Size: 121 MB Bitrate: 320 mp3 Ripped by: ChrisGoesRock Artwork Included Emanating from the barrier dunes of Virginia, Freedom Hawk’s heavy riffs, rolling groove, and soulful guitar melodies to produce a sound that is distinctly their own. The trio’s brand of heavy rock capitalizes on the best of the heavy ‘70s, but presents a fuzzy take that’s modern and based around quality songwriting rather than style-over-substance retro posturing.
Guitarist / vocalist T.R. Morton, bassist Mark Cave and drummer Lenny Hines made their debut on Small Stonewith 2011’s Holding On. The follow-up, and their fourth album overall, is Into Your Mind, which brings a new dynamic to their buttery fuzz with all the stomp and swagger one could ask for after Holding On, but with a more pointed delivery, assured and farther ranging than their last time out, grown more into their style than ever before.
Songs like “Journey Home”, “Lost in Space” and “The Line” push the boundaries of what Freedom Hawk have previously accomplished sonically, bringing in elements of laid back psychedelia and space rock to the band’s otherwise terrestrial song-craft. Veterans already of Roadburn in the Netherlands, Freedom Hawk return to Europe in support of Into Your Mind,playingGermany’s Freak Valley Festival prior to the release with more live dates to follow as they continue to expand their reach both in terms of music and fan-base around the world.
No question that Into Your Mind is, in its songwriting and construction and in the stylistic breadth it covers, a step forward for Virginia Beach heavy rockers Freedom Hawk. Named perhaps for being where the songs go, it’s their fourth outing overall and second for Small Stone behind 2011’s Moving On (review here), its 10-track/52-minute run reinforces the classic metal and heavy rock influences under which they’ve been working all along (Ozzy, Fu Manchu, etc.) while also pushing ahead into new ground, subtly psychedelic but still woven around earthy and traditional structures. Perhaps the biggest change of all is that the band are now a trio, having parted ways with guitarist Matt Cave since their last time out and continued to operate as the three-piece of guitarist/vocalist T.R. Morton, bassist Mark Cave and drummer Lenny Hines.
Where the band might have been in the writing for Into Your Mind when that split occurred, I don’t know, but Matt is given a writing credit on opener “Blood Red Sky,” “Journey Home,” “Waterfall” and side B’s “Beyond Our Reach” — the tracklisting broken into sides even on back of the CD and very much operating in that kind of structure despite the format — though he doesn’t seem to have participated in the actual recording, the trio tracking the instrumental portion of the LP live with producer/engineer/mixer Jim Woodling with Morton handling the vocals afterward. Their chemistry comes through what’s still a crisp production across the board, though, and while there still sounds like a layer of rhythm guitar under the solo in “Blood Red Sky,” their operation with their new lineup configuration is fluid and the momentum they build over the course of the first two tracks, that opener and “Journey Home,” carries through to some of the more stylistically expansive material that follows. One thing to get straight, we’re not talking about leaps and bounds here, but natural, incremental stylistic progression. Reasonable. It begins on side A, though the let’s-get-to-it-ness of “Blood Red Sky” and “Journey Home”‘s hooks signals business as usual from Freedom Hawk, “Lost in Space,” with its more patient intro from all three and keys from Morton, brings a turn that presages some of side B’s more adventurous moments. At its heart, it’s still catchy and largely straightforward, but the shift in atmosphere is palpable from the first two cuts and it begins a broadening process that continues later. The lead on “On Your Knees” is a standout, though more so the turn in approach of the vocals, which will later get a fuller exploration on the title-track, and Hines‘ drumming proves able to push the material along at whatever pace is set or direction it might be headed.
He holds a tension in “Lost in Space” and the later “The Line” and is forward-minded, but definitely not without a sense of swing to coincide. “Journey Home” showcases that and he begins side A closer “Waterfall” with snare work that sets up the song’s more laid-back vibe, the verse arriving later, a few lines tossed out as a precursor to a relatively stripped down chorus compared to that of “Lost in Space” or “Blood Red Sky,” the trio ready and willing to let their chemistry do the talking when it suits them. Side B’s launch, “Radar,” is more of a riff-rocker, but it picks up in its midsection to find more of a rush in which the band seems utterly at home for the bridge before they turn back to the chorus, chugging central nod and surprisingly airy finish. With the shifts that the second half of Into Your Mind brings about, the beginning of that half is still pretty much in line with the cuts preceding. It’s not really until “Beyond Our Reach” kicks in that they fully show their hand.
