Point Blank "Second Season" 1977

This is an addendum to the review of the Point Blank self titled first album. Second Season is just another heapin' helping of hearty down home heavy bluesified southern rock , still very much in the ZZ Top vein. An edgier, brighter mix for this one, but otherwise the winning formula remains the same.
Uncle Ned, Tatooed Lady, and Nasty Notions are the hardest rockers(solidly in the territory of the heaviest ZZ Top) of the bunch and they probably should have opened the album with them. These 3 are packed with solid riffage from front to back. Uncle Ned breaks into a wicked double time section with a mean proto-metal guitar breakdown leading to wicked trading of Les Paul theatrics by Rusty Burns and Kim Davis. Tatooed Lady rolls along like beer drinkin' hell raiser looking for love, again with solos from both guitar slingers. Nasty Notions is a funky struttin' song with more twin lead action.
Rock and Roll Hideaway is a little on the happier boogie side of things, but still manages to rock. Not as heavy on the killer riffage though. Part Time Lover and Back in the Alley are both really cool, groovy minor blues tunes. More in the straight ahead blues category, but very cool with sweet soloing on both.
The 2 songs I usually skip are Stars and Scars and Beautiful Loser, which are both basically country songs. Not necessary parts of the album as far as I'm concerned. The album closer is Waiting for a Change, which is a melancholy minor key southern rock ballad.
Lose the couple of not-so-cool songs, and combine this with the first Point Blank album and you've got 70+ minutes of top notch southern rock that is heavier and contains more long-haired loud rockin' than most Skynyrd or Molly Hatchet and definitely lays waste to the likes of the Outlaws or .38 Special.
Granted by '76 and '77 some hard rock norms had been established, but aside from the first few ZZ Top records, southern rock, musically, often didn't live up to the biker and skull image that it had/has. Point Blank managed to deliver on that promise of darker, heavier, southern fried 70's metal. It's really surprising that they weren't a lot bigger.

Riff Density 7
Riff Caliber 10
Post Blues Factor 8
Groove Factor 9
Dig It 10

Point Blank Self Titled 1976

Point Blank was 5 hard rockin', cowboy hat wearin' Texas boys that weren't afraid to crank it up. Their self-titled debut was released in 1976 and was produced by Bill Ham, the man who brought us ZZ Top 6 years earlier.* Rusty Burns, one of the Point Blank guitar players, was supposedly Billy Gibbons' guitar tech. Obviously they were well steeped in the ZZ Top vibe, and it shows in the music. This album sounds like a cross between the early ZZ Top albums and the more rocking side of Lynyrd Skynyrd.

"Free Man"


The record opens with "Free Man," a slow, dirty, sharp nine chord tune about the boys in blue. Wicked slide guitar in the beginning before it bursts into a slammin' double time twin guitar assault. These guys are pissed about the cops hassling them because of their long hair. With barely a breath, we're into "Moving," a driving ZZ Top/"Down Brownie" groove with cool harmony vocals and a killer modulation chorus and guitar break. Smokin' guitar solo. Like ZZ Top's "Down Brownie," the only flaw is that it is far too short.

"Wandering" starts out as a galloping twin guitar lead metalish trip that suddenly puts on the brakes and becomes a melancholy southern rock ballad, then jumps back to a gallop for dualing guitars. Next up is "Bad Bees", a straight ahead shuffle, a la "Chevrolet." "That's the Law" is sort of a Trapeze/Humble Pie trip given the southern rock treatment. It's got a great insrumental section with smokin' guitar action in the middle. "Lone Star Fool" brings us back from Skynyrd territory to the slow, tough, strutting blues riffage that we started out with.

"Distance" is a good old southern rock ballad that builds from the sad quiet beginning to the tear-jerker guitar solo and angst ridden last chorus. I just wish they had gotten a little heavier in the end, but it's still cool. The album closes with what seems like the radio single, but stick with it and you'll be rewarded with some good riffage and guitar battling.

This is a good album in it's entirety with some seriously rocking stuff. Great guitar sounds throughout, good Molly Hatchett-esque vocals from John O'Daniels, and some burnin' guitar riffs. It starts off very ZZ Top-ish(can't go wrong there- at least not until the 80's anyway), but ultimately ends up being a solid, well done, heavier and harder-than-most, Southern Rock record.



*Just a little side note about Bill Ham. I was told a story about the recording of ZZ Top's first record by the engineer. Apperently Bill Ham was adamantly opposed to the idea of overdubbing additional guitar parts and wanted the whole record to be recorded live. Billy Gibbons had other ideas. So after the basic tracks of the first song were laid down, Bill Ham was sent to get barbecue for everyone. The restaurant he was sent to was a good distance away, ensuring that he would be gone for about an hour, during which time Billy Gibbons laid down a slide guitar track and a couple of other parts on the song. When Bill got back with the barbecue, they played it for him without telling him what they had done, and he was blown away, thus giving Billy Gibbons the freedom to make some of the best records of all time.

Riff Density 9
Riff Caliber 10
Post Blues Factor 9
Groove Factor 9
Dig It 10

Buffalo "Volcanic Rock/Only Want You For Your Body"

Buffalo was a heavy riff-laden rock band from Sydney, Australia. Rockin hard before Angus and Bon started boogiein', they put out 5 albums from 1972-1977, "Volcanic Rock"(1973) & "Only Want You For Your Body"(1974) being their 2nd and 3rd respectively. These 2 records have a reputation for being 2 holy grails of obscure 70's heavy rock and unlike some, fully live up to that reputation. Packed full of serious early 70's heaviness, there are no ballads and no lightweight poppy songs at all. Unlike many records from the 70's where you might get 4 or 5 rockers out of it, this is 2 full albums of great rock and roll.

