REVIEW: NATIONAL HEALTH - Of Queues and Cures

 

NATIONAL HEALTH - Of Queues and Cures (1978)

Charly Records

National Health emerged in 1975 from the Canterbury scene, the loose community of English musicians connected to Soft Machine, Caravan, Gong, Egg and Hatfield and the North. After Hatfield and the North disbanded, keyboardist Dave Stewart and guitarist Phil Miller continued working together and were joined by keyboardist Alan Gowen, whose earlier band Gilgamesh shared the same jazz-rock orientation. The group was never a commercial force. It was a collective of highly skilled composers and players who favored intricate writing over radio-friendly songs. Their self-titled debut appeared in 1978, and Of Queues and Cures followed in 1978.

The second album arrived with a changed lineup. Bassist Neil Murray, who played on the debut, was replaced by John Greaves, previously of Henry Cow, which brought a more angular, Rock in Opposition sensibility into the group. Murray’s career is worth noting because it took him far from Canterbury. A bassist of remarkable range, he worked with Colosseum II, Gogmagog, Gary Moore, Cozy Powell’s Hammer, Whitesnake, Vow Wow, Black Sabbath, the Brian May Band, the Peter Green Splinter Group, the Michael Schenker Group and Snakecharmer. His time in National Health shows how fluidly musicians moved between jazz-rock and hard rock and metal in this period, and it is one of the more concrete links between the Canterbury world and heavier music.

The core quartet on the record was Stewart on organ, electric and acoustic piano, and synthesizer, Miller on guitar, Greaves on bass and vocals, and Pip Pyle on drums, supported by guests who add flute, clarinets, oboe, trumpet and steel drums. The album was recorded in July 1978 at Ridge Farm in Surrey using a mobile studio, which gives the sessions a relaxed, countryside character. Charly Records issued it in the UK under catalogue number CRL 5010. The title plays on the “queues” and “cures” of the National Health Service, a dry joke that fits the group’s name and the understated, slightly absurd wit that runs through Canterbury music.

The music is largely instrumental and built on composition rather than improvisation alone. The album opens with Dave Stewart’s “The Bryden 2-Step (for Amphibians),” whose first part is a brisk, shifting theme in which organ, electric piano and guitar interlock. Its second part closes the album and frames the record as a whole. “Collapso” is a lighter piece with a Caribbean flavor and steel drums, offering a humorous break from the denser material. John Greaves’s “Squarer for Maud” is the most cerebral track, a long and carefully structured piece that reflects his Henry Cow background. Side two begins with Phil Miller’s “Dreams Wide Awake,” a lyrical showcase for his warm, distinctive guitar tone. Pip Pyle’s “Binoculars” is another extended piece, and “Phlakaton,” an eight-second fragment, is a characteristic joke. Because the band is mostly instrumental, its lyrical themes are secondary and tend toward gentle surrealism, wordplay and English eccentricity rather than protest or narrative. Much of the humor lives in the titles themselves.

As for rarity, the original Charly pressing is a sought-after item among progressive rock collectors rather than an extreme rarity. It was a small-label release by a cult act, and clean copies tend to command moderate prices. CD reissues, including those from Cuneiform, make the music easy to obtain. Current market values vary with condition, so Discogs sales history is the most reliable guide.

The band’s legacy is that of a respected but specialist group. The album is frequently cited among the high points of late-1970s Canterbury jazz-rock, and it was followed by D.S. al Coda (1982), a tribute to Alan Gowen, who died in 1981. Its influence is better described as part of a broader tradition than as a direct lineage. Metal musicians drawn to jazz-fusion and progressive music, such as those in Opeth, Cynic and Atheist, share some of its harmonic and structural ambition, but I am not aware of documented statements crediting National Health specifically, so the connection should be presented as stylistic affinity rather than confirmed inspiration. Stewart’s rigorous writing and the group’s blend of complexity and humor remain its most lasting contributions. Drummer Pip Pyle died in 2006 and guitarist Phil Miller in 2017, and their work continues to find listeners through reissues and word of mouth.