A jazzy start like something Fatso Jetson might conjure begins “Beyond Our Reach,” and that rhythm holds after the riff and a NWOBHM-style lead progression commence to give an alternate vision of Freedom Hawk‘s brand of heavy rock. Layered vocals seem to mirror guitar harmonies and while the effect is still heavy and a shuffle is present, once again the context has changed. The previously-alluded-to vocal turn on “Into Your Mind” pushes further against expectation — Morton‘s compression-on higher-register vocals are as much a signature as the band has — and they’re not completely gone, but even changing into and out of the chorus establishes a dynamic in an unanticipated way, and “Into Your Mind” also proves to be Cave‘s best performance on bass, his presence in the pocket just behind the guitar only helps in setting that righteous tone. At 6:51, the penultimate “The Line” is the longest inclusion by nearly a full minute, and they use that extra time for an instrumental drive, but I wouldn’t necessarily call it a “jam,” since though it finds Hines on his ride, there always seems to be a plotted course being followed. Keys or layered-in background leads pepper the pre-chorus and return later during the extended instrumental part, which is also how they finish before bringing things back to earth for “All Because of You,” a more hook-based start-stopper that seems to be geared toward bookending with “Blood Red Sky,” but honestly, by the time they get there, the opener’s straight-ahead thrust feels like a long time ago and a long ways away. That feeling itself is evidence of the growth Freedom Hawk have undertaken despite losing a player, and though Into Your Mind finds them branching out, it also serves to reinforce the aspects of their sonic personality that have been their hallmarks up to this point in their career. They’re still Freedom Hawk, they’re just working to expand the definition of what that means. For fans of: Clutch, Fu Manchu, Crobot, Black Sabbath, Grand Funk, Greenleaf, Lord Fowl, Gozu, Lo-Pan, ASG, and all things that Rawk. The Band: Recorded at Clay Garden Studios, Norfolk, USA ♣ TR Morton: guitas, keys, vox ♣ Lenny Hines: drums ♣ Mark Cave: bass 01. Blood Red Sky 04:58 02. Journey Home 05:06 03. Lost In Space 05:54 04. On Your Knees 05:25 05. Waterfall 04:32 06. Radar 04:48 07. Beyond Our Reach 04:24 08. Into Your Mind 04:39 09. The Line 06:47 10. All Because Of You 05:22
Size: 89.7 MB Bitrate: 320 mp3 Ripped by: ChrisGoesRock Artwork Included San Jose hard-rocking outfit – Zed return with their third album – Trouble In Eden. Newly signed to Ripple Music. Yeah, those guys again. Ripple Music are everywhere at the moment as they're probably the go-to label for signing top-notch quality Doom/Stoner Rock bands at the moment. And Zed is no different...
Trouble In Eden sees Zed bring a more psychedelic flair to their music. They still maintain their usual trademark Blues/Stoner/Hard Rock sound though this time the volume has definitely been turned upto 11. Opening track, Royale is a thumping number where the guitars are played to maximum effect and lead vocalist Pete on fine confident form. It's a more hard rock/stoner rock vibe compared to previous songs they've released in the past. It's a winning start with the band showing a real passion for groovy riffs and great lyrics to match.
Second track, Save You From Yourself sounds like Zed of old with a vibrant Blues Rock backdrop giving way to a harder Stoner Rock vibe. It has quite a funk driven sound which is very cool to hear. The band have experimented with their sound compared to Desperation Blues and this song shows you how far Zed have come over the last few years.
I'm not going to spend a huge time going through all of the songs on Trouble In Eden as I'll be here all day. All I will say is that Zed have written a collection of great tracks that will appeal to both old and new fans of the band. They have all bases covered with a stunning array of songs that will appeal to both fans of the Hard Rock/Stoner Rock spectrum. Zed include many different moments of Psych, Blues, Grunge, Stoner and Hard Rock that will make you join their musical revolution in causing Trouble In Eden itself.