"Volcanic Rock"(love the name) consists of only 5 songs, but 3 of those are over 7 minutes. The 1st song, "Sunrise," opens with an intro that sounds very much like Atomic Bitchwax's "Liquor Queen" that says you're in for a killer ride. Then in come Dave Tice's cool rough vocals, oddly enough reminding me of Dave Wyndorf in Monster Magnet(even more so on "Only Want You For Your Body" ). Next Up, "Freedom" is a long slowly building smolderer with lengthy guitar soloing. It's definitely one of my favorites of both of these albums. After dirty bluesy "Til My Death", "The Prophet"(about Moses) is another slowly building rocker that starts with a cool repetitive riff that evolves and morphs and gets heavier and darker as we get closer to the end, never to return. The album closes with "Shylock"(think Shakespeare), which gives us a couple minutes of spacey guitar noodling over hypnotic drums and bass. Then our dreamstate is abruptly shattered by an evil intruding Sabbthesque guitar that opens the door for the next 6 minutes of heavy rockin'.

"Volcanic Rock" has a very live feel, with mostly just 1 guitar track throughout. It feels like they played it all live in the studio with very few overdubs. Good guitar tones and the bass player, Peter Wells and drummer Jimmy Economou are just killing it, especially behind the guitar solos. Great sprawling expansive record.

"Only Want You For Your Body" is a different beast. Also great, but a much more compact focused record. Much shorter songs, more uptempo rockers, less jammy. There are also doubled rhythm guitars and doubled vocals. Not as dark and heavy as "Volcanic Rock", but chock-full-o-riffs and smokin jams nonetheless. The studio they recorded in must have just gotten the new(at the time) Eventide Instant Phaser because everything gets a little phaser action at some point during the record; drums, vocals, entire mix, etc. Drummer is once again slamming. Highlights include: midtempo head-nodder "I'm Coming On" -even in the shorter song format, they don't shy away from long guitar soloing. "Dune Messiah" -rolling, loping sci fi tune about Frank Herbert's "Dune". The hard shuffling "What's Going On" with the psychedelic ending. "King's Cross Ladies" and "United Nations": both very similar uptempo palm mute Montrose style jams. And yes, the old Instant Phaser is pulled out again for the "United Nations" guitar solo.

Don't know much about these guys, but looking at the picture of them from "Only Want You.." they seemed like some wacky dudes. Dave Tice is wearing a vaguely S & M-ish pair of leather pants and suspenders brandishing a whip with an evil grin on his face. A couple of them are sporting proto-mullets, looking a couple of years ahead of their time. But the most classic thing is John Baxter(guitar) and Economou(drummer) both have their pants rolled up to their knees so you can see the full glory of their wicked platform boots. They're not messin' around.

If you can find these albums, check them out. They definitely rock.

Riff Density 8
Riff Caliber 8
Post Blues Factor 9
Groove Factor 8
Dig It 9

Boomerang 1971

After Tim Bogert and Carmine Appice left Vanilla Fudge to form Cactus, singer/organist Mark Stein disbanded the Fudge and founded Boomerang with James Galluzi on drums, Jo Casmir on bass and helping with the vocal duties, and Ricky Ramirez, who supposedly was 15 or 16 years old at the time (what the...?!), on guitar. They only released 1 album, although rumor has it that a second was recorded, before calling it quits. Yet another crying shame because the potential here was phenomenal!
This lone self titled album consists of only 7 songs, 3 of which are absolute monsters. I'll start with those first. Juke It, Cynthia Fever, and The Peddler are slammin' world class hard rock; on par anything the other heavies of the day were putting out. Not an inkling of sounding dated or too beholden to the 60's. This was full on modern Rock. Juke It is a slowish pummeling guitar/organ groove with a bridge/middle section that has a mean, mean guitar riff that just brings a sneer to your face. This leads to some greasy guitar soloing slinking around overdriven Hammond organ.
Cynthia Fever has a Deep Purple kind of Maybe I'm a Leo funk to it. Stein and Casmir trade off delivering soulful vocals and then more greasy wah guitar soloing over nasty Hammond.
The Peddler is also a slowish, hard groovin' tune driven by the dual assault of guitar and Hammond riffing. About halfway through it breaks into a heavy shuffle for trading of smokin' solos between guitar and Hammond B3 over a slamming drum/bass groove.
The sounds on this album are great. Killer guitar tone, wonderfully overdriven organ, growling bass, hard rocking drums complete with an urgent effective mix.
The rest of the record, while well written and performed, is lighter weight songs that don't rise to the same heights of masterful riffery. The Fisherman is an Allman Bros. country-ish rock tune. Hard Times brings out the acoustic guitars for some 70's Top 40 rock, and Brother's Coming Home is a piano-driven ballad, complete with strings. It does build to a kind of cool symphonic Queen interlude in the middle. Mockingbird is a blues shuffle with Stein and Casmir again trading vocal duties, occasionally breaking into harmony.
The big 3 tunes on this record make it all worth it to me. Yes, they are that good. Whenever I make a compilation of wicked 70's rock, one of these songs always makes it into the mix. I really find it hard to believe that Ricky Ramirez, who sank back into obscurity after Boomerang, was really only 15 or 16 years old, based on the maturity,tastefulness and just sheer rockingness of the guitar playing. The bass playing and drumming are equally cool. What happened to those guys? I don't know, but this band of unkowns along with the Vanilla Fudge's Mark Stein comstituted a formidable crew. Much moreso than many other bands that had more lasting careers.
And the score is:

Riff Density 4 (less than half the album consists of heavy riffage)
Riff Caliber 9 (the riffage and general rocking involved that is present is world class)
Post Blues Factor 8
Groove Factor 10
Dig It 10 (10 for the big 3 songs mentioned above. If I'm considering the album as a whole, I would give it maybe a 6)