Robert J Hunter

Nothing But Rust

GOOD PEOPLE Blues rockers keep it real.

Goodness knows where Robert J Hunter and his band have been playing every night – or maybe they’ve been locked in a garage, howling at the moon – because these strident blues rockers sound like they’ve come off a year-long tour and gone straight into the studio to record this album without even going home to change their socks.

So there’s a road-honed tightness and an immediacy about Nothing But Rust. Hunter knows how to write bluesy soul-laden songs that suit his bluesy soul-laden voice; rockers, ballads, you name it. And they have the kind of urgency that comes from having been written in car parks rather than while lying by the pool. This isn’t just some ‘live in the studio’ job, either. They’ve taken care to get a balanced sound with just enough separation to bring out Hunter’s voice and his mastery of guitar tones while keeping it very much a team effort. ■■■■■■■■■■

Gypsy’s Kiss appear in most Iron Maiden biographies, listed as Steve Harris’s first band. Formed with school pal David Smith (vocals, guitar) in 1974, they folded the following year. Having always refused to re-form the band, Smith finally did so in 2018 for the annual Burr Fest charity gig in memory of Maiden’s late drummer. Buoyed by a positive response, Smith continued with a new line-up, releasing the Heat Crazed Vole EP in 2019.

Debut long player 74 takes a striking leap forward in terms of songwriting, proving their worth irrespective of Maidenrelated curiosity. Reminiscent of UFO, late-70s Wishbone

Ash and Deep Purple, tuneful hard rock with prog flourishes is the order of the day, with highlights like Take Me Down,

The Man For All Seasons and Gone For Good boasting punchy hooks, sweet guitar harmonies and thoughtful arrangements.

A definite case of better late than never. ■■■■■■■■■■

This is without doubt the best example yet of Yngwie Malmsteen’s creativity. Everything about Parabellum sees the master guitarist pushing himself further than ever, and the result is a set of accomplished compositions that cements his right to be regarded as one of the era’s most devastating talents.

The neo-classical inspirations are exposed for all to admire; Malmsteen even cleverly weaves a nod to Paganini into opening track Wolves At The Door. On occasion he also offers respect for Keith Emerson, as he celebrates the late keyboard maestro in the more progressive guitar passages. Four tracks have vocals, and prove that Malmsteen is now at home in front of a microphone. However, it’s the symphonic sweep of the music that truly captures the attention.

Everything has been carefully crafted to attain maximum impact without any loss of passion, and Parabellum is a stunning work. ■■■■■■■■■■