Other great tracks to check out are: The Only True Thing, Trouble In Eden, High Indeed and The Mountain. All songs showing how Zed have become a better and more exciting band since Desperation Blues. Zed needed to deliver a BIG ALBUM for Ripple Music. In my mind they have delivered on all counts as Trouble In Eden is an album that offers the listener 10 tracks of pure hard rock fury. Trouble In Eden is perhaps the first step in Zed's career to launch themselves on an international scale. If they build upon the huge sound contained here we could be singing Zed's praises for a long time to come. I hope the world is listening as Zed is ready to raise some HELL!!! 01. Royale 04:31 02. Save You From Yourself 03:51 03. The Only True Thing 05:23 04. Today Not Tomorrow 03:53 05. Trouble in Eden 03:15 06. Blood of the Fallen 05:01 1. Zed or 2. Zed or 3. Zed
Size: 120 MB Bitrate: 320 mp3 Ripped by: ChrisGoesRock Artwork Included Hailing from the barrier dunes of Virginia, this quartet blends heavy riffs, a rolling groove, and soulful guitar melodies to produce the sound that is Freedom Hawk. Their brand of heavy rock coupled with a high energy live show, leaves many wondering if they’ve stepped through a time warp that has taken them to rock’s heyday of the 70’s.
The origins of Freedom Hawk began in 2003 when friends Mark Cave (bass) and TR Morton (guitar; singer) were introduced to Lenny Hines (drums) through a mutual friend. Mark and TR had been jamming together for some time and could not find the right drummer to match what they were playing. Once they brought Lenny into the fold, the two knew they found the drummer they were looking for.
Now a trio, the three realized their songs were missing a certain dynamic that would be required to achieve what they wanted to hear. In comes Matt Cave (guitar). Matt had been working with another band in the Virginia Beach area at the time and knew his brother Mark was looking for a second guitar player. After a few successful sessions and the eventual request by his brother Mark to join the group, Matt decided to be the fourth and final addition. A quote in Performer Magazine from a live show states: “[Freedom Hawk is] East Coast's answer to Fu Manchu, keeping it simple and thick with harmonious metal groove. It wasn't heavy riffs and growls, but power riffs and soulful rock delivery wrapped in metal packaging. Freedom Hawk's sound is large, like trying to force an elephant to fit in a closet. It is also melodic for such heavy handed playing. Walls of guitar riffs were pushed out heavy, soaring and moving like swells and waves at the same time."
This band will make you turn it up real loud driving in your car head bobbing the whole time on the edge of your seat until you reach your final destination. Freedom Hawk’s music slashes away, tearing its way into the ears of all those who listen with original quality matched only to those which have proven themselves in days past. The driving beat and heavy guitars with timeless vocals gives light to a new birth in heavy music, with a ray of excitement allowing you to rock away to Freedom Hawk’s dark music fueled by the sun. Lookout for a new full length CD and Vinyl LP coming out this year on Small Stone Recordings. The Band: ♦ T.R. Morton: Vocals, Guitars, Organ ♦ Lenny Hines: Drums ♦ Matt Cave: Leads, Guitars ♦ Mark Cave: Bass 01. Thunderfoot 04:09 02. Living For Days 02:49 03. Edge Of Destiny 04:12 04. Her Addiction 03:58 05. Zelda 01:43 06. Nomad 04:43 07. Magic Lady 04:43 08. Bandito 03:06 09. Flat Tire 04:35 10. North Swell 04:01 11. Standing In Line 04:30 12. Faded 04:55 13. Indian Summer 04:15
Size: 139 MB Bitrate: 320 mp3 Ripped by: ChrisGoesRock Artwork Included Look at the dudes on the cover. With their far-out lady fabrics and their strung-out 1000 yard stares Kadavar look like the elders of a particularly disreputable pan-European love cult, sizing up potential recruits. Flip the gatefold open and we’re presented with a garlanded, feathered skull fetish, it’s a great photograph in the style of a 18th century still life.
Then, excuse me this is where my palms get a little sweaty, check out the buttery yellow vinyl. Add in the fact that the LP, Abra Kadavar, has one of the best titles I’d heard in a while and you can see why I leaped on it. Okay, needle in the groove … that’s when my problems start. Take a look at this note on the sleeve: I like the cojones, this is a band who can clearly really cut it live and don’t mind you peering through to the bare bones within. However in practice on record, what this means for this three-piece is that the sound is often far too thin and wavery, particularly the vocals – making something that really sounds like it could, with the proper production, move mountains, sound like something straining to move its bowels at times.
