be wrong.

Album Art 7/10

Music 8.5/10

Record quality 8

[vinylkillsmp3]

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[the-vinyl-review]

Metallica Master of Puppets, 1986.

1986 was a year that would change Metallica forever. A year of tragic loss and finally commercial success. Master of Puppets would chart at 29 on the US Billboard 200, considerably higher than their two previous albums and received universal acclaim.

In Sweden while touring their tour bus slid and toppled throwing Bassist Cliff Burton through a window then crushing him. It’s something the band would never get over, frustrations and anger over Burtons loss would later be taken out on incoming Bassist Jason Newstead. Everyone has a best album, I have three at number 1 that I just can’t choose between & this is one of them, the others being The Kinks ‘The Kinks Are the Village Green Preservation Society 1968 & Genesis ‘Nursery Cryme’ 1971.

The first song Battery opens with layered acoustic guitars before fast pace and raw thrash pump out from the four piece with a solo that keeps the pace nicely with the rest of the song. At just over 5 minutes you’d think it would be a mixed up mess all crammed into such a short space of time? Of course not it’s Metallica what can’t they do. This song shows you the intent for the rest of the album. Named after Battery street in San Francisco where the band used to play the clubs in the early days just shows what those days still meant to them, the memories and the energy they must of got because energy is the theme here and that’s what you get.

Master of Puppets, well what can you say about this song? It has everything. I was always taken by the quieter mid section with Kirk & James interlinking before Lars comes in, it’s something special. Metallica always have a great chug to their music and with the main riff it’s high intensity. The song is about drugs and how they control you, the drugs and control being the master and you being the Puppet. It’s unforgettable from the first to the last.

The Thing that should not be is about a monster from H.P Lovecraft. Welcome home (Sanitarium) is slightly softer much like Fade to Black on Ride the Lightning (1984) both being the Ballard’s of each album Sanitarium is about a Mental Asylum and the degradation of the human mind. The lyrics are profound and chilling with Kirk inserting lovely riffs in between each section with the song building towards a climactic metal assault. From here the theme of the album moves towards War heard in Disposable Hero’s.

Orion is the one, when I play this I think of Cliff, like Pulling Teeth or For Whom the Bell Tolls where he especially shines but this piece of music is a masterpiece that keeps building with a wonderful solo then quietens to become space like in the mid section with Cliffs beautiful sounding bass then added with walling guitars it brings a tear to my eye. This is what music is all about! The song then picks up again and brings a spectacular ending with Kirks solo onslaught with guitar/Bass chugging along with Lar’s drums. Damage inc brings the album to a close in frantic fast fashion with a mean guitar piece in the middle then a crazy Hammet solo, with James put his all into the vocals. What better way to end the album than how it started.

This is the best Heavy Metal album of all time but then I’d put Metallica’s first 5 albums in the top 10 best metal albums, it’s just how much I love them. Best album of all time? Of course, why can’t it be? And I’m not alone in my thinking. They are a band that has overcome loss, alcoholism & their own personal demons and are still on top nearly 40 years after forming. You don’t hear of a metal band being one of the biggest selling bands of all time apart from Metallica, clearly they transcend the shackles of just Metal or Thrash and appeal to the masses.

I saw them at Twickenham last summer, one of the many time I have had the pleasure. A friend asked me ‘have they still got it’? Oh yeah Metallica have still got it! They never lost it.

Album Cover 10/10

Music 10/10

Record Quality 8/10

[the-vinyl-review]

Peter Gabriel So 1986.

Peter Gabriel’s fifth album is his greatest solo achievement and most successful. Known also for being his most recognised and most accessible. The album mixed genres like Pop, Rock and with his love of world music incorporated African and Brazilian music as well with a tribal feel with drums on Don’t give up.

The album isn’t as musically intricate as previous albums, which was the intention and works really well. Some of Gabriel’s biggest hits are on here like Sledgehammer and Big time the latter being a personal favourite of mine on the album. With both songs using the talented Aardman Animations (known for Wallace and Gromit) for their stop-motion plasticine creations, which bring to life the various sets and figures used throughout their iconic music videos.

Sledgehammer is the main hit and if you haven’t heard it then where have you been?! It’s a song that needs no introduction so I’ll skip it. Big Time being about success, money and the mainstream, the song has an absolutely brilliant bass line which takes centre stage, the song is full of energy, it’s an high octane. Don’t give up sees the wonderful Kate Bush lend her perfect voice to the song which compliments Gabriel’s vocals excellently. While the video is awful that can be forgiven because of the quality of the other music videos for the album. Lyrically it’s not taxing on the brain but there is a nice warmth and Bush would mirror Gabriel’s lyrics, his are of despair, stress and isolation where Kate Bush would sing of hope, being proud and that he has friends and most of all her, unemployment and shame are an underlining issue as well. Mercy street is a song that reminds me musically of something that should be on a Phil Collins solo album, an off beat song inspired by American poet Anne Sexton. It has to mentioned that NME listed the song as one of the ‘10 Most Depressing Songs Ever’ & that’s not a bad thing they complemented the song saying it’s a ‘beautifully produced number’ which I agree with.