Nick Parastatidis

Align the Tide Release New Single and Music Video “A Murder of Crows”

 

Maltese metal band Align the Tide have released “A Murder of Crows,” a new single and music video that continues the group’s move toward a darker, heavier and more atmospheric modern metal sound.

The follow-up to their previous single “JINN,” the track is built on contrast, balancing aggression with atmosphere and giving the song room to “breathe” before returning to its heavier passages. The title, an English term for a flock of crows, is reflected in an ominous visual and musical identity that avoids genre clichés.

“We wanted the track to have its own atmosphere and personality, rather than trying to create a new version of what we have already released,” the band said.

About Align the Tide:

Formed in September 2015, Align the Tide are a five-piece metal band from Mellieħa, Malta. They have performed in Malta, Europe and the United States, including a 2018 US tour supporting Mushroomhead and a 2024 appearance alongside Suicide Silence. Their albums Dead Religion (2019) and Hollow (2022) were released through Cleopatra Records.

REVIEW: WHITESNAKE, Slip Of The Tongue

 

WHITESNAKE, Slip Of The Tongue (1989)

ΕΜΙ

Δίσκος καψούρα!

Ο David Coverdale είναι ένας και μοναδικός! Διέθετε την πιο μπλουζίστικη χροιά φωνής (πλέον δεν ξέρω...) και το ανάλογο παρουσιαστικό. Το 1989, παρέα με το supergroup του, αποτελούμενο από τους κυρίους Steve Vai, Adrian Vandenberg, Rudy Sarzo και τον «τούφα» Tommy Aldridge, όλοι μαζί έκαναν την «παραδρομή της γλώσσας τους» (Slip of the Tongue).

Σοβαρά τώρα, κάποτε σνόμπαρα αυτόν τον σύμπτικτο δίσκο (το CD λέω), αλλά πλέον, βλέποντάς τον πιο ώριμα, θεωρώ ότι αποτελεί κορυφαία στιγμή του συγκροτήματος, τουλάχιστον της ύστερης περιόδου των '80s. Αν θέλεις να τον πεις και λίγο Glam ή Hair Metal, δεν πειράζει. Εντάξει, δεν είναι και τίποτα φλωρολελέδες (τύπου Def Leppard ή Poison) οι Whitesnake! Hard Rock με μια δόση λακ στα μαλλιά, ναι, το λες!

Το «Judgment Day» —και τα δόντια απ' το σαγόνι μας για ρέστα— και το επανηχογραφημένο κλασικό «Fool for Your Loving» του 1980 είναι τα μεγαλύτερα χιτ του δίσκου. Το ομώνυμο «Slip of the Tongue», το ταξιδιάρικο «Sailing Ships», το «Wings of the Storm» και η μπαλάντα «The Deeper the Love» ακολουθούν.

Η επετειακή έκδοση του 2019 περιλαμβάνει, ανάμεσα στα έξι bonus tracks, και το «Sweet Lady Luck», ένα κλασικό b-side κομμάτι που, κατά τη γνώμη μου, θα έπρεπε να βρίσκεται στην κανονική κυκλοφορία του άλμπουμ.

English:

A Love Affair of an Album!

David Coverdale is one of a kind! He had one of the most bluesy voices around (although, these days, I'm not so sure...) and the looks to match. In 1989, alongside his own supergroup, featuring Steve Vai, Adrian Vandenberg, Rudy Sarzo and the big-haired Tommy Aldridge, they all collectively committed a little “slip of the tongue.”

Joking aside, I used to turn my nose up at this rather over-the-top album (the CD, I mean), but with a more mature perspective, I now consider it one of the band's finest moments, at least during their late-'80s period. If you want to call it a bit Glam or Hair Metal, so be it. Let's face it, Whitesnake are hardly a bunch of sissies like Def Leppard or Poison! Hard Rock with a generous helping of hairspray, now that's a fair description!

