The Alarm
Eponymous
2000
By Steve Fulton
Essentially, this record started out life as a CD version of “The Alarm” E.P., which has never been released. Instead, it has become something much more. This CD stands as an historical record, chronicling the sonic rise of a nearly anonymous Wales-based punk band into a chart-topping success story.
The album starts out, appropriately enough, with a-side and b-side from The Alarm’s first independent 1981 single Unsafe Building b/w Up for Murder. Both songs sound remarkably clean and crisp on CD, and set the stage for the material to follow. At this point, two songs in, the album takes a monumental turn. Instead of logically moving into “Marching On”, The Alarm’s second single from 1982, we get to hear 5 demos from 1982. Actually a mix of demos for EMI , miscellaneous demos, and sessions, these 5 songs capture The Alarm in their rawest form ever recorded. “Lie Of The Land” displays the Sharp “electro-acoustic” in all its glory, behind some alternate and very interesting lyrics. “Reason 41” follows, and it has to be the best version of this song ever recorded. Except for a slight off-key harmonica blast near the end, this song is perfect, and shows what a masterpiece this Sharp/Peters collaboration really was before it got left behind for other tracks. The album continues with “The Deceiver” a less gothic, less abstract version than the one found on the “Declaration” album. Next up is a demo of “What Kind Of Hell”. Although the recording level is a bit low (this might be fixed in the final remastering), the song in this form rocks! Think of the version “Second Generation Vol 1”, as played by wild natives. It is really remarkable. The final song in this section is “68 Guns”, and early version that sparkles like a ball of raw, focused energy.
Next up are the single/E.P. versions of “Marching On”, “Across The Border” and “Lie Of The Land”. All sound great because we can finally hear them on CD. The album then moves from 1982 to 1983. And we get a trio of Mick Glossop produced songs. “The Stand”, which needs no introduction, “Blaze Of Glory”, and “Thoughts Of A Young Man”. “Blaze Of Glory” is a version recorded in 1983, which appeared on the b-side of the “Absolute Reality” 12-inch single in 1985. To many die-hard fans, this is ultimate version of the song. It is tight, explosiove impassioned and wonderful. Legend has it that this is one of The Alarm songs that Bono heard and helped shape the direction of U2 in the following years. Yes my friends, the album critics might have always called The Alarm a rip-off of U2, but maybe, just maybe, it was the other way around. Hmm. Not to get too sidetracked, but has anyone ever noticed just how-much “Joshua Tree” sounds inspired by The Alarm from this era? Harmonicas, acoustic guitars, cowboy hats, stuff that U2 rarely delved into prior, but The Alarm had been using since their inception. Hmm. Anyhow, I digress., but it is something to think about. The third song in the “salute to Mick Glossop” is “Thoughts Of A Young Man”, a song in the form of a letter with a cool, guitar-crunching ending.
The fourth section of this album plays like a mini Alarm concert from 1983. It begins with the live version of “For Freedom” from the E.P/The Stand 12”., still as good a stomping rocker as The Alarm ever produced. Next up is a new, never released live version of “The Deceiver”, which sounds a bit faster and more anthemic than any other released version. “Third Light” (live) , “Lie Of The Land”(live) (count ‘em, three version on one CD) “A Legal Matter” (live), and the rarer “Marching On” (live) follow, all gloriously vibrant, and raucous in a way only The Alarm could have performed them on stage.
The album finishes with the single version of “68 guns”, that adds a drum-count by Twist at the beginning. This song rounds out The Alarm’s output for 1983. While not a totally remarkable ending, it is fitting for this collection. What we have here is not just a repackaging of an E.P. with some bonus tracks, but instead, a remarkable rock n’ roll journey. One that takes the listener from Rhyl bedrooms, to record company basements, through sweaty live shows in downtown London and the New York, all the way to the top-10 singles charts in the UK. This is the prelude to greater things to come, the opening shot in a battle to win the hearts and minds of music fans around the world. This is an amazing document, and one that should not be missed under any circumstances.
Showing posts with label Music Review. Show all posts
Showing posts with label Music Review. Show all posts
Saturday, June 10, 2000
Friday, June 9, 2000
Review : The Alarm : Raw (The Alarm 2000)
The Alarm
Raw (Alarm 2000 version)
2000
By Steve Fulton
I suppose it is fitting that start here with "Raw" as my first "preview-review" of "The Alarm 2000" releases, because, frankly, it has always been my least favorite of The Alarm’s studio albums. To me, the original sounded disjointed, messy and rushed. This was a far-cry from the lush and cohesive "Change" from two years prior. I always felt that "Raw" was missing something. After listening to the "Alarm 2000" version, I know what it was: more good songs.