So isn’t perfect but that’s what’s appealing, the different themes and Gabriels change in style musically came at the right time. It’s possibly over produced but who really cares about that? It’s a classic 80’s album & Peter Gabriel’s finest Solo moment.

Album Art 6/10

Music 8.5/10

Record quality 8/10

[the-vinyl-review]

Jeff Wayne’s Musical version of ‘The War of the Worlds’ 1978.

HG Wells 1898 masterpiece has had a hard time being recreated over the years. Nothing on screen has stayed faithful to the book. For three years I eagerly awaited the BBC’s version, which looked extremely promising but was unfortunately a massive disappointment. The US cinematic versions got nowhere near the book and I don’t think they even tried. Nothing could stick to the original formula, however in 1978 a musical version gave us the closest I think we will ever get.

Composer Jeff Wayne’s concept was simple on paper but the process took years, singer-song writer David Essex was instrumental in the process of making the album. Wayne’s main character would be the journalist and he only had one man in mind, the late, great Richard Burton. Wayne had sent Burton a letter addressed to a theatre in New York where he was doing Equus and Burton’s mangers reply was “count him in old boy”. With two huge stars already onboard the others came quickly, Wayne recorded the score with the main band, while the guest artists David Essex, Phil Lynott, Julie Covington, Justin Hayward did their parts when available.

In 2014 Jeff Wayne’s had this to say “I envisaged my version of War of the Worlds as an opera: story, leitmotifs, musical phrases, sounds and compositions that relate to the whole” and it’s a perfect appraisal. Richard Burton opens the album with the classic opening words from the book in ‘The Eve of War’, then momentous music which is key throughout the album hits. You get the feeling you are listening to something quite special and important, it’s oddly cinematic. At this point I thought I’d share that this album terrorised me and gave me nightmares when I was a child, especially ‘Horsell Common and the Heat Ray’ the Bass is consistent throughout and is completely creepy. Accompanied with the Bass is an instrument called a Persian Tar, which is similar to a guitar & it sounds maniacal and with Burtons words add to the terror. When we were little my dad would deliberately play this to make us go to bed and he had a mean system even then, hearing that Bass made me run for my covers.

As the story progresses the Journalist makes his way through London as it’s population is in a state of panic, the main aim is to make it to the sea and a boat out of England, ‘Forever Autumn’ captures this. This is where we hear the terrifying and memory lasting Martian cry ‘Ulla’. Justin Hayward from the band the Moody Blues vocals are impressive, mixed with Burtons narration and a subtler musical piece adds warmth to a for the most part relentless album. ‘The Red Weed’ part 1 and 2 are favourites of mine, wonderful pieces that are haunting and are supposed to give the feel of being on another planet, Mars. Mars vegetation had taken hold on earth and that’s the feeling you get.

I’m going to speed things along a little now, with an album that’s just a shade under 95 minutes I need to. In between the ‘Red Weed’ parts 1 and 2 there’s ‘Parson Nathaniel’ and ‘the Spirit of Man’ Phil Lynott from Thin Lizzy and Jenny Covington as a married couple, with the Parson who’s losing faith in his religion and mankind. The Ulla’s get longer, more strained and a faster paced song ensues. ‘Brave new world’ sees the return of David Essex as the Artilleryman in which is the weakest song on the album but that in no way means it’s bad, it’s just over long at 12 minutes. ‘Dead London’ is a great conclusion to the album that builds to a frantic & satisfying conclusion, it’s eerie and unnerving and takes great turns musically with Burton’s explanation for the demise of the Martians.

The artwork for the gatefold and booklet are second to none the main painting being done by Peter Goodfellow. For me these are the best concepts of the fighting machines and should have been used or followed closely for cinematic use. Sit there turn it up, no interruptions and it’s better than being in the cinema. I like think Jeff Wayne created something that H G Wells would have appreciated. This has atmosphere, warmth, heart and is more terrifying than anything the big or small screen has produced.

Album Art 10/10

Music 9/10

Record quality 9/10

[the-vinyl-review]

Genesis ‘Invisible Touch’ 1986.

Genesis the band that switched from progressive rock to pop in March 1980 & they did it perfectly. I have spoken to & seen so many people over the years that are either ‘Peter Gabriel’ or ‘Phil Collins’ era Genesis & the debates can get heated. Me I’m both, my dad went out & bought the record & CD the day Invisibly Touch came out & this was first album I remember clearly & it & the band defined my musical influences forever.

