News |

Guitar World Column |

Interviews |

Pictures |

Album Reviews |

Gig Reviews |

Release Dates |

History |

Articles |

Setlists |

Upcoming |

Contact

Metal Assault in association with CWG Magazine presents

Track Listing: Drive It In Hoodoo Woman Born To Be Wild Rock N' Roll Handshake Ride Into The Sun Too Hot In My Blood Dirty Street Keep Me Rolling Shot Of Love Firestar

Krokus, a band of staggering and huge influence, has released a masterpiece called Hoodoo. Bon Scott, at his best, sang like Marc Storace sings on every marvelous track. Fernando von Arb plays salty, restrained, gorgeous guitar like Young and Zoom. Koki Kohler's rhythm guitar maintains and flows. A man with probably the coolest name of all time besides any including "James," Freddy Steady, plays simple, perfect drums. Chris von Rohr's bass is only essential. The relentless consistency of the sound, focus, and incredible musicianship on Hoodoo could have only been made by metal gods.

"Drive It In" is tighter, cleaner AC/DC and shows us how a rock album is supposed to start. Steady's use of loud cymbals and Steady time- keeping help form a base that menacing guitar, kind vocals and, thank god, bass loud enough to hear run from. The sexual vibe, like that on the rest of the record, is miniscule. Black Robot makes songs almost as good as this at their best.

"Hoodoo Woman" basically defines every girl we've had the (mis)pleasure of dating. The vibe is what AC/DC wish they could have done in the mid-70s. The slower parts where Storace flows like a stream of diamonds are superb. The pace is, of course, even and the guitar solo 2/3 of the way through says more in a few seconds than most ever do.

Like others, Krokus gives us a version of "Born To Be Wild." Short, disjointed guitar notes define the style and are better than anyone else's. The god Andy Gill played a more frenetic version of this style. The feel is hipper, sharper, more knowing and committed AC/DC and this version is better than that by the Cult (and the Cult define righteousness).

Besides our favorite illicit handshake Ð and gentlemen everywhere know what we mean Ð a "Rock N Roll Handshake" is the best. The tune rocks forcefully with such restraint that every other band that wants to rock needs to listen to it closely so they can copy. The staccato riffs are slower because rock perfection can't be rushed. Storace's voice communicates yearning, confidence, desperation, and warning at the same time. We are listening to how one who teaches gods by example sings.

"Ride Into The Sun" has a rumbling bass that is magical. The pace is slow but not too slow Ð this is how metal was forged and polished. Storace never strains and he stays where he belongs. The slow marching beat and melodic guitar brings to mind slower late 70s early 80s metal that's clean, direct, and honest because the musicians are confident that they actually know how to play. Steady's drums are typically marvelous. Every drummer alive needs to hear this man play so he/she can learn from the best. A perfect song that only defines metal. There's more than a hint of Krokus's great "Screaming In The Night" and "Ride Into The Sun" is better.

No woman can be too hot. She can only be not understanding enough of our need to play fantasy baseball. "Too Hot" is defined by the simplicity of drums, vocals, and guitar riffs. This is how rock is meant to be played. The chorus and vibe are sing-along and make us feel included and connected like Presley, Berry, men of such staggering genius that their work will be dissected for eons Holly and Cash, and Little Richard wanted us to feel. The pace is unvarying defined and the major guitar solo just amazing. Foreigner sometimes sounded like this way back in the day although the legend Gramm's vocals were deeper. Possibly more perfect than "Ride Into The Sun."

Read the rest of the review here.