Basically, this version of "Raw" pulls together all the songs that were originally recorded for the album, before the "Standards" greatest-hits album got in the way. "The Road", "Unsafe Building 1990", "Up For Murder 1990", and "Happy Xmas (war is over)" are all here in their full-glory. This may not sound like a huge addition, but when heard in context, they really changed my impression of the album.
"The Road" blasts off the collection in the proper manner. It is essentially the same as the version from "Standards", except it contains a tighter vocal-track than the previously released version. This is a good thing, as Mike Peters' vocals have been reigned in a bit, and sound more earthy and real. Next up, an extended version of "Rockin' In The Free World", that (as my brother pointed out) now contains the "good part" of the song. It includes.the final climax of Neil Young's masterpiece , and it sounds fantastic. Next up is "Raw", which sounds better here because it does not have the pressure of starting-off the album. After "Raw" a version of "The wind Blows Away My Words" with a tighter vocal-track, similar to the one in the new version of "The Road". In this case, it does not make the song better or worse (it is still my personal favorite song from the album) but simply sounds great. "Unsafe building 1990" continues the trend of longer songs, with an uncut version that contains a proper ending. "Moments In Time" is essentially unchanged, but the next song is not. "Let The River Run It's Course" contains a masterful, uncut ending that rally shows off Dave sharp's guitar-prowess. This used to be one of my least favorite songs, but here it takes on new life. It is one of the better tracks on the album.
"Raw" continues with "God Save Somebody", "Lead Me Through The Darkness", "Hell Or Highwater", and then quickly switches gears to include "Save Your Cryin'" (if only Mike Peters could have found a version of this like the 1986 demo, now THAT would have been something), "Wonderful World", "Up for Murder 1990", "Happy Xmas (war is over)". All of these songs are essentially the same as "Raw", and need no further comment.
However, the last song on the album comes as a complete surprise (unless you read the sleeve notes that is). "Walk Forever By My Side" is an acoustic take with Dave Sharp and Mike Peters playing dueling guitars. The acoustics are bright and colorful, the vocals as great as ever. If a single could be released from this entire 150-song set, this would be my choice. It shows The Alarm at their best. Simple, yet ultimately complex if you delve into it's deeper meaning.
With all of its extras and surprises, "Raw" receives the "Most Improved" award from me. It is not the best in the collection, but it light-years beyond the version released in 1991. If this is the final album from "The Alarm", at least it now shows they did not falter and drift away, but instead were making vital and exciting music until the day they broke-up.
Raw (Alarm 2000 version)
2000
By Steve Fulton
I suppose it is fitting that start here with "Raw" as my first "preview-review" of "The Alarm 2000" releases, because, frankly, it has always been my least favorite of The Alarm’s studio albums. To me, the original sounded disjointed, messy and rushed. This was a far-cry from the lush and cohesive "Change" from two years prior. I always felt that "Raw" was missing something. After listening to the "Alarm 2000" version, I know what it was: more good songs.
Basically, this version of "Raw" pulls together all the songs that were originally recorded for the album, before the "Standards" greatest-hits album got in the way. "The Road", "Unsafe Building 1990", "Up For Murder 1990", and "Happy Xmas (war is over)" are all here in their full-glory. This may not sound like a huge addition, but when heard in context, they really changed my impression of the album.
"The Road" blasts off the collection in the proper manner. It is essentially the same as the version from "Standards", except it contains a tighter vocal-track than the previously released version. This is a good thing, as Mike Peters' vocals have been reigned in a bit, and sound more earthy and real. Next up, an extended version of "Rockin' In The Free World", that (as my brother pointed out) now contains the "good part" of the song. It includes.the final climax of Neil Young's masterpiece , and it sounds fantastic. Next up is "Raw", which sounds better here because it does not have the pressure of starting-off the album. After "Raw" a version of "The wind Blows Away My Words" with a tighter vocal-track, similar to the one in the new version of "The Road". In this case, it does not make the song better or worse (it is still my personal favorite song from the album) but simply sounds great. "Unsafe building 1990" continues the trend of longer songs, with an uncut version that contains a proper ending. "Moments In Time" is essentially unchanged, but the next song is not. "Let The River Run It's Course" contains a masterful, uncut ending that rally shows off Dave sharp's guitar-prowess. This used to be one of my least favorite songs, but here it takes on new life. It is one of the better tracks on the album.
"Raw" continues with "God Save Somebody", "Lead Me Through The Darkness", "Hell Or Highwater", and then quickly switches gears to include "Save Your Cryin'" (if only Mike Peters could have found a version of this like the 1986 demo, now THAT would have been something), "Wonderful World", "Up for Murder 1990", "Happy Xmas (war is over)". All of these songs are essentially the same as "Raw", and need no further comment.