This isn’t my favourite Genesis album but like ‘Selling England by the Pound’ was the definition of Progressive Rock this Album was the definition of 80’s Pop. After the Genesis ‘Mama’ tour concluded in 1984, the band went their separate ways to work their own projects. Phil Collins had already established a massive solo career, Mike & the Mechanics were founded in 1985 & Tony Banks worked on his second solo album. You can hear elements of all the band members solo outings throughout the album. The band would improvise & see where it lead during sessions Collins staying it was ‘close to Jazz. Writing, listening to the recordings & going through every detail together was an important part of the process. Everything from lyrics, instruments or song length, it was agreed upon by all three, everything came together perfectly.

Where are the weak songs on the album? For me none, I’ve heard people say ‘Domino’ the two part 10 or so minute song. I would disagree with that statement if you listen to ‘Soundtracks’ by Tony Banks you can hear this is the one he had the most influence on. The mood changes throughout & Tony Banks keyboard work is nothing short of amazing especially between part 1 & 2 along with Phil Collins drums. Mike Rutherford’s Guitars come into their own more on the slower tracks such as ‘In to deep’ & ‘Throwing it all away’. Highlights are obviously ‘invisible touch’, ‘land of confusion’ or ‘Tonight, Tonight’ but ‘The Brazilian’ the final track is something that needs to be turned all the way up! Featuring experimental sounds from Tony Banks E-mu Emulator which continues to amaze me every time I listen to it, again co-ordinated with Phil’s drums it’s like listening to it for the first time every time.

Is it the best album of the 80’s? Possibly, it’s certainly up there. Is it the best album Genesis have made? No but again it’s up there for me I’m going to say all this, it’s the first Album I remember listening to apart from Madness ‘one step beyond’. It’s an important album, for the band it was their best selling album, it was a statement of what they could achieve in another era & genre of music that so few could do. Even the ‘Gabriel’ Genesis fans say they have a soft spot for this one.

Sleeve 7/10

Music 9/10

Record quality 9/10

[the-vinyl-review]

John Martyn, Solid Air 1973.

John Martyn is widely known for his Folk music but the man was so much more than that. He had a masterful use of jazz, blues and rock as well and all of this is utilised sublimely in this truly magnificent album. Solid Air is an album that has received universally acclaim continuously since it’s release. It’s an album that showcases Martyn’s wide musical range and adaptive vocals.

The song Solid Air is nothing short of a masterpiece with Danny Thompson’s Deeply long and lazy sounding double bass lines. There’s beautifully simple keyboards timed along with the bass and Pentangles Terry Coe’s easy saxophones subtlety play the song out. The song is apparently about Martyn’s good and troubled friend the late great Nick Drake, another favourite of mine. Drake unfortunately took an overdose a year later. Martyn’s wife was also suffering depression and lays claim that the song could have also been about her.

The first part of ‘I Don’t want to know’ centres around Martyn’s acoustic Guitar, and there are similarities to previous song at first. The vocals are more prominent and halfway through the song lifts slightly with keyboards and a backing singer.

‘I’d rather be the devil’ as a guitarist he was known for his technical brilliance and this in parts sounds like an early version of Pink Floyd’s ‘Run like Hell’ as he churns outs the lyrics. Martyn’s songs have an incredible way of changing pace and the change towards the end here is eloquently done.

Dreams by the Sea is a heavier, more Funky sounding song. There’s lots on offer here and the drums are busier. Martyn’s guitar has a great twang and there are also faster jazz segments and faster vocals.

Solid Air has great variations in style and John Martyn knows exactly how to execute and incorporate all these styles. After 22 studio albums you are bound to have hits and misses but this is an album that can do no wrong.

Album cover 7/10

Music 9/10

Record quality 8/10

[the-vinyl-review]

Camel ‘Mirage’ 1974

We all know Genesis, Pink Floyd & King Crimson within the sphere of progressive rock but what about Camel? I’m ashamed to say that five years ago I didn’t know who they were. Five years later I give them a listen once a week.

Formed in Surrey in 1971 they like most progressive rock bands didn’t hit the heights of the previous bands I mentioned, they garnered a cult status. To me their first four albums are up there with the very best the genre has to offer but like most hitting the late 70’s & 80’s saw a dip in creativity & a confused sound. I think most were trying to replicate Genesis’s transcendence from progressive to pop, times had moved on.

I digress, so what of ‘Mirage’ it’s an improvement on their self-titled debut & I think they found their trademark sound. To me technically they are better than the three bands I mentioned previously just like Gentle Giant were.

From the off you know you are in for a treat, ‘freefall’ sets the pace for the rest of the album & keyboards are rife. To me ‘Nimrodel/The Procession/The White Rider’ the triple song is the centrepiece of the album, some disagree but the song has everything from an extravagant beginning to Fantastic vocals from lead man Andrew Latimer. The band are extremely tight musical throughout the album with fine guitar work on ‘lady fantasy’ almost bordering on heavy rock & a great way to see out the album.

The album cover isn’t one that wows but it is one you will always remember, simple & to the point. Mirage’ definitely is the album to start with, it’s one of the best progressive rock albums ever but that’s just my opinion.

Sleeve 7/10

Music 8.5/10

Sound quality 9/10