Steamhammer - Mountains 1970

Starting out as an electric blues group in the '60s, Steamhammer transformed into a hard progressive rock group on this 1970 album. A highly collectible album in the British prog scene, the guitarists of this group -- Martin Pugh and Martin Quittenton -- were both, in fact, hardworking session musicians who made their names co-writing "Maggie May" with Rod Stewart for Stewart's debut solo album. Although throughout they maintain their electric blues roots, this album is a fairly awkward and mediocre transition period for the group. However, hardcore collectors of progressive rock will find much to delight in. AMG.

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Steamhammer - Speech 1972

Musically, Steamhammer was the cream of the crop of all rock bands from their thriving primordial era. In the realm of power rock trios, they were comparable to Cream. Yet this band is far superior in every way, but they failed to get the rave reviews and critical attention that the flashier Cream garnered. Diverging from the typical power rock style on Speech, their fourth and final album, the band found themselves in a dilemma without their vocalist, who had left after the previous release, Mountains. This led to a radical development for the band. Instead of hiring a new singer, the rest of the group picked up the slack, and reduced the role of the vocals significantly, opting for a progressive jam style that was hugely innovative for its time. Guitarist Martin Pugh offers a crashing, furious style that mixes Jimmy Page with early Robert Fripp. When Pugh seeks passages of beauty and tranquility, he finds them with ease, but when he aims for intensity, watch out! He literally attacks the listener, pounding them with his mammoth, perfectly executed riffs. Meanwhile, bassist Louis Cennamo is so talented and innovative that he single-handedly brought the bow into rock music with his bowed bass intro to the album. Several years before Page would pick up the bow for "Kashmir," Cennamo uses the bowed bass as means to an end, not for simple effect. Just as a normal bassist alone, masters within the genre owe their lifeblood to him. For he is able to play along with just about the toughest, most technical drumming around, that of drummer Mick Bradley, who is easily the most accomplished musician of the trio. To state that he is rock's greatest drummer is simply not enough. His energetic approach to the drum kit helped him become one of the first and only drummers in rock history, along with King Crimson's Michael Giles, to use polyrhythmic drumming, a style commonly used by jazz drummers. His dynamic performance on the primarily instrumental "For Against," blows away John Bonham's "Moby Dick" and Ginger Baker's "Toad" in a heartbeat. On this album, there was a rumor that the band received some secret vocal and lyrical help from Yardbirds vocalist Keith Relf. Whether or not this is true remains a mystery, but what is a fact, sadly, is that not long after this album Mick Bradley succumbed to Leukemia and passed away. This marked the end of Steamhammer, but the other two members forged on, forming a band called Armageddon. Speech is one of rock's finest and most creative hours, and one tends to wonder where Steamhammer could have gone from this point on had it not been for obscurity and sudden tragedy. AMG.

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Steamhammer - Speech 1972

Musically, Steamhammer was the cream of the crop of all rock bands from their thriving primordial era. In the realm of power rock trios, they were comparable to Cream. Yet this band is far superior in every way, but they failed to get the rave reviews and critical attention that the flashier Cream garnered. Diverging from the typical power rock style on Speech, their fourth and final album, the band found themselves in a dilemma without their vocalist, who had left after the previous release, Mountains. This led to a radical development for the band. Instead of hiring a new singer, the rest of the group picked up the slack, and reduced the role of the vocals significantly, opting for a progressive jam style that was hugely innovative for its time. Guitarist Martin Pugh offers a crashing, furious style that mixes Jimmy Page with early Robert Fripp. When Pugh seeks passages of beauty and tranquility, he finds them with ease, but when he aims for intensity, watch out! He literally attacks the listener, pounding them with his mammoth, perfectly executed riffs. Meanwhile, bassist Louis Cennamo is so talented and innovative that he single-handedly brought the bow into rock music with his bowed bass intro to the album. Several years before Page would pick up the bow for "Kashmir," Cennamo uses the bowed bass as means to an end, not for simple effect. Just as a normal bassist alone, masters within the genre owe their lifeblood to him. For he is able to play along with just about the toughest, most technical drumming around, that of drummer Mick Bradley, who is easily the most accomplished musician of the trio. To state that he is rock's greatest drummer is simply not enough. His energetic approach to the drum kit helped him become one of the first and only drummers in rock history, along with King Crimson's Michael Giles, to use polyrhythmic drumming, a style commonly used by jazz drummers. His dynamic performance on the primarily instrumental "For Against," which blows away John Bonham's "Moby Dick" and Ginger Baker's "Toad" in a heartbeat. On this album, there was a rumor that the band received some secret vocal and lyrical help from Yardbirds vocalist Keith Relf. Whether or not this is true remains a mystery, but what is fact, sadly, is that not long after this album Mick Bradley succumbed to Leukemia and passed away. This marked the end of Steamhammer, but the other two members forged on, forming a band called Armageddon. Speech is one of rock's finest and most creative hours, and one tends to wonder where Steamhammer could have gone from this point on had it not been for obscurity and sudden tragedy. AMG.