However, the last song on the album comes as a complete surprise (unless you read the sleeve notes that is). "Walk Forever By My Side" is an acoustic take with Dave Sharp and Mike Peters playing dueling guitars. The acoustics are bright and colorful, the vocals as great as ever. If a single could be released from this entire 150-song set, this would be my choice. It shows The Alarm at their best. Simple, yet ultimately complex if you delve into it's deeper meaning.
With all of its extras and surprises, "Raw" receives the "Most Improved" award from me. It is not the best in the collection, but it light-years beyond the version released in 1991. If this is the final album from "The Alarm", at least it now shows they did not falter and drift away, but instead were making vital and exciting music until the day they broke-up.
Thursday, May 20, 1999
Review : The Alarm : King Biscuit Flower Hour
King Biscuit: The Alarm
1999 King Biscuit Records
By Steve Fulton
There has always been a huge gap in album catalog from
the Welsh band The Alarm: a scorching live album. Sure, the band recorded
two of the best rock albums of the 80's (1984's "Declaration",
and 1985's "Strength"), but
hearing The Alarm "in-the-studio" was only half the story.
In it's time The Alarm's live performances were nothing
short of legendary. They didn't merely "take-the-stage" but more
accurately "held it hostage", blasting their unique mix of
acoustic guitars, stomping rhythms, and fiery vocals to a frantic and
amazed audience left gasping for breathe and screaming for more.
The band released an the E.P. in 1988 called "Electric Folklore: Live", but that 6 song
disappointment did more to show how The Alarm's troubles
as unit in the late 80's than display their sheer
magnificence as a live band.
1999 King Biscuit Records
By Steve Fulton
There has always been a huge gap in album catalog from
the Welsh band The Alarm: a scorching live album. Sure, the band recorded
two of the best rock albums of the 80's (1984's "Declaration",
and 1985's "Strength"), but
hearing The Alarm "in-the-studio" was only half the story.
In it's time The Alarm's live performances were nothing
short of legendary. They didn't merely "take-the-stage" but more
accurately "held it hostage", blasting their unique mix of
acoustic guitars, stomping rhythms, and fiery vocals to a frantic and
amazed audience left gasping for breathe and screaming for more.
The band released an the E.P. in 1988 called "Electric Folklore: Live", but that 6 song
disappointment did more to show how The Alarm's troubles
as unit in the late 80's than display their sheer
magnificence as a live band.
Saturday, February 1, 1997
Review : Mike Peters : Gathering V
A fews days after I came back from "The Gathering V" I wrote this short review and put it out on the usenet. I just thought that people should know what happened.
Mike Peters Gathering V Report from Llandudno, Wales
--------------------------------------------------------------------------------
On January 11th, at approximately 11:30 P.M. (UK time) One half of the 80's band The Alarm returned to the stage for the first time in nearly 6 years. Bass player Eddie MacDonald joined lead Vocalist and guitarist Mike Peters on stage for stirring renditions of two the The Alarm's best songs: "Spirit Of '76" and "Rescue Me".
Mike Peters left The Alarm in June 1991, citing creative differences within the band that were tearing it apart. He has since been extremely prolific as a solo artist, having released six solo albums: two full length efforts: 1994's "Breathe" and 1996's "Feel Free", as well as version of "Breathe" sung entirely in Welsh named "Aer", an album of all acoustic "Breathe" demos named "Breathe: The Accoustic Sessions", an album of re-made Alarm b-sides named "Second Generation: Rare Songs Of The Alarm Revisited", and most recently, a live album recorded in 1992 named "The Abbey Road Sessions".
Mike Peters has been holding "The Gathering" for 5 years running now. Basically, it is a weekend dedicated to music of The Alarm and himself, held in Peters' home town of Llandudno, Wales. The weekend includes a 2-hour acoustic show on Friday night, and a 3 hour electric show on Saturday night interspersed with films and videos documenting the rich history of The Alarm as a band, and Mike Peters as a solo artist.
Eddie MacDonald has been quitely living in England for the past six years working as a photographer and writing music. He and Peters, the best of friends since age 4, hadn't patched up their differences over the break-up of The Alarm until late in 1996 when MacDonald showed up at Peters' gig at The Royal Albert Hall, opening for the Scottish band Runrig. After mush coaxing, Peters convinced MacDonald to show up at "The Gathering V", and for the first time since The Alarm's last gig at the Brixton Academy in 1991, 50% of the band Alarm took part in a public performance.
The spirit of the night was incredible. Rumors abounded that Eddie Macdonald would be showing up, but only a select few knew that the ex-Alarm bass man would be taking the stage during the first encore. As soon as Mr. MacDonald was announced, the crowd went ballistic. The deafening chant of "Eddie! Eddie! Eddie! ..." filled the venue. Even after another guest came out, Billy Duffy of "The Cult", the crowd,still amazed that Eddie MacDonald had shown up, continued their chant as an ode to the missing Alarmist, who had finally re-emerged after so many years.