“Judgment Day” — the kind of track that makes you want to tear your jaw off — and the re-recorded version of the 1980 classic “Fool for Your Loving” are the album's biggest hits. The title track, “Slip of the Tongue,” the atmospheric “Sailing Ships,” “Wings of the Storm” and the ballad “The Deeper the Love” follow close behind.

The 2019 anniversary edition includes six bonus tracks, among them “Sweet Lady Luck,” a classic B-side that, in my opinion, should have been included on the original album in the first place.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: EXELOUME - Fairytale of Perversion

 

EXELOUME - Fairytale of Perversion (2011)

ViciSolum Productions

It is obvious that people are showing an increasing interest in the various subgenres of metal, and I think that is a good thing. Here in Greece, judging from the live shows I have attended lately, thrash metal seems to be attracting a little more attention than before. I believe that the genre is also experiencing a new period of popularity in other parts of the world. EXELOUME is a Norwegian metal band whose members have considerable experience in the scene, and with Fairytale of Perversion, they join forces to present their own approach to contemporary thrash metal.

Regarding the technical aspects of this release, I have to admit that the production and mixing are very good. The sound is modern, powerful and clear, allowing the listener to appreciate the individual elements of the band's music without sacrificing the overall impact. The musicianship is equally impressive, with the members demonstrating considerable technical ability without allowing their skills to overshadow the compositions themselves. Their playing remains focused on serving the music rather than becoming an exercise in technical proficiency for its own sake.

As for their influences, EXELOUME combine the familiar characteristics of US Bay Area thrash metal with some old-school death metal touches, which are particularly evident in the vocals. This combination gives their music a heavier edge while keeping it firmly within the thrash metal tradition. In general, Fairytale of Perversion is a pleasant listening experience, and there is no denying that the band knows how to deliver its music with precision, energy and a polished sound.

However, despite these positive elements, the album has a significant disadvantage: its overall approach is rather familiar, bringing to mind numerous other contemporary thrash metal bands. More importantly, the compositions tend to sound too similar to one another, making it increasingly difficult to distinguish individual tracks as the album progresses. As a result, the songs struggle to establish their own identities, and once the record is over, there is not much that remains in the listener's memory.

Fairytale of Perversion is an album with impressive production, capable musicians and all the necessary technical qualities to satisfy fans of modern thrash metal. Unfortunately, these strengths are not matched by equally memorable songwriting. It is another release that sounds good while it is playing but leaves little behind once the final notes have faded. A record that may appeal primarily to devoted followers of the genre, although those looking for more distinctive compositions might find it difficult to become fully engaged.

Nick Parastatidis

REVIEW: ALPHA TIGER – Man or Machine

 

ALPHA TIGER – Man or Machine (2011)

Sonic Attack Records

“Man or Machine” is the debut album of the German metal band ALPHA TIGER, or more precisely their first release under that name. Until early 2011 the group was known as SATIN BLACK, and under that moniker they put out the album “Harlequin” in 2008 and the demo “Martyr’s Paradise” in 2010. The name change also brings a change of direction: where SATIN BLACK leaned towards a thrashier sound, ALPHA TIGER play U.S. power metal with a number of European power metal elements, a combination that gives the album a classic yet fresh character.

The album makes a very strong impression. The vocals of Stephan “Heiko” Dietrich are outstanding, powerful and expressive, and they carry the melodies with confidence from the first track to the last. The guitar work is equally impressive, with inspired riffs and melodic leads that give each song its own identity. The album is consistent throughout and has no weak moments, yet a few tracks stand out clearly: “Starrider”, “Against the Time”, “Karma” and the title track “Man or Machine” are the highlights and are bound to leave a lasting impression on any listener.

