By the way, Happy New Year, Band Suck! It should be clear, this is not me or anyone, who will bring good luck. So this will be good luck for 2010.
"This is not the case at the top of this disc:" Schoolgirl. "Just what the title has something vicious."
MONEY: 'Money' 1970
Is it because after the holidays are in dire need I'm talking about Silver? The joke is very easy, but nevertheless, I think I can say without too much deceive you did not really feel the need to spend to buy this CD, your money. And for good reason, Silver is a group that few know. I'll even be a rare violence: everyone cares of this group completely.
This is a number of groups of all time. They are characterized by rather discographies provided (I mean beyond three disks), a career rather long (over five years), and even a mini-hit country since totally forgotten. And yet everyone who cares. Because they have left no mark in history music, simple or so followers recent arrivals of a wave on the decline: it may well include Savoy Brown, Atomic Rooster or Krokus, all quite good, delivering quality discs, but that history has never held because less powerful than the "II" Led Zeppelin "Paranoid" by Black Sabbath. It should then want to discover them, in daring to draw a discography totally unknown and no reference, no known commercial or musical milestone. There are yet 
nuggets. This first disc Silver is one. For the record, Silver is the group of Rod Argent, former keyboard and composer of The Zombies. The latter left to posterity the psychedelic pop "Odessey And Oracle" in 1968, pretty little nugget that the world music hip discovers ... lately. In Silver, we discover a pretty good drummer named Robert Henri, and for good reason, because it was one of the best friends ... Keith Moon. Even an ascetic, so. 
And above all, there are a Russ Ballard on guitar and vocals. And there it goes bad. Because the character could concentrate all that is worst in Rock Music. It is indeed the author, years later some good FM tubes, such as "Since You Been Gone "and" I Surrender "by Rainbow, or the producer's solo album the singer's girlfriend ... ABBA, among others. But it is not there yet, and Rock still has class on time, at least for a purpose other than to make the dough. But money comes after the war, as the "Odessey And Oracle" Zombie. That is to say he misses the Hard Rock, Progressive Rock and Psychedelic Rock of the time. Do not look here echoes of Led Zeppelin or Jethro Tull here.
Silver, so it's a group that arrives after the battle. That is to say he plays a rock and psychedelic pop from beginner, that spotlights the melodies and vocal harmonies. The voices are sweet and liquid, at the limit of scary, like the keyboards of Rod Argent, and this is his originality. Ballard is not a guitar hero, it is not. It is even a big branque, even compared to Tony Iommi at the sight of the press at the time. Which is saying something. This boy is it so horrible? No, because it is pretty good level composition (at the time). Generally ranked as the provider of commercial songs is to judge priori to the man.
For the entire disc is ultimately "commercial", that is to say, easy to approach: its light instrumentation fine light years of solid extensible, concise songs.
"Like Honey" begins as a gentle, almost jazzy. After "Liar," Ballard song that will become a tube for the group Three Dog Night in the mid 70s. As such, in its original approach, is almost frightening. Misty, just punctuated by a bass drum, remote keyboards and guitar laid-back, the song explodes on the chorus of a few cymbals and backing vocals shouting "Liar." "Be Free" is compared to "Liar," a commercial song. More accessible, it is a gentle, but nothing miraculous. 
This is not the case at the top of this disc: "Schoolgirl". Just what the title has something vicious. First there few piano notes electric liquids, and then these distant clap hands on the battery. There is also this sweet voice, almost whispering, that of Russ Ballard. The guitar is nonexistent. Everything is dull piano, electric awkward. This is a fantasy, an indiscretion. This song seems to be only the murmur of a dream we dare admit. It is also a failure, that of passing time.
We would like some things never change, wherever you may go back to find the flame front, where one does not know as well. When there was still a mystery.
After this title, everything seems bleaker. Yet there are some nice nuggets like this "Freefall" seeing Ballard roost on acute castrato awkward that make this song its character. Ca, and these keyboards, liquid again, and then the chorus BEATLES on the chorus, majestic and so intimate. Stepping Stone "Seems almost an accident. The battery seems to sound too loud. Yet, this rock song sounds too pervert to be honest. The resounding chorus, everyone gets carried away, but the stone was the trajectory that we give him.
"Bring Your Joy," which closes this album, sounding between piano-bar-blues and soul. This could be boring if there was no such tax and the science of silence that makes this title so classy.
The disc can be enjoyed as a gem, a small packet of sweets that are purchased on a motorway lost and to be savored on this road too long. It's tangy, fresh, but incredibly emotional. Believe me or not, but the result will not be terrible.
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