Even though Mike Peters and Eddie MacDonald are now on speaking terms, a full Alarm reunion is unlikely for the foreseeable future. Alarm guitarist Dave Sharp released his second solo album in 1996 named "Downtown America", and drummer Nigel Twist works in San Francisco, and is involved with a band named "Fringe". Although Twist and Sharp are still in communication with MacDonald, the same cannot be said for the pair and Mike Peters. When Peters attempted to re-form The Alarm in 1995, the two balked at the idea, and there is no sign of that attitude changing at this time. Even so, the prospect of MacDonald and Peters writing songs together again is enough to make Alarm fans salivate. While Peters wrote 90% of The Alarm's lyrics, Macdonald was responsible for a good portion of the music behind them. Now that Peters has grown into an incredible song-writer as well, the pairing could produce some magnificent recordings. Mike Peters will be spending the first part of 1997 writing and recording a new album, and then he sets out on a world-tour that should include dates in the USA. Whether or not Eddie MacDonald will take any part in this activity remains to be seen.
--------------------------------------------------------------------------------
If you are interested in more information on The Alarm, Mike Peters, Dave Sharp, or Fringe, visit the following WWW sites:
http://www.demon.co.uk/alarmpo http://www.wheatmedia.com/alarm http://www.wheatmedia.com/sharp http://www.wheatmedia.com/fringe
Mike Peters newest album is named "Feel Free" and is available nation-wide in the USA, Canada, UK, and the rest of Europe. It is combination of of acoustic rock, punk, and bit of 90's dance music all rolled into one. The album documents Peters' Cancer scare in 1995. A new single from "Feel Free", "My Calling" will be released in the UK within the coming weeks.
Dave Sharp's newest album "Downtown Amercia" is still available only in the USA on Dinosaur records. The album is filled with Sharp's trademarks: intricate lyrics, and folk-rock.
If you have any questions, or would like to discuss The Alarm, e-mail me at: sfulton@ix.netcom.com
Steve Fulton
Mike Peters Gathering V Report from Llandudno, Wales
--------------------------------------------------------------------------------
On January 11th, at approximately 11:30 P.M. (UK time) One half of the 80's band The Alarm returned to the stage for the first time in nearly 6 years. Bass player Eddie MacDonald joined lead Vocalist and guitarist Mike Peters on stage for stirring renditions of two the The Alarm's best songs: "Spirit Of '76" and "Rescue Me".
Mike Peters left The Alarm in June 1991, citing creative differences within the band that were tearing it apart. He has since been extremely prolific as a solo artist, having released six solo albums: two full length efforts: 1994's "Breathe" and 1996's "Feel Free", as well as version of "Breathe" sung entirely in Welsh named "Aer", an album of all acoustic "Breathe" demos named "Breathe: The Accoustic Sessions", an album of re-made Alarm b-sides named "Second Generation: Rare Songs Of The Alarm Revisited", and most recently, a live album recorded in 1992 named "The Abbey Road Sessions".
Mike Peters has been holding "The Gathering" for 5 years running now. Basically, it is a weekend dedicated to music of The Alarm and himself, held in Peters' home town of Llandudno, Wales. The weekend includes a 2-hour acoustic show on Friday night, and a 3 hour electric show on Saturday night interspersed with films and videos documenting the rich history of The Alarm as a band, and Mike Peters as a solo artist.
Eddie MacDonald has been quitely living in England for the past six years working as a photographer and writing music. He and Peters, the best of friends since age 4, hadn't patched up their differences over the break-up of The Alarm until late in 1996 when MacDonald showed up at Peters' gig at The Royal Albert Hall, opening for the Scottish band Runrig. After mush coaxing, Peters convinced MacDonald to show up at "The Gathering V", and for the first time since The Alarm's last gig at the Brixton Academy in 1991, 50% of the band Alarm took part in a public performance.
The spirit of the night was incredible. Rumors abounded that Eddie Macdonald would be showing up, but only a select few knew that the ex-Alarm bass man would be taking the stage during the first encore. As soon as Mr. MacDonald was announced, the crowd went ballistic. The deafening chant of "Eddie! Eddie! Eddie! ..." filled the venue. Even after another guest came out, Billy Duffy of "The Cult", the crowd,still amazed that Eddie MacDonald had shown up, continued their chant as an ode to the missing Alarmist, who had finally re-emerged after so many years.