Kadavar’s sound is very much a German amalgam of all those hoary old progressive doom stoners like Pentagram, Black Sabbath and Leafhound*. There’s nothing at all wrong with that, it’s just that on Abra Kadavar they don’t bring enough of their own personality to the show. I own plenty of LPs that I enjoy that wouldn’t score very highly on the Originalideaometer**, but if that is going to be the case you need to bring something and Kadavar, for all their great 60s and 70’s stylings, don’t on this album.
The best track on Abra Kadavar is ‘Doomsday Machine’, where the band speed it up and heavy it out more so than any other song here. I do like the way that the rhythm section have that Sabbath lightness of foot about them, rather than just an all-out pummeling that so many metallers adopted.
What makes Abra Kadavar a frustrating album for me is that there are a few tracks here that sound like they could be excellent, if better produced like ‘Black Snake’ and ‘Come Back Life’, as Spotify is messing me around at the moment*^ have a look at the quite groovy video to the latter – they get bonus points for having a ‘God Bless Johnny Cash’ bumper sticker.
I had hoped that one day I would plonk Abra Kadavar on the turntable and I’d suddenly just get it, but I haven’t and I don’t think I will now. Maybe it’s a limitation of imagination and/or subtlety on my part but this really could have done with being heavied up. It really is a shame but I need to think, groovy object or not, how much I really want to keep hold of this one. Is one track on a lovely looking LP enough to make it a keeper?^ Hmm. 01."Come Back Life" 05:02 02."Doomsday Machine" 04:47 03."Eye of the Storm" 06:04 04."Black Snake" 04:24 05."Dust" 04:12 06."Fire" 05:18 07."Liquid Dream" 04:12 08."Rhythm for Endless Minds" 04:16 09."Abra Kadabra" 03:02 Hidden Track 10."The Man I Shot" 07:04
Size: 169 MB Bitrate: 320 mp3 Ripped by: ChrisGoesRock Some Artwork Included Hailing from the barrier dunes of Virginia, this quartet blends heavy riffs, a rolling groove, and soulful guitar melodies to produce the sound that is Freedom Hawk. Their brand of heavy rock coupled with a high energy live show, leaves many wondering if they’ve stepped through a time warp that has taken them to rock’s heyday of the 70’s by the power of their dark music fueled by the sun.
Born from similar timbre as Black Sabbath, Zeppelin and Fu Manchu, Freedom Hawk wedges in psychedelia with groove heavy rock and roll. The band knows how to shake ground and be thunderous but also when to ease back, to wallow in the groove, the funk, the palatial sweep of shapely and echoing guitar riffs. Sunlight transcends the genre, offering more than simply metal for the masses or the skate, surf and stoner crowd. There's no further proof than 'Going Down', a sultry, sexy slow groove that boasts fuzzed out guitar, gentle beats and T.R. Morton's vocals seemingly coming from another dimension. The track is a complete surprise, buried beneath the entire swagger and power found on Sunlight.-- Heavy Planet
Sunlight” is the excellent full-length debut from Virginia hard rock outfit Freedom Hawk. This group is solid. Driven by powerful drum beats and excellently crafted guitar work, Freedom Hawk have composed nine exceptional hard rock tracks that dabble in metal and psychedelic and have a certain timeless quality to them. Attributing to this timelessness is the lead singer’s vocal performance. His melodic high-pitched vocals are reminiscent of Ozzy Osbourne with traces of Robert Plant. The songs are a lot of fun, meant to be played loud, and will immediately have you either bobbing your head or using your lap as a drum kit. “Sunlight” is well-produced, clean and ready to boom out of a pair of speakers. The title track, “Sunlight,” is a fun track with a great rocking arrangement that gets your head bobbing and features some great drum and guitar work. “Going Down” is a stripped down track with a slow drum beat and minimal guitar work that displays the fantastic vocal capabilities of the lead singer.
