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Molly
Hatchet
Hlubeck is back! And he’s brought his guns taking Hatchet back to their classic sound on this powerful and highly emotional opus sadly dedicated to the (real life) brutal murder of a toddler and well as the passing of both his and guitarist Bobby Ingram’s wives. It’s all highly charged stuff and that might explain why “Justice” is somewhat less Southern in its groove and more straight up US biker rock, no better exemplified than on ‘American Pride’. Phil McCormack’s voice too has matured like bourbon to sounding uncannily like original MH grizzly Danny Joe Brown and that ain’t no bad thang, cos like I said there’s a serious tone to this album (right down to the cool Frazetta like artwork done by Paul Gregory) that shows that both as individuals and as a nation, they are still hurting whether it’s from 9/11 or personal loss. As such the central theme to most of the songs is on good ol’ fashioned (American) justice, be it by the gun, noose or a CIA drone and that’s the premise for the title track and other songs like ‘Vengeance’ as well as the inlay introduction that pretty much states that if the system has failed you, then you gotta take God’s law into your hands and deal it out. I’m sure many people out there might find this good wholesome American stance a tad cheesy or blind, but that’s just how a lotta folks think - and MH have spoken out for them on this album! -Shan Siva
Molly Hatchet
Named after a homicidal
prossie called Hatchet Molly, who used to behead her clients (now that’s
no way to treat a paying customer!), Florida’s MH where thankfully
no less dangerous with their own smokin’ brand of southern boogie!
Formed in the late 70s when this genre was most popular as a result of
earlier bands like the legendary Lynrd Skynrd or The Outlaws, MH also
had a classic 3 pronged guitar attack that edged them more into the hard
rock territory that by now was growing into heavy metal. Their legendary
3rd album ‘Beatin’ The Odds’ came out in the pivotal
year of 1981 and it was no coincidence that it was heavier and faster
(and complete with Frazetta sword n sorcery artwork also doing the rounds
at the time) than any other southern boogie band (the mighty Blackfoot
being the sole exception!) and that earned them a whole passle o’
rock fans (myself being one of them) and continued up until “No
Guts...No Glory”. Thereafter, the slide began with band members
leaving or dying, and a commercial shift into ballards and soft rock that
alienated their rock fans and neither connected them back to the southern
groove. With last remaining original member (and co founder) Dave Hlubeck
passing the handle (and legal ownership) to Bobby Ingram, the band effectively
became a franchised act relegated to play the wilderness of state fairs
and ‘mom & dad’ events for the next 10 years. Then in
1996 SPV signed them up which was kinda wierd given the difference in
styles (and credibility by that time) but amazingly it brought them back
to life with “Devil’s Canyon”! And so to commemorate
the signing (and arguably their saving) SPV have decided to re-release
- in limited edition double gatefold vinyl - their 1998 release “Silent
Reign Of Heroes”. Being a vinyl release I wonder how many people
will actually have the ability to play it but that aside its 12 tracks
(on 2 records) highlight the full span of MH’s styles ranging from
boogie (complete with cowboy whistles) of ‘Miss Saturday Night’
to drippy ballards like ‘Just Remember’. Bonus tracks include
the classic ‘Whiskey Man’ where I haveta commend Phil McCormack
for a fine vocal cross between original gator country boy Danny Joe Brown
(RIP) and rockin’ Jimmy Farrar (who sadly lost weight). But for
me, it’s the southern rock of ‘Blue Thunder’ and the
epic ‘Saddle Tramp’ with cowpoke vocals, slide geetar and
thumping rock that bring it all home in what made Molly Hatchet that mean
mutha of a rockin’ machine. -Shan Siva |
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