Even though Mike Peters and Eddie MacDonald are now on speaking terms, a full Alarm reunion is unlikely for the foreseeable future. Alarm guitarist Dave Sharp released his second solo album in 1996 named "Downtown America", and drummer Nigel Twist works in San Francisco, and is involved with a band named "Fringe". Although Twist and Sharp are still in communication with MacDonald, the same cannot be said for the pair and Mike Peters. When Peters attempted to re-form The Alarm in 1995, the two balked at the idea, and there is no sign of that attitude changing at this time. Even so, the prospect of MacDonald and Peters writing songs together again is enough to make Alarm fans salivate. While Peters wrote 90% of The Alarm's lyrics, Macdonald was responsible for a good portion of the music behind them. Now that Peters has grown into an incredible song-writer as well, the pairing could produce some magnificent recordings. Mike Peters will be spending the first part of 1997 writing and recording a new album, and then he sets out on a world-tour that should include dates in the USA. Whether or not Eddie MacDonald will take any part in this activity remains to be seen.
--------------------------------------------------------------------------------
If you are interested in more information on The Alarm, Mike Peters, Dave Sharp, or Fringe, visit the following WWW sites:
http://www.demon.co.uk/alarmpo http://www.wheatmedia.com/alarm http://www.wheatmedia.com/sharp http://www.wheatmedia.com/fringe
Mike Peters newest album is named "Feel Free" and is available nation-wide in the USA, Canada, UK, and the rest of Europe. It is combination of of acoustic rock, punk, and bit of 90's dance music all rolled into one. The album documents Peters' Cancer scare in 1995. A new single from "Feel Free", "My Calling" will be released in the UK within the coming weeks.
Dave Sharp's newest album "Downtown Amercia" is still available only in the USA on Dinosaur records. The album is filled with Sharp's trademarks: intricate lyrics, and folk-rock.
If you have any questions, or would like to discuss The Alarm, e-mail me at: sfulton@ix.netcom.com
Steve Fulton
Wednesday, January 1, 1997
Review : The Alarm : Curtain Call
The Alarm
Curtain Call
1988
By Steve Fulton
"Curtain Call" is promotional-only album, released primarily to promote the single "Rescue Me" to American AOR radio stations in 1988. It contains 11 tracks, the most interesting of which is alternative version of "Rescue Me" called the "Tearing The Bonds Asunder Mix" which contains less synthesizer, and an extended bridge that lets Dave Sharp go "guitar-wild". Other interesting songs are "The Stand (full version)" Absolute Reality (UK Single Version) that appeared here for the first time on CD. Also present, is the entire contents of "Electric Folklore Live".
Curtain Call
1988
By Steve Fulton
"Curtain Call" is promotional-only album, released primarily to promote the single "Rescue Me" to American AOR radio stations in 1988. It contains 11 tracks, the most interesting of which is alternative version of "Rescue Me" called the "Tearing The Bonds Asunder Mix" which contains less synthesizer, and an extended bridge that lets Dave Sharp go "guitar-wild". Other interesting songs are "The Stand (full version)" Absolute Reality (UK Single Version) that appeared here for the first time on CD. Also present, is the entire contents of "Electric Folklore Live".
Review : The Alarm : Electric Folklore Live
The Alarm
Electric Folklore Live
1988
By Steve Futon
This album is over 40 minutes long, and contains only 6 songs. The live versions of "Rescue Me" and "Rain In The Summertime" are brilliant on this album, drastically making up for the low-key versions on "Eye Of The Hurricane". The problem is that 2 songs do not make up a live album. The other 4 songs, "Strength", "Blaze Of Glory", "Spirit Of '76", and "Permanence In Change" are far inferior to earlier album or live versions. With only 6 songs, this album has far too many missing elements that would have shown The Alarm at their best. "The Stand", "Howling Wind", "Where Were You Hiding", "Absolute Reality", "The Bells Of Rhymney", and "The Deceiver" among many many others could have filled out this album and really shown what a brilliant, tight, and powerful live band The Alarm were. Instead, we get 6 bloated numbers that do more to show The Alarm's mis-direction than anything else. Wasn't it Pete Townsend that once said "any song over 2:30 is crap" ? This certainly would apply to "Electric Folklore Live".
Electric Folklore Live
1988
By Steve Futon
This album is over 40 minutes long, and contains only 6 songs. The live versions of "Rescue Me" and "Rain In The Summertime" are brilliant on this album, drastically making up for the low-key versions on "Eye Of The Hurricane". The problem is that 2 songs do not make up a live album. The other 4 songs, "Strength", "Blaze Of Glory", "Spirit Of '76", and "Permanence In Change" are far inferior to earlier album or live versions. With only 6 songs, this album has far too many missing elements that would have shown The Alarm at their best. "The Stand", "Howling Wind", "Where Were You Hiding", "Absolute Reality", "The Bells Of Rhymney", and "The Deceiver" among many many others could have filled out this album and really shown what a brilliant, tight, and powerful live band The Alarm were. Instead, we get 6 bloated numbers that do more to show The Alarm's mis-direction than anything else. Wasn't it Pete Townsend that once said "any song over 2:30 is crap" ? This certainly would apply to "Electric Folklore Live".