“Sunlight” takes us back to a time where making hard rock wasn’t about making a lot of noise but rather about making very good music. Freedom Hawk have crafted a gem, and fans of Black Sabbath, Led Zeppelin, and classic hard rock are going to want to pick this one up. Freedom Hawk is: ★ T.R. Morton: Vocals, Guitars, Organ ★ Lenny Hines: Drums ★ Matt Cave: Leads, Guitars ★ Mark Cave: Bass 01. Executioner 04:19 02. Land of the Lost 03:32 03. Sunlight 04:55 04. Stand Back 03:19 05. Lightning Charge 03:50 06. Going Down 04:49 07. Palomino 05:16 08. Grab a Hold 06:08 09. King of Order 11:39 Bonus Tracks: 10. Living For Days 03:49 11. Edge Of Destiny 04:12 12. North Swell 04:01 13. Indian Summer 04:15 14. Blood Red Sky 04:58
Size: 154 MB Bitrate: 320 mp3 Found in OuterSpace Som Pictures Included The husband-and-wife duo of Delaney & Bonnie Bramlett created some of the most distinctive and unique music of the early '70s, but their alchemical sound -- equal parts blue-eyed soul, blues, country, and gospel -- was often marginalized by the attention instead paid to the contributions of their famous "friends," including rock icons like Eric Clapton, Duane Allman and George Harrison.
Delaney Bramlett was born July 1, 1939 in Pontotoc County, Mississippi, later befriending fellow aspiring musicians Leon Russell and J.J. Cale. On their recommendation he relocated to Los Angeles, briefly landing with the Champs before he was hired to play guitar with the Shindogs, the house band on the popular ABC television variety series Shindig. Bonnie Lynn O'Farrell, meanwhile, was born November 8, 1944 in Alton, Illinois and raised in nearby East St. Louis; as a teen she backed blues acts including Albert King and Little Milton, before signing on as the first-ever white Ikette behind Ike & Tina Turner. She eventually migrated to Los Angeles as well, and met Delaney while the Shindogs were moonlighting at a local bowling alley. Within a week, the couple were married.
After signing to the famed Memphis soul label, Stax, Delaney & Bonnie recorded their debut LP, 1969's Home. Though cut with the aid of Stax linchpins like Booker T. & the MG's, William Bell, and Isaac Hayes, the record went virtually unnoticed and the duo were released from their contract. They landed with Elektra to release the follow-up, Accept No Substitute -- recorded with a superb backing band including keyboardist Bobby Whitlock, bassist Carl Radle, and drummer Jim Keltner, the album was another commercial failure, but the couple's gritty, soulful vocals and earthy sound earned the appreciation of fellow musicians at home and abroad, not to mention an invitation to serve as the opening act on British supergroup Blind Faith's 1969 U.S. tour.
Blind Faith's superstar guitarist Clapton was soon a fixture aboard Delaney & Bonnie's tour bus, regularly jamming with the Bramletts and their band. When Blind Faith disbanded after the tour ended, Clapton joined Delaney & Bonnie full-time, assuming a sideman role and actively avoiding the spotlight on-stage and off. The group eventually toured the U.K., where Clapton friends like Harrison and Dave Mason occasionally popped up on-stage -- a late 1969 show in Croydon was released the following year as On Tour with Eric Clapton, becoming the duo's best-selling LP when it cracked the American Top 30. Now dubbed Delaney & Bonnie & Friends, the group briefly joined up with John Lennon's Plastic Ono Band and toured Europe before returning stateside in 1970. When Clapton dropped out to begin working on his debut solo album -- a record that introduced a bluesy, raw vocal style clearly indebted to Delaney -- audience interest began to dissipate. Worse, Leon Russell lured away Radle and Keltner to join Joe Cocker's Mad Dogs & Englishmen tour, forcing the couple to cancel a planned tour of their own.
Nevertheless, the backing band assembled for 1970's Tom Dowd-produced To Bonnie from Delaney was first-rate, including guitarist Duane Allman, bassist Jerry Scheff, pianist Jim Dickinson, and saxophonist King Curtis. 1971's Motel Shot was another all-star affair, highlighted by Delaney & Bonnie's biggest U.S. pop hit, "Never Ending Song of Love." The following year's D & B Together yielded another Top 20 hit, a reading of Dave Mason's "Only You Know and I Know." However, the LP was Delaney & Bonnie's last -- when their marriage fell apart, so did their musical collaboration. After the couple's divorce, Delaney recorded a pair of solo albums, 1972's Something's Coming, and 1973's Mobius Strip, to fulfill their contract with Columbia Records; after 1978's Delaney Bramlett with Steve Cropper, a collaboration with the legendary Stax house guitarist recorded for Motown's Prodigal subsidiary, he largely disappeared from sight, overcoming a battle with alcoholism to become a born-again Christian and making a living by writing commercial jingles.