So far it is the best album of the year in my view, and a safe choice for every fan of classic metal, who should not hesitate to pick it up. The band has made a promising start under its new name, and the next release is awaited with great anticipation.

A final word on the artwork: the cover is a pleasure to look at. It is handcrafted in spirit and avoids the sterile, computer-generated look of many modern covers, which suits the music inside well.

Ioannis Kaskamanidis

REVIEW: DEF LEPPARD, Hysteria

 

DEF LEPPARD, Hysteria (1987)

Mercury

Δεν τους συμπαθώ από εδώ και πέρα.

Κι ένας από τους λόγους είναι αυτό το άλμπουμ. Εντάξει, έχω τα τέσσερα πρώτα τους σε CD, αλλά αυτό είναι εκείνο που ακούω λιγότερο απ’ όλα. Απορώ κι εγώ που κάθομαι να γράψω αυτή την παράγραφο. Πολύ του πέφτει! Θα έπρεπε να πληρώνομαι από την Q-Prime, την εταιρεία μάνατζμεντ που τους ανέλαβε τότε!

Το εμπορικό, αμερικάνικο, νερόβραστο στυλ αυτών των Άγγλων μού ανεβάζει το αίμα στο κεφάλι. Κι άλλοι άλλαξαν, λίγο ή πολύ, αλλά εδώ έχουμε την αποθέωση του «πουλάω τα πάντα» στον βωμό του κέρδους. Ποιον βωμό, δηλαδή; Τα «Women», «Rocket», «Armageddon It», «Pour Some Sugar on Me» και «Hysteria» είναι μεγάλα hits. Αυτό μπορούν να κάνουν εν έτει 1987;

Μόνο το πρώτο τους, το On Through the Night του 1980, παλεύω να ακούσω ολόκληρο, και με το ζόρι. Το Pyromania, το τρίτο άλμπουμ τους, είναι το όριο της υπομονής μου. Υστερικό και μέτριο, όσο κι αν ο δίσκος πούλησε και τη μάνα και τον πατέρα του!

Το MTV να ’ναι καλά κι αφήστε τους καλοθελητές να τους αποθεώνουν. Περισσότερο τους ενδιαφέρουν τα λεοπάρ κολάν που φορούσαν τότε πολλοί —και που εξακολουθούν να φορούν κάποιοι—, καθώς και τα αμάνικα με τη βρετανική σημαία και το λογότυπο του συγκροτήματος από πάνω, παρά η ίδια η μουσική.

Κατώτερος βαθμολογίας για μένα. Καπέλο μου!

English:

I’ve Had Enough of Them Since This Album

And this album is one of the reasons why. Okay, I own their first four albums on CD, but this is the one I listen to the least. I can hardly believe I’m even bothering to write this paragraph. That’s more than it deserves! I should be getting paid by Q-Prime, the management company that took them under its wing back then!

The commercial, Americanized, watered-down style of these Englishmen drives me up the wall. Other bands changed, to a greater or lesser extent, but here we have the ultimate example of selling out completely in the name of profit. What am I talking about? “Women,” “Rocket,” “Armageddon It,” “Pour Some Sugar on Me,” and “Hysteria” were all major hits. Is this really what they were capable of in 1987?

The only album of theirs I can bring myself to listen to from beginning to end, and even then with considerable effort, is their 1980 debut, On Through the Night. Pyromania, their third album, is about as far as I can go. Hysteria is hysterical in all the wrong ways and mediocre, no matter how much money the album raked in!

Thank God for MTV, and let the well-wishers keep singing their praises. They seem more interested in the leopard-print leggings so many people wore back then — and some still wear today — as well as the sleeveless shirts featuring the Union Jack with the band’s logo emblazoned across it, than in the music itself.

A low rating from me. To each their own!

