Reviews

By the band's own admission, The Angels self-titled debut album didn't have much impact upon release. It isn't surprising really, considering they had yet to even dent the charts with a noteworthy single. It is one of those albums that in reflection many years later gives you small hints at what the band would become, but as a stand-alone item in 1977, it is clear why it didn't sell like hot cakes. Opener 'Take Me Home' shows a rock band that plays with a bit of grit, and although there are harmonious guitar moments, this sounds a lot like an AC/DC clone. The comparison continues throughout the album, but to be fair that isn't entirely the band's fault. The album was recorded in Albert Studios, Sydney - the home of AC/DC's early albums - and was even produced by the Vanda / Young team responsible for the early AC/DC sound. A year later Rose Tattoo's debut would have the same distinct guitar sound. The second track, 'You're A Lady Now', is an adequate song, but doesn't really carry its place on the album well - and certainly isn't up to the standard of their later work. In fact, that could be said of the eternity of the songs here. 'Shelter From The Storm' is a stand-out that has a great sing-along chorus, but feels stilted by Doc Neeson's restrained vocals. He was still finding his way at this point, having only moved from bass guitar to vocals a few months prior. The amazing character of his voice, a thing that he would become legendary for, just wasn't here yet - leaving him sounding like a better than average karaoke singer at times. Mid-way through the album we get to hear his best performance on the album on the Australian rock classic 'Am I Ever Gonna See Your Face Again?'. Not only does he sound a little more confident here, with his vocal personality poking through at the right moments, the lyrics are also some of the best penned of the album. The band had released this as their debut single the year before, but this is a newer / tighter, version - but unfortunately without the familiar 'siren' riff at the start to give it the memorable 'hook' it needed. Perhaps with a little more time to be fleshed out other songs on the album could also have benefited from such a hook to make them more interesting. There are some blues undertones on the album, with songs like 'Can't Get Lucky' and 'You Got Me Runnin'' following a 12-bar template. There is even a cover of Don Nix's 'Going' Down' - which is a great version. 'High On You' is the least needed track on the album, giving us a dull, almost laughable, campfire sing-along. Close to the end a surprise punches through with 'Hot Lucy' barnstorming out the speakers. This is possibly the only song on the album that really allows the members to shine as musicians. A rollicking rock n' roll riff that sounds like you have heard it a thousand times before drives the song, and although it isn't by any stretch an amazing song, it does hint more than any other track at the band's future direction. 'Dreambuilder' ends the album with another fairly flat song, only really saved by its chorus. In 1977 what the band needed most to get ahead of the pack was a clear identity, and this album was never going to give them one. It comes across as an average set of songs by an average band. That would change of course in the future, but it would be a full 12 months away before the signature Angels 'chug' would be heard on any of their music - and that proved to be the magic ingredient they needed to get a charting single - and of course the emerging 'x factor' of frontman Doc Neeson.

It's 1994 and the wave of new and exciting music hitting our airwaves amongst a number of genre's was a lot to take in. Again not for me to put a history lesson together in this review. If we however put the massive grunge scene aside and focus on what else was happening at the time, we had some modern releases for our thrash metal God's doing their best to stay relevant, which from my perspective most of them did. Alternative which has a wide definition, but then I'd like to point out a little old punk/rock band coming to us out of California named The Offspring. Rebellious, they were the sound of the youth, with some hitting messages to make in their songs. But it is the way they sent those messages which is the cream for the cat. Just not so much about 'in your face' rebellious / world hates us type of approach. They show how to temper that with some songs that don't start with the up tempo, but drag you in. Read on for example. A spoken word track to start us with which dates perfectly the album telling us to listen to it on or compact disc. Track two, 'Bad Habit', has an awesome bass intro with a spoken work lyric, which every teen at the time learnt word for word. Then it ramps up, followed by again another break in singing which again every fan knows word for word 'Drivers are rude, such attitude' If you're a fan you'll know what I'm talking about. One of the highlights of the album and we are only at track 2. Looking through other tracks on the album, highlights include the single that still gets radio play, 'Come Out And Play'. Afterall 'You gotta keep em separated'. Another song for a generation of youth anthem at the time this album was released. Although you could switch between that and 'Self Esteem'. Perhaps this one would win. I love the bass line on this one. Even 'What Happened To You?' is super catchy although bordering on a ska sound. Mind you not sure ska was a thing back in the 90's. Track times wavering between 2 and 4 minute mark, clocking in at about 38 mins overall, excluding track 10 which is a mix of silence and reprise of a track already played. It is just what you'd expect from the band, not looking to mess about. At the time, this set them up for fame and fortune which thankfully for the fans still sees them delivering quality punk/rock music in the 2020's. Amazing career. For this record, can't praise it enough.