Review : The Alarm : Eye Of The Hurricane
The Alarm
Eye Of The Hurricane
1987
By Steve Fulton
"Eye" or "the disaster album" as my brother used to call it, came as a shock to most Alarm fans. The electronic drums on the first single "Rain In The Summertime" are a bit hard to swallow, and the synthesizers used elsewhere just seem out of place for The Alarm. These elements are used only sparingly on the album, but the production seems to highlight them, making them even more evident. What The Alarm were trying to do with "Eye" was to not re-create "Strength". They were only partially successful. Songs like "Rain In The Summertime", "Presence Of Love", "Hallowed Ground", "Newtown Jericho" and "Eye Of The Hurricane" certainly ring of a new sound, but the other half of the album: "One Step Closer To Home", "Shelter", "Rescue Me", "Permanence In change" and "Only Love Can Set Me Free", could have been on "Strength II" if they had a harder-edged production. What we get is a compromise of two song styles, hampered by an even-handed production that doesn't highlight either of them. The easy stand-out is Dave Sharp's "One Step Closer To Home", which is simply one of the best songs ever recorded. It is easy to pick out from the rest of the album because it was recorded live (the only way Dave could get it the way he wanted). "Rain In The Summertime" is brilliant song, (even with the electronics), and the haunting "Hallowed Ground" harkens back to old Alarm b-sides like "Unbreak The Promise". "Shelter" and "Newtown Jericho" have their moments, but they are just not as interesting as they could have been. "Permanence In change" is the only song with harmonica (which, strangely, was missing from "Hallowed Ground") and has an outstanding bass-line, making it come off as one of the better crafted songs on the album. The title track, "Eye Of The Hurricane" has a promising acoustic riff, but is mired in sea of swirling synthesizers, that crashes with a resounding "thud" during he chorus. "Rescue Me" is a really great song, but it is one that could have truly used a more "Strength"-style production, instead it seems almost low-key in its rock attack, the same can be said for "Only Love Can Set Me Free". There may be a reason for this (but not an excuse). "Eye Of The Hurricane" was the first Alarm album that was essentially self-produced (John Porter gets the credit for guiding them in the studio), and the problems most likely come from there. Still, "Eye Of The Hurricane" is solid album, but also one that left me wondering what the songs would have sounded like if they were all recorded a different way.
Eye Of The Hurricane
1987
By Steve Fulton
"Eye" or "the disaster album" as my brother used to call it, came as a shock to most Alarm fans. The electronic drums on the first single "Rain In The Summertime" are a bit hard to swallow, and the synthesizers used elsewhere just seem out of place for The Alarm. These elements are used only sparingly on the album, but the production seems to highlight them, making them even more evident. What The Alarm were trying to do with "Eye" was to not re-create "Strength". They were only partially successful. Songs like "Rain In The Summertime", "Presence Of Love", "Hallowed Ground", "Newtown Jericho" and "Eye Of The Hurricane" certainly ring of a new sound, but the other half of the album: "One Step Closer To Home", "Shelter", "Rescue Me", "Permanence In change" and "Only Love Can Set Me Free", could have been on "Strength II" if they had a harder-edged production. What we get is a compromise of two song styles, hampered by an even-handed production that doesn't highlight either of them. The easy stand-out is Dave Sharp's "One Step Closer To Home", which is simply one of the best songs ever recorded. It is easy to pick out from the rest of the album because it was recorded live (the only way Dave could get it the way he wanted). "Rain In The Summertime" is brilliant song, (even with the electronics), and the haunting "Hallowed Ground" harkens back to old Alarm b-sides like "Unbreak The Promise". "Shelter" and "Newtown Jericho" have their moments, but they are just not as interesting as they could have been. "Permanence In change" is the only song with harmonica (which, strangely, was missing from "Hallowed Ground") and has an outstanding bass-line, making it come off as one of the better crafted songs on the album. The title track, "Eye Of The Hurricane" has a promising acoustic riff, but is mired in sea of swirling synthesizers, that crashes with a resounding "thud" during he chorus. "Rescue Me" is a really great song, but it is one that could have truly used a more "Strength"-style production, instead it seems almost low-key in its rock attack, the same can be said for "Only Love Can Set Me Free". There may be a reason for this (but not an excuse). "Eye Of The Hurricane" was the first Alarm album that was essentially self-produced (John Porter gets the credit for guiding them in the studio), and the problems most likely come from there. Still, "Eye Of The Hurricane" is solid album, but also one that left me wondering what the songs would have sounded like if they were all recorded a different way.
Review : The Alarm : Spirit Of '86
This review in indicative of what I was writing in 1997 about The Alarm. It was before I was working officially for Mike Peters, so I went ahead and said whatever I wanted. The updated version of this show that Mike Peters released in 2006 was much better.