In 2000, he returned with a new solo album, Sounds from Home, with Sweet Inspiration following in late 2003. Bonnie, meanwhile, made her solo debut with 1973's Sweet Bonnie Bramlett, recorded with the Average White Band. She then cut three little-noticed albums for Capricorn, and while touring with Stephen Stills in 1979, made headlines when she punched out Elvis Costello in a Columbus, Ohio bar after the British upstart reputedly called Ray Charles a "blind, ignorant nigger.
" She later changed her professional surname to Sheridan, found Jesus, and was, for a short time, a supporting cast member on the hit 1990s sitcom Roseanne. Bonnie returned to recording with I'm Still the Same. In 1993, Bekka Bramlett, Delaney and Bonnie's daughter, joined Fleetwood Mac, replacing Stevie Nicks. Delaney, Bonnie and Friends A&R Recording Studios July 22, 1971 (FM WPLJ Broadcast) New York, NY The Band: ♦ Bonnie Bramlett - Vocals ♦ Delaney Bramlett - Guitar, Vocals ♦ Duane Allman - Slide Guitar ♦ Greg Allman - Piano, Vocals ♦ King Curtis - Saxophone ♦ Kenny Gradney - Bass ♦ Sam Clayton - Congas ♦ Joe Johansen - Guitar ♦ Chuck Morgan - drums ♦ Daryl Leonard - Trumpet ♦ Larry Britt? - Trombone ♦ Jerry Jummonville - Saxaphone ♦ Gordon De Witty - Piano, organ 01. Annoucer/sponsor 02. Talk 03. Goin'Down The Road Feeling Bad * 04. Talk 05. Poor Elijah * 06. The Ghetto * 07. Annoucer introduces musicians/tuning 08. Livin'On The open Road 09. Better Relations 10. My Man 11. Talk 12. Don't Want Me Around 13. Talk/tuning 14. Only You Know & I Know * acoustic, Duane Allman on Slide
Size: 153 MB Bitrate: 320 mp3 Ripped by: ChrisGoesRock Artwork Included At the dawn of 2017, can you name one rock'n'roll band, not from the 80s, who has the pretention and audace to release a Live Album? Hard Rock revivalists RUSTED from Canada are back with a 14 tracks album recorded in Montreal. We really wanted to capture the live energy of the band, the essence of RUSTED,the power and rawness of the live performance that many poeple would prefer to the studio album", said lead singer Tony Rust.
So here it is, in the spirit of the greatest classic hard rock bands, RUSTED keeps the flame burning with a killer energitic album, featuring one bonus studio track.
RUSTED is a Hard Rock band from Montreal. They are bringing back the style, the energy and the music of the 80's hard Rock, 70's Glam rock era with powerfull catchy choruses, badass heavy metal guitars riffs and some loud pounding drums to bang your head to! Review: As I was interviewing Rusted guitarist ManiaK last month and listening to his answers to my questions, I couldn’t help but be a little embarrassed about silently agreeing with him. I had only had the opportunity to experience Rusted once in a live setting but those memories from that concert in the summer of 2014 still persist that I witnessed an absolutely amazing show from two of the best younger bands out there (Rusted and Hessler). Rusted exuded so much energy and their songs really came to life for me during that fateful night. As I was interviewing ManiaK, he mentioned that Rusted had noticed that their live energy was missing from their prior studio releases. I couldn’t agree more. ManiaK‘ went on to say that many Rusted fans would tell the band members that they loved Rusted live but never really listened to the group otherwise. I didn’t verbalize my agreement in that regard to ManiaK but yes, I was guilty of that myself. My memories of seeing Rusted live were still strong in my mind but I really didn’t listen to their studio albums Hit By and Rock Patrol that often (even though I do enjoy them). Why is that I wondered? The answer lies when I listened to Rusted‘s new live album Live Wild & Free.
