Philip Sayce - Scorched Earth: Volume Two (LA / London)
Ten years after Scorched Earth Volume One, the first live album from incendiary rock-blues guitarist Philip Sayce, comes the equally Scorching second volume (that Sayce is one of the most intense, high-energy players in the world of rock-blues is captured and underlined on both albums).
Recorded at shows in Los Angeles (The Baked Potato) and London (The Garage), Welsh born Canadian Philip Sayce and his very tight band (bassist Sam Bolle, drummer Bryan Head) lock into a groove from the get-go, and impress throughout.
'One Foot In The Grave' makes for a punchy and impacting opener through its powerful riff, strong vocal (Sayce is no mean singer either) and a lightning-fast, wah-wah affected solo.
The tempo is dropped for the bluesier 'Once,' where the use of a Uni-Vibe pedal and Hendrix-esque phrasing leaves no doubt as to who is one of Philip Sayce's major influences (his utilisation of extended notes and feedback on this number contrast with his speedier and frenetic six-string runs).
The heavier, groove-driven 'Bitter Monday' has Philip Sayce contributing a memorable melody and chorus.
A clever link to a downtempo section then allows Sayce to demonstrate his blues credentials before ramping it up to the crescendo outro, which comes complete with a ridiculously fast solo. An album highlight.
The near ten-minute 'Peace Machine' is reminiscent of Band of Gypsys era Jimi Hendrix (no bad thing).
With all the Philip Sayce trademarks evident, this blues rock protest song includes a psychedelic breakdown and a guitar solo workout that starts with extended feedback before progressing towards a full-on wig-out.
A number for Hendrix fans and guitar musos.
The rhythm and funky blues of 'Lady Love Divine' flirts with Robin Trower territory (again, no bad thing).
A strongly structured number, Philip Sayce is more controlled here (his solo is relatively short and cognisant of the song structure); he also delivers another memorable vocal melody.
Short instrumental '5:55' (which sits within the realms of 'Little Wing') serves as an introduction/ transition to 'Morning Star,' a driving mid-tempo with an impressive chord sequence and verse parts that are both spacey and funky.
The key change for the solo (which soars and astonishes with its speed, precision and complexity) is as impressive as the band are tight and controlled. Another album highlight.
Philip Sayce plays tribute to his main influence with closing number 'Spanish Castle Magic.'
Considerably heavier than the original, the extended solo conjures up some Hendrix motifs and tones, but the six-string reality is Sayce puts his own stamp on the number; it's a compliment to him and his band that he manages to pull it off (not everyone covering a Hendrix nugget can).
Like Volume One was then, Volume Two is a great 40-minute snapshot of what you can expect at a Philip Sayce live show.
Further, if your bag is high-energy power trios clearly influenced by Hendrix/Trower/Marino (with the blues Influences of SRV), coupled with a retro/ psychedelic feel, then Philip Sayce Is your Scorched Earth man.
Nelson McFarlane
FabricationsHQ
Philip Sayce returns to the UK for 10 dates in the second half of May.
Recorded at shows in Los Angeles (The Baked Potato) and London (The Garage), Welsh born Canadian Philip Sayce and his very tight band (bassist Sam Bolle, drummer Bryan Head) lock into a groove from the get-go, and impress throughout.
'One Foot In The Grave' makes for a punchy and impacting opener through its powerful riff, strong vocal (Sayce is no mean singer either) and a lightning-fast, wah-wah affected solo.
The tempo is dropped for the bluesier 'Once,' where the use of a Uni-Vibe pedal and Hendrix-esque phrasing leaves no doubt as to who is one of Philip Sayce's major influences (his utilisation of extended notes and feedback on this number contrast with his speedier and frenetic six-string runs).
The heavier, groove-driven 'Bitter Monday' has Philip Sayce contributing a memorable melody and chorus.
A clever link to a downtempo section then allows Sayce to demonstrate his blues credentials before ramping it up to the crescendo outro, which comes complete with a ridiculously fast solo. An album highlight.
The near ten-minute 'Peace Machine' is reminiscent of Band of Gypsys era Jimi Hendrix (no bad thing).
With all the Philip Sayce trademarks evident, this blues rock protest song includes a psychedelic breakdown and a guitar solo workout that starts with extended feedback before progressing towards a full-on wig-out.
A number for Hendrix fans and guitar musos.
The rhythm and funky blues of 'Lady Love Divine' flirts with Robin Trower territory (again, no bad thing).
A strongly structured number, Philip Sayce is more controlled here (his solo is relatively short and cognisant of the song structure); he also delivers another memorable vocal melody.
Short instrumental '5:55' (which sits within the realms of 'Little Wing') serves as an introduction/ transition to 'Morning Star,' a driving mid-tempo with an impressive chord sequence and verse parts that are both spacey and funky.
The key change for the solo (which soars and astonishes with its speed, precision and complexity) is as impressive as the band are tight and controlled. Another album highlight.
Philip Sayce plays tribute to his main influence with closing number 'Spanish Castle Magic.'
Considerably heavier than the original, the extended solo conjures up some Hendrix motifs and tones, but the six-string reality is Sayce puts his own stamp on the number; it's a compliment to him and his band that he manages to pull it off (not everyone covering a Hendrix nugget can).
Like Volume One was then, Volume Two is a great 40-minute snapshot of what you can expect at a Philip Sayce live show.
Further, if your bag is high-energy power trios clearly influenced by Hendrix/Trower/Marino (with the blues Influences of SRV), coupled with a retro/ psychedelic feel, then Philip Sayce Is your Scorched Earth man.
Nelson McFarlane
FabricationsHQ
Philip Sayce returns to the UK for 10 dates in the second half of May.