The Alarm
Spirit of '86 (video)
1986
By Steve Fulton
The Spirit Of '86 show at UCLA was one of the best days I have spent in my entire life. Having said that, very little of that wonderful day was captured on this video shot by MTV. With smarmy commentating by Martha Quinn, and a ridiculously bad 15-minute "extra" segment called "The Alarm Have Sounded", the video looks like it was slapped together in about 2 hours (it was). The concert segment is not much better. Without the sound, I would have given this video "3 stars" because it looks pretty good, but turn the sound up, and well, it just makes the video unbearable to watch. About half-way through the second song, Nigel Twist's bass drum is demolished by some frat-boy's football, and for the rest of the show we get a nearly bottom-less set of Alarm classics. Of course, this didn't seem to effect the sound much to the 20,000 or so people that were at UCLA that day, but the story is much different on the video. The best songs here are "Declaration", "Marching On", and "Howling Wind" because they come before the drum disaster. The version of "The Stand" is pretty good as well, but just fast-forward over "Spirit Of '76", it will make you ill if you don't.
The Alarm
Spirit of '86 (video)
1986
By Steve Fulton
The Spirit Of '86 show at UCLA was one of the best days I have spent in my entire life. Having said that, very little of that wonderful day was captured on this video shot by MTV. With smarmy commentating by Martha Quinn, and a ridiculously bad 15-minute "extra" segment called "The Alarm Have Sounded", the video looks like it was slapped together in about 2 hours (it was). The concert segment is not much better. Without the sound, I would have given this video "3 stars" because it looks pretty good, but turn the sound up, and well, it just makes the video unbearable to watch. About half-way through the second song, Nigel Twist's bass drum is demolished by some frat-boy's football, and for the rest of the show we get a nearly bottom-less set of Alarm classics. Of course, this didn't seem to effect the sound much to the 20,000 or so people that were at UCLA that day, but the story is much different on the video. The best songs here are "Declaration", "Marching On", and "Howling Wind" because they come before the drum disaster. The version of "The Stand" is pretty good as well, but just fast-forward over "Spirit Of '76", it will make you ill if you don't.
Review : The Alarm : Strength
The Alarm
Strength
1985
By Steve Fulton
"Strength" is an album made by a mature band. The Alarm made the step from their early material to "Strength", not in a giant leap, but with the help of their first album "Declaration" and its forward-looking attitude. The youthful exuberance of "Declaration" is nearly absent here, supplanted with an emphasis on human needs and personal experience. What "Strength" keeps from "Declaration" is an inherint optimism for the future, even while reminicing about the past. Electric guitars eclipse acoustics on this album, making for a full, rounded sound not heard on previous Alarm recordings. This album is filled with some of The Alarm's best songs: The nostalgic fire of "Spririt Of '76", the cautionary tale in "The Day The Ravens Left The Tower", the simple truths of "Only The Thunder" and the joyful cry of "Walk Forever By My Side". "Strength" is an album to savor, it makes you think, and stomp about at the same time.
Strength
1985
By Steve Fulton
"Strength" is an album made by a mature band. The Alarm made the step from their early material to "Strength", not in a giant leap, but with the help of their first album "Declaration" and its forward-looking attitude. The youthful exuberance of "Declaration" is nearly absent here, supplanted with an emphasis on human needs and personal experience. What "Strength" keeps from "Declaration" is an inherint optimism for the future, even while reminicing about the past. Electric guitars eclipse acoustics on this album, making for a full, rounded sound not heard on previous Alarm recordings. This album is filled with some of The Alarm's best songs: The nostalgic fire of "Spririt Of '76", the cautionary tale in "The Day The Ravens Left The Tower", the simple truths of "Only The Thunder" and the joyful cry of "Walk Forever By My Side". "Strength" is an album to savor, it makes you think, and stomp about at the same time.
Review : The Alarm : Declaration
Another review from The Alarm Archive written in early 1997.