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: ALICE COOPER, Goes To Hell

 

ALICE COOPER, Goes To Hell (1976)

Warner Bros. Records

Κατά διαόλου, είναι δυνατόν;

Κάποτε έψαχνα αυτόν τον δίσκο με τρέλα! Τον βρήκα τότε σε CD, στα κλεισίματα του ιστορικού Metropolis, στη γωνία Πατησίων και Πανεπιστημίου. Το ομώνυμο κομμάτι, ή σχεδόν ομώνυμο, το «Go To Hell», ήταν ήδη γνωστό και αγαπητό.

Πάντως, το δεύτερο σόλο άλμπουμ του τραγουδιστή και συνθέτη Alice Cooper —ή το ένατο, αν υπολογίσουμε και τα άλμπουμ του συγκροτήματος Alice Cooper από το 1969, όταν ξεκίνησε, έως το 1974— κυκλοφόρησε έναν χρόνο μετά το Welcome to My Nightmare, του οποίου αποτελεί συνέχεια σε επίπεδο concept. Ωστόσο, μουσικά δεν ανταποκρίνεται στις προσδοκίες μου, ακόμη και είκοσι τέσσερα χρόνια μετά την κυκλοφορία του στην αγορά. Πόσο ακόμη πειραματισμό και πόσες επιρροές από τον ήχο της Motown θα άντεχε τότε ο μέσος ροκάς οπαδός του;

Πολυσυλλεκτικό, το άλμπουμ περιλαμβάνει, μετά το ομώνυμο κομμάτι, σχεδόν τα πάντα! Jazz περάσματα, ηλεκτρικό rock, fusion, disco… όχι, αυτό τουλάχιστον δεν το έχει, ή δεν το έχει σε αισθητό βαθμό. Ανάμεσα στα υπόλοιπα κομμάτια που αξίζει να ακούσετε βρίσκονται τα «Didn't We Meet», «I Never Cry», «Give the Kid a Break», «Guilty» και «Wish You Were Here» —με τον τίτλο να φέρνει στον νου τους Pink Floyd—, καθώς και η διασκευή στο θεατρικό-βαριετέ θέμα «I'm Always Chasing Rainbows».

Από εδώ αρχίζουν τα σκαμπανεβάσματα για τον Alice Cooper. Μια σειρά από εναλλαγές ανάμεσα σε μέτριους και κάπως καλύτερους δίσκους θα αποκαλύψει σταδιακά ότι ο καλλιτέχνης αντιμετώπιζε προσωπικά προβλήματα με το αλκοόλ. Μια περίοδος με λιγότερο φως σε σύγκριση με την πορεία της καριέρας του έως το 1975.

English:

To Hell and Back? Seriously?

I was once absolutely obsessed with finding this album! I eventually tracked it down on CD, just as the legendary Metropolis record store, on the corner of Patission and Panepistimiou streets, was nearing its closure. The title track—or almost title track—“Go To Hell” was already familiar to me and a personal favourite.

Still, Alice Cooper’s second solo album—or his ninth if we also count the albums released by the Alice Cooper band between its formation in 1969 and 1974—came out a year after Welcome to My Nightmare, serving as its conceptual sequel. Musically, however, it falls short of my expectations, even twenty-four years after I first got my hands on it. How much more experimentation, and how much Motown influence, could the average rock fan have been expected to tolerate back then?

A diverse collection, the album has just about everything after “Go To Hell”! Jazz passages, electric rock, fusion… disco? No, not really, or at least not to any significant extent. Among the other tracks worth your attention are “Didn't We Meet,” “I Never Cry,” “Give the Kid a Break,” “Guilty” and “Wish You Were Here”—a title that inevitably brings Pink Floyd to mind—as well as Cooper’s adaptation of the theatrical vaudeville number “I'm Always Chasing Rainbows.”

This is where the ups and downs begin for Alice Cooper. A succession of albums alternating between mediocre and somewhat better efforts would gradually reveal the personal problems he was facing with alcohol. Compared with the course his career had taken up to 1975, this was a period when the light began to fade.

Τάκης "Ε-Μortal One" Γιώτης!