WARHORSE - WARHORSE(superb Hard rock 1970)
Eheheh...sono tentato di scivervi solo "...a voi"ma mi tengo...CAPOLAVORO!!!!!ahhh...chi vuole un heavy rock con hammond roboanti alla purple...beh...eccolo! che capolavoro ragazzi!
ovviamente sto parlando di "purple family" perche qui ci suona Nick simper, il primo bassista dei purple (che con loro ha fatto "shades" "deep purple"e"book of taliesyn")...Bellissime "Vulture blood" "St Louis" (cover degli "easybeat") ma ascoltate "back in time" e poi non ditemi se certi gruppi di oggi non gli pagano tributo!
Excellent band, their sound is not too much like Deep Purple or Sabbath, they have their own sound and their own composotion level and taste. Very recomended for fans of good Hard Rock and proto metal of early 70´s. The keyboard "touch" make their sound a little bite "similar" to Deep Purple but they have their own personality. Great guitar playing, drumming, great Vocal work. Really a excellent Hard Rock album.A must have album !!!
Why does Warhorse sound much like Deep Purple? Well, after Nick Simper left DP in ’69, he had to do something, and that thing was Warhorse. Normally I hate to say that one band sounds exceedingly like another, but with these two, it can almost be a mirror image at times. Unfortunately, success only cast a reflection on one of them. The other may as well have been a vampire. Churchy keyboard tones evolve “Vulture’s Blood” from silence, a provocative track with a stirring gait and a guitar/piano rhythm mixture that blends surprisingly well together. More DP-like keyboard winds its way in there, forming a braided effect with the enthusiastic drum work of Mac Poole. “No Chance” is a slower, lyrically driven number with moaning keyboards and vocals that try to passionately embellish the story, but Ashley Holt’s low, more untamed lungs are out of their element there. The lyrics themselves (like the sympathetic blurb below the heading) stretch the boundary of the term ‘ballad’ or even ‘sympathetic writing’, and is another reason the band should remain on the outskirts of that realm. “Burning” triumphantly charges out of the gate with Holt’s manly vocal aggression and a belting riff while “St. Louis” is centered around a swift pace and backing vocal-dominated chorus that Sly and the Family Stone could’ve used to some effect. “Ritual” and its animated tempo continues the album’s mostly hectic pace, that is until “Solitude” (ever hear a joyous song with this title?) drones through with more churchy keys and more of Holt’s heartfelt intones that still sound like he’s treading water. That’s not to say a dramatic moment or two isn’t heaved into the mix, like when the chorus-like verse “…they only want me to lie” rises to a head on a gallant wave of heavy beats. The lengthy “Woman of the Devil” has, I hate to say it, DP written all over it; murmuring, ominous keys…slowly building dynamic rhythm…maracas chanting a tribal nuance around a roiling main riff…some great piercing wails that may even give Rob Halford of Judas Priest pause – I wish that Warhorse had more its own sound, for the artists’ sake, so the credit can be given to them directly and not a shade of another band. The cd features five bonus tracks: supposedly live versions of “Ritual”, “Solitude”, “Woman of the Devil”, and “Burning” and a demo version of the unreleased, more commercially viable “Mrs. Jane”, which incidentally isn’t that bad at all with its high spirited veneer and cool intertwining guitar/keyboard solo. The live tracks aren’t live in the conventional sense, like with an audience, but are recorded on one track and come across as strong alternate versions, accentuating or italicizing certain aspects that may have been overlooked in the original.
consigliatissime "red sea", "sybilla" ma in fondo non si può proprio prescindere da averlo nella vostra collezione! ah...come il precedente ci sono 5 bonus track (demo-live)e le coverart!