The Alarm
Declartion
1984
By Steve Fulton
The Alarm's first real album is one of the best ever recorded by any band in any year throughout the history of rock n' roll. How can I say this? Because I truey believe it. No album has ever grabbed, shook, and thrown me the way this one did the first time I heard in 1984 and no album will ever do the same. Not a mere collection of songs, this album is a true "Renaissance" of rock music. It is filled at once, with child-like naivite`, youthful exuberance, teenage angst, and adult recollection brimming with the notion that "dreams are what you make them" that never veers towards cynicism. This was not an album of "protest" songs or "revolution" songs, but rather an epic that captures, on record, the exact moment when youth is turning into adulthood, trying to decide what to take with it, and what to leave behind. "Declaration" stands at the cusp between old and new, between cessation and change. The album embraces the sounds and ideas of previous Alarm recordings, but adds many new thoughts, instruments, and arrangements that push the music into a vibrant new mold that points to the future. The centerpiece of "Declaration" is "Sixty Eight Guns", about an imaginary gang of friends set in the year 1968. We do not have to worry, as one misguided reviewer put it 13 years ago, "just what The Alarm is going to do with their 'Sixty Eight Guns' " because those guns never existed. "Sixty Eight Guns" is not a song about rebellion, it is a metaphor for youth and friendship, for holding onto what you believe, even if the world keeps telling you a different story. In a nutshell, "Sixty Eight Guns" is a microcosm of the entire album. From the sweetness of "We Are The Light", to the fury of "Where Were You Hiding When The Storm Broke?", from the soul searching "Tell Me" to the mysteries contained in "Shout To The Devil", from the heart wrenching "Blaze Of Glory", to the beautiful, sweeping sound of "Howling Wind", "Declaration" has it all. It is a true classic.
The Alarm
Declartion
1984
By Steve Fulton
The Alarm's first real album is one of the best ever recorded by any band in any year throughout the history of rock n' roll. How can I say this? Because I truey believe it. No album has ever grabbed, shook, and thrown me the way this one did the first time I heard in 1984 and no album will ever do the same. Not a mere collection of songs, this album is a true "Renaissance" of rock music. It is filled at once, with child-like naivite`, youthful exuberance, teenage angst, and adult recollection brimming with the notion that "dreams are what you make them" that never veers towards cynicism. This was not an album of "protest" songs or "revolution" songs, but rather an epic that captures, on record, the exact moment when youth is turning into adulthood, trying to decide what to take with it, and what to leave behind. "Declaration" stands at the cusp between old and new, between cessation and change. The album embraces the sounds and ideas of previous Alarm recordings, but adds many new thoughts, instruments, and arrangements that push the music into a vibrant new mold that points to the future. The centerpiece of "Declaration" is "Sixty Eight Guns", about an imaginary gang of friends set in the year 1968. We do not have to worry, as one misguided reviewer put it 13 years ago, "just what The Alarm is going to do with their 'Sixty Eight Guns' " because those guns never existed. "Sixty Eight Guns" is not a song about rebellion, it is a metaphor for youth and friendship, for holding onto what you believe, even if the world keeps telling you a different story. In a nutshell, "Sixty Eight Guns" is a microcosm of the entire album. From the sweetness of "We Are The Light", to the fury of "Where Were You Hiding When The Storm Broke?", from the soul searching "Tell Me" to the mysteries contained in "Shout To The Devil", from the heart wrenching "Blaze Of Glory", to the beautiful, sweeping sound of "Howling Wind", "Declaration" has it all. It is a true classic.
Review : The Alarm : EP
This was my first review created for The Alarm Archive, my web site dedicated to The Alarm that I ran alongside thealarm.com for several years until the folded together.
The Alarm EP
1983
By Steve Fulton
This was the first official Alarm release in the USA, and also marked their first collection of songs that could not be deemed "a single". This E.P. shows The Alarm in their rawest state: bristling with acoustic guitars, and harmonica, filled with youthful idealism, and creating a trademark sound all their own. The recordings here are more like lightening strikes than mere songs, each one distinct, yet with enough common musical and lyrical elements to sound like a cohesive whole.
The Alarm EP
1983
By Steve Fulton
This was the first official Alarm release in the USA, and also marked their first collection of songs that could not be deemed "a single". This E.P. shows The Alarm in their rawest state: bristling with acoustic guitars, and harmonica, filled with youthful idealism, and creating a trademark sound all their own. The recordings here are more like lightening strikes than mere songs, each one distinct, yet with enough common musical and lyrical elements to sound like a cohesive whole.
Friday, April 12, 1996
Spirit Of '86 : A Fan Looks Back
This is the first editorial I wrote about The Alarm for the web. I planned it for release on the 10th anniversary of the Spirit Of' 86 concert. It was originally published on The Alarm Archive web site.
Spirit 'Of '86, A Fan Looks Back
by Steve Fulton (USA Alarm Archive President)
"I Was There"
That phrase seems to stick out in my mind, twist around, and implode every time I see it on the "Spirit Of '86" stickers that I have tucked away in one of my Alarm scrapbooks. Not just because, truth be told, I was there on April 12th, 1986, but also because of the bittersweet irony that it represents. I remember that day, 10 years ago, as vividly as any day in my entire life. It was a day, when the biggest rock 'n roll event in the world was centered around The Alarm: two Welshman and two transplanted Englishman who created the most unbelievably inspiring music I had ever heard. April 12th 1986 was the day I witnessed, what I believe, was the finest moment of The Alarm, but also the beginning of their end.
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