Return of Crystal KarmaGlenn Hughes |
|
Or the return of "R.O.C.K." if you will… this latest two-disc set from famed vocalist Glenn Hughes is indeed an inspired return to a heavier sound, something the prominent musician has veered away from in recent years. The parts are evidently in all the right places for Hughes, always the soulful and funky type, to prove there's still a little kick in the mellowing process. And check him out looking all primped and polished here… he's really taking this seriously! "The State I'm In" opens the set and says it all basically, an up-tempo unwinding that charges quickly toward the still settling listener expecting maybe something a little muddier and surprise… a nice one at that! If it ends up being the strongest track on the album, and it could well be, it's won't be a bad thing… but why do I feel like I'm listening to Gary Moore here? The similarities and musical paths the two have taken parallel closer than anything I can remember-particularly on the funk and groove stomp of "Midnight Meditated" which trudges across the rickety bridge over Iommi in getting back to that eerie old house on the hill. Hughes' prominence has been well earned if not wholly respectable within rock circles. Having done both bass and vocal work for the likes of Purple, Sabbath and Whitesnake at one time or another, the early influences are pronounced and the classic rock sound laid forth here is a welcome relief… Motivated from sobriety, "R.O.C.K." is a tribute album of sorts to the fans who've stuck by him and the sense of completion can be felt most everywhere on the record-solid rhythms, simple harmonies and synth-led atmosphere lends to the overall luster on what amounts to a real vocal showcase for the bassist/singer. Coming at you from every angle, there's the jazzed up R&B types like "It's Alright," to "Switch the Mojo" both of which walk hand in hand in perfect step before making way for the booming "Gone," originally penned and later scrapped for the forthcoming Iommi album-but definitely too good to waste-and frenetic "The Other Side of Me." "Days of Avalon" is of the epic variety at the close, a contemplative ballad-and it's here I'm convinced that Aretha Franklin's time is almost up-and done with the flash and fire Hughes began with some forty minutes earlier. Altogether we're looking at a strong release, comeback or otherwise, from a man with a renewed sense of purpose. We don't always strike the right chord throughout but on about a 60/40 scale, "R.O.C.K." delivers musically and Hughes is back belting 'em out like I demon possessed… Released by SPV Records Review by Vinnie Apicella [va85@columbia.edu] |
|
Building the Machine GLENN HUGHES |
|
It is so unfair that there are as many talent-less, soulless and faceless musicians on the tops of the charts and still Glenn Hughes pumps out record after record of pure gold and is unable to mount a proper tour of the US due to lack of funds. None of this is likely to change but Hughes does offer up another brilliant disc as conciliation for lovers of rock and soul. “BUILDING THE MACHINE” is infinitely funkier than his previous “RETURN OF CRYSTAL KARMA” disc but the hardest edges of that disc remain as solid here. Hughes further perfects the meld of Funk, Blues, Rock and Metal across the discs eleven tracks with enough nuggets to get a good start on another greatest hits album. “Can’t stop the Flood” rips open the disc with a startling blast. As hard as I struggle I can’t name another number so direct and so perfect from any of Hughes’s solo discs. “I just want to Celebrate” is the classic RARE EARTH track that Hughes should have covered years ago because it is so perfect for his style. DEEP PURPLE fans are again rewarded with a Hughes reworking of an old classic, “Highball Shooter.” This version could melt steel. “I will follow You” strolls through the blues with infectious confidence. There is a bit of a likeness to Allanah Miles’(SP) “Black Velvet” here with Hughes being every bit as sexy. “Out on Me” is as close to THE ROLLING STONES as anyone has ever come and still maintained a distinguishable identity. “Big Sky” is Hughes and acoustic guitar mourning a loss and looking toward to a brighter future with enough soul to ensure a free pass to heaven for the singer. Showstoppingly brilliant but simple, a classic track. Hughes could sweat out a record that most big stars couldn’t make in a lifetime and this is one of the best examples of that ability. So passionate, so powerful and so purely Hughes that it will leave the jaws of any listener unhinged in both awe and ecstasy. Released in Europe by SteamHammer Review by David Lee |