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Steamhammer - Reflection 1969

Reflection is also-ran late-'60s British blues-rock, with more rock-oriented takes on the kind of approach used by heroes Freddie King and B.B. King. B.B. King's "You'll Never Know," in fact, is covered here, though most of the material was penned by the band. Steamhammer doesn't put much of an original spin on its sources, or on the British blues-rock form, though this is competent and does generally have a moodier, more downbeat feel than most of the band's competition in the genre. The expressive qualities of Kieran White's voice, though, are limited, as though he's being pinched by something that keeps him from letting go too much. The best moments come when they venture just a little outside of the ordinary U.K. blues-rock model, particularly when Harold McNair adds some jazzy flute; "Down the Highway" sounds a little close to some of early Jethro Tull. Future Jefferson Starship member Pete Sears plays session piano. The 2002 CD reissue on Akarma adds two bonus tracks from 1969 singles, "Windmill" and "Autumn Song," which are more explicit forays into the more melodic jazz-blues-rock direction mined by the likes of Jethro Tull, Colosseum, and Davy Graham in the late '60s, again with prominent flute. AMG.

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Steamhammer - MK II 1970

The second version of the British combo Steamhammer released its first LP utilizing the talents of Steve Davy (bass), Martin Pugh (guitars), and Kieran White (vocals/guitar/harmonica/Jew's harp) from the original band as well as new recruits Steve Jolliffe (woodwind/brass/harpsichord/vocals) and Mick Bradley (drums). It was the blues that initially drove the combo on its debut long-player, Reflection (1969), likewise known as Junior's Wailing. This lineup adds more exploratory and intricate melodies, courtesy of the multi-instrumental talents and sonic sculpting of future Tangerine Dream member Jolliffe. While this version of the band would not remain past this album, its unique fusion would arguably peak on Mountains (1970), the follow-up to MK II (1969). There are definite shapes of things to come throughout this effort, thanks to the aggressive interaction of the new recruits. They immediately step up to the plate, providing a variety of interesting melodic and instrumental textures. These range from the full-speed gallop of Jolliffe's "Johnny Carl Morton" or the Baroque waltz "Turn Around" -- both of which are punctuated by some prominent harpsichord interjections reminiscent of other U.K. progressive groups such as Family and Blossom Toes. Pugh's guitar work is another of the band's conspicuous assets, as he is able to fluidly waft between the acoustic romanticism of the diminutive "Sunset Chase" to the bluesy and tongue-in-cheek "Contemporary Chick Con Song." The latter track includes a stretched-out instrumental jam that captures Pugh's criminally underrated electric fretwork. Steamhammer's various and seemingly disparate musical elements coalesce on the manic "6/8 for Amiran." They blend the complexities inherent in the time signature with a tightly executed and churning blues -- much in the same way that early Jethro Tull was able to do on sides such as "Nothing Is Easy" or "For Our Mothers." The second side consists of a suite containing "Down Along the Grove," "Another Travelling Tune," and "Fran and Dee Take a Ride." This 16-plus minute epic allows Steamhammer to improvise and stretch out. The open structure makes room for the various musical styles to be thoroughly explored with more intricacy than a majority of the three- and four-minute tunes. The double lead electric guitars, courtesy of the song's co-authors, Pugh and White, blend well with Jolliffe's jazzy sax and flute improvisations. Enthusiasts are encouraged not only to seek this platter, but the Mountains (1970) follow-up as well. AMG.

listen here

Steamhammer - MK II 1969

The second version of the British combo Steamhammer released its first LP utilizing the talents of Steve Davy (bass), Martin Pugh (guitars), and Kieran White (vocals/guitar/harmonica/Jew's harp) from the original band as well as new recruits Steve Jolliffe (woodwind/brass/harpsichord/vocals) and Mick Bradley (drums). It was the blues that initially drove the combo on its debut long-player, Reflection (1969), likewise known as Junior's Wailing. This lineup adds more exploratory and intricate melodies, courtesy of the multi-instrumental talents and sonic sculpting of future Tangerine Dream member Jolliffe. While this version of the band would not remain past this album, its unique fusion would arguably peak on Mountains (1970), the follow-up to MK II (1969). There are definite shapes of things to come throughout this effort, thanks to the aggressive interaction of the new recruits. They immediately step up to the plate, providing a variety of interesting melodic and instrumental textures. These range from the full-speed gallop of Jolliffe's "Johnny Carl Morton" or the Baroque waltz "Turn Around" -- both of which are punctuated by some prominent harpsichord interjections reminiscent of other U.K. progressive groups such as Family and Blossom Toes.

Pugh's guitar work is another of the band's conspicuous assets, as he is able to fluidly waft between the acoustic romanticism of the diminutive "Sunset Chase" to the bluesy and tongue-in-cheek "Contemporary Chick Con Song." The latter track includes a stretched-out instrumental jam that captures Pugh's criminally underrated electric fretwork. Steamhammer's various and seemingly disparate musical elements coalesce on the manic "6/8 for Amiran." They blend the complexities inherent in the time signature with a tightly executed and churning blues -- much in the same way that early Jethro Tull was able to