NWOCR - Volume One (2CD)
This 42 song compilation of some of the best of the burgeoning New Wave Of Classic Rock (NWOCR) movement offers both value for money and the chance to hear some of the lesser known bands of the genre.
Back in the late 70s & early 80s the New Wave Of British Heavy Metal (NWOBHM) produced some stellar acts (and long lasting careers) but there were also some that were, clearly, never destined to make the big time.
Unsurprisingly NWOCR includes a similar range of abilities, including a wide spectrum from the interesting/ fresh ideas bands to the "heavily influenced by…" acts,
as well as well as varying production values (from top-notch quality to just above demo level; the latter usually explained by a lack of both budget and promotion).
NWOBHM, by its very nature stood "on the shoulders of giants" and inevitably the NWOCR bands have done, or are doing, the same.
Some however have produced songs and/ or albums more successfully than others, which already has them running ahead of the pack. This includes bands that have already honed their skills, widely played the circuit and have secured increasingly higher slots on Festival bills.
In that regard straight out the blocks and off & running are the impressive Massive Wagons, Mason Hill and Anchor Lane; all three immediately impress with riff heavy yet radio friendly sing-a-longs of 'Tokyo,' 'DNA' and 'Fame Shame,' respectively.
All three bands are also very well produced and turn in polished performances (they also have that guitar sound, a prerequisite in all rock music).
Back in the late 70s & early 80s the New Wave Of British Heavy Metal (NWOBHM) produced some stellar acts (and long lasting careers) but there were also some that were, clearly, never destined to make the big time.
Unsurprisingly NWOCR includes a similar range of abilities, including a wide spectrum from the interesting/ fresh ideas bands to the "heavily influenced by…" acts,
as well as well as varying production values (from top-notch quality to just above demo level; the latter usually explained by a lack of both budget and promotion).
NWOBHM, by its very nature stood "on the shoulders of giants" and inevitably the NWOCR bands have done, or are doing, the same.
Some however have produced songs and/ or albums more successfully than others, which already has them running ahead of the pack. This includes bands that have already honed their skills, widely played the circuit and have secured increasingly higher slots on Festival bills.
In that regard straight out the blocks and off & running are the impressive Massive Wagons, Mason Hill and Anchor Lane; all three immediately impress with riff heavy yet radio friendly sing-a-longs of 'Tokyo,' 'DNA' and 'Fame Shame,' respectively.
All three bands are also very well produced and turn in polished performances (they also have that guitar sound, a prerequisite in all rock music).
Empyre ('New Republic'), Scarlet Rebels ('No One Else to Blame') and Wolf Jaw ('I Ain’t Ready') also fare well, with the latter including an arrangement which benefits from some space (and a good vocal performance).
There’s also the occasional anomaly or artist sure to cause genre debate – Elles Bailey for example seems to be on the wrong album as 'Woman like Me' is firmly rooted in soul-blues.
Miss Bailey is, however a great (and award winning) singer and this is a great song (New Wave Of Classic/ Roots Blues, anyone?)
There’s also a strong triple salvo toward the end of CD1 with Shape of Water ('The World is Calling Me'), Häxan (sounding like a heavily rocked-up Heart on 'Killing Time') and Revival Black ('So Alive') turning in spirited performances (Shape Of Water in particular, show a less formulaic approach than some of their peers).
CD2 kicks off with Phil Campbell and the Bastard Sons and 'Son of a Gun.'
It’s easy to summarise PC and his Sons as Motörhead with better vocals but it’s all delivered very well, and indeed they have already found an audience (Skam and Massive also aim for the Motörhead audience with 'Iron Cross' and 'Rise' respectively).
By contrast The Dust Coda ('When the Tide Comes In') sound like a 70s glam band but, again, there is an audience out there with a penchant for such material.
Gorilla Riot turn in a spirited 'Still Doing Time' and Thundermother fare well with the infectious 'Driving in Style' but the main riff is dangerously close to an Iron Maiden song (see "heavily influenced by..." above).
The well liked Bad Touch are a welcome relief from the more metallised onslaught; their funk-inflected 'I Get High' manages to remind of both the band Reef and 70s, southern-tinged rock.