Before I get into Live Wild & Free, the ultimate example in my mind of a band sounding completely different in a studio setting compared to a live one had always been early KISS. Both Alive! and Alive II are two of my favorite live albums hands down but listening to KISS‘ first six studio albums and especially the first three — KISS, Hotter Than Hell and Dressed To Kill — feels like listening to outdated slowed down, sometimes even boring, versions of what can be found on the shock rockers’ first two live records. The difference between the songs on Rusted‘s studio albums and new live record are definitely not as stark as the ones between KISS‘ first six studio albums and first two live records but there are definitely some similarities in that Rusted‘s infamous high “energy” finally comes through on Live Wild & Free.
What has surprised me the most while listening to Rusted‘s live album is that the band truly possesses a lot of great songs and way more than their likely two most well known songs “Rock Patrol” and “Young Wild & Free.” Live Wild & Free boasts 14 live tracks plus one brand new studio track — the aptly named “Hittin’ The Road” — and frankly all of the songs stand up quite nicely. In other words, there are no songs that I think about skipping when listening to Live Wild & Free, which if you’ve read some of my past reviews is no easy feat. Just like when I saw Rusted live in the summer of 2014, lead singer Tony Rust warns the Montreal crowd after the first song on Live Wild & Free that they are going to get their asses kicked! When I had interviewed ManiaK last month, he also spoke about how Rusted live was a little dirty and not perfect, and I couldn’t agree more. Rusted‘s songs sound so much faster, heavier and simply better live and the glam rockers have now captured their magic on an album. Rust will not be mistaken as the next Rob Halford on Live Wild & Free but his singing has a lot of passion and enthusiasm to it which I really like.
There are many little things on Live Wild & Free that I think make the album very special. You can feel that crowd interaction with the band during the live album. In addition, the background vocals are really good throughout the entire album. Given that Live Wild & Free was recorded in Montreal, which is in the mostly French speaking province of Quebec in Canada, Rust addresses the crowd in both English and French. Funny enough, Rust mostly addresses the crowd in English for the first half of the live album but eventually appears to switch mainly to French as the evening wears on. It turns out to be a good move as the Montreal crowd seems more responsive to his French banter. Given that I speak French, I understand all that Rust has to say but I wonder how a non-French speaking individual might appreciate the frontman’s French addresses to the crowd. I think that I would have some difficulties in fully appreciating a live album if I did not understand the band’s comments to the crowd. Rusted offer one new bonus studio track called “Hittin’ The Road” at the end of Live Wild & Free. While I definitely enjoy the song, which is a bit heavier than the usual Rusted fare, I find it would have been actually better not to include the track as it is a bit anti-climatic after the rousing live finale of “Young Wild & Free.” I think I have always felt that way about the inclusion of studio tracks at the end of a live record because even though I find that there are some really good studio tracks such as “Rocket Ride” and “Larger Than Life” at the end of KISS‘ Alive II album, I have always found it a bit of downer to listen to those tracks after such a splendid live album.
It’s been more than two years since Rusted first launched their fund raising campaign for a live album so it definitely took longer than expected for Live Wild & Free to come out. That being said, good things are worth waiting for and Rusted‘s Live Wild & Free is a splendid live record that was totally worth the wait! All I know is that since obtaining a hard copy of Rusted‘s Live Wild & Free album last week, it has been getting played in my CD player pretty much all day while I’m working. When I had interviewed ManiaK last month, he indicated that Rusted wanted to have a live album like the great bands from the ’80s. I think that Rusted have come up with a live record in Live Wild & Free that stands up very well to all those great live albums from the ’80s. ♫ Tony Rust – lead vocals ♫ ManiaK – rhythm and lead guitar ♫ Tommy D. Eagle – lead guitar ♫ D. Izzy – drums ♫ Mark Shark – bass 01. Partners In Crime 04:21 02. Just A Dream 04:58 03. Two At A Time 03:46 04. Earthquake 04:26 05. Rock Patrol 03:49 06. Last Stand 04:38 07. Scream In The Night 04:20 08. Tsunami 05:34 09. Traveler 04:43 10. So Far So Strong 04:50 11. Wanted Man Boogie 03:44 12. Midnight Man 04:24 13. Summer Day 03:14 14. Young Wild & Free 05:49 15. Hittin' The Road 03:05