Southern styled rock is also represented by Jack J Hutchison ('World On Fire'), Bootyard Bandits ('Hoedown Showdown') and Doomsday Outlaw ('Turn Me Loose'), with the latter arguably the most impressive of the trio.
King Creature ('Captives') seem to be summoning up the ghost of grunge with their Pearl Jam/ Alice in Chains types of mash-up while South of Salem’s 'Dead Hearts Don’t Break' motors along nicely.
Making a real impression however are Ashen Reach who, on 'Fighting For My Life,' deliver some razor sharp riffing and a style that oscillates between Altar Bridge and Dio.
There’s also the occasional anomaly or artist sure to cause genre debate – Elles Bailey for example seems to be on the wrong album as 'Woman like Me' is firmly rooted in soul-blues.
Miss Bailey is, however a great (and award winning) singer and this is a great song (New Wave Of Classic/ Roots Blues, anyone?)
There’s also a strong triple salvo toward the end of CD1 with Shape of Water ('The World is Calling Me'), Häxan (sounding like a heavily rocked-up Heart on 'Killing Time') and Revival Black ('So Alive') turning in spirited performances (Shape Of Water in particular, show a less formulaic approach than some of their peers).
CD2 kicks off with Phil Campbell and the Bastard Sons and 'Son of a Gun.'
It’s easy to summarise PC and his Sons as Motörhead with better vocals but it’s all delivered very well, and indeed they have already found an audience (Skam and Massive also aim for the Motörhead audience with 'Iron Cross' and 'Rise' respectively).
By contrast The Dust Coda ('When the Tide Comes In') sound like a 70s glam band but, again, there is an audience out there with a penchant for such material.
Gorilla Riot turn in a spirited 'Still Doing Time' and Thundermother fare well with the infectious 'Driving in Style' but the main riff is dangerously close to an Iron Maiden song (see "heavily influenced by..." above).
The well liked Bad Touch are a welcome relief from the more metallised onslaught; their funk-inflected 'I Get High' manages to remind of both the band Reef and 70s, southern-tinged rock.
Southern styled rock is also represented by Jack J Hutchison ('World On Fire'), Bootyard Bandits ('Hoedown Showdown') and Doomsday Outlaw ('Turn Me Loose'), with the latter arguably the most impressive of the trio.
King Creature ('Captives') seem to be summoning up the ghost of grunge with their Pearl Jam/ Alice in Chains types of mash-up while South of Salem’s 'Dead Hearts Don’t Break' motors along nicely.
Making a real impression however are Ashen Reach who, on 'Fighting For My Life,' deliver some razor sharp riffing and a style that oscillates between Altar Bridge and Dio.
Another highlight comes from Twister and the high-octane 'Call to Arms.'
This is a band who show some real intelligence and, with a fair wind, can go much further (File under 'Bands Most Likely').
Final track, 'Soul Revolutionaries' by Blackwater Conspiracy, sounds like a mash-up of Springsteen, Meat Loaf & Bob Seger, so should garner some fans of that style of big sounding US rock.
NWOCR Volume One has some real gems within its 42 tracks and it will be interesting to see, some three, four and five years down the music line, who progresses further and which acts, sadly but inevitably, fall by the rock and roll wayside.
There will also, of course, be a complete outsider who defies the odds and progresses at an unexpected rate.
So if the new Led Zeppelin (or Greta Van Fleet, for the younger listener) is buried in here somewhere I’ve got my excuses in early.
Nelson McFarlane
FabricationsHQ
NWOCR website: https://nwocr.com/
This is a band who show some real intelligence and, with a fair wind, can go much further (File under 'Bands Most Likely').
Final track, 'Soul Revolutionaries' by Blackwater Conspiracy, sounds like a mash-up of Springsteen, Meat Loaf & Bob Seger, so should garner some fans of that style of big sounding US rock.
NWOCR Volume One has some real gems within its 42 tracks and it will be interesting to see, some three, four and five years down the music line, who progresses further and which acts, sadly but inevitably, fall by the rock and roll wayside.
There will also, of course, be a complete outsider who defies the odds and progresses at an unexpected rate.
So if the new Led Zeppelin (or Greta Van Fleet, for the younger listener) is buried in here somewhere I’ve got my excuses in early.
Nelson McFarlane
FabricationsHQ
NWOCR website: https://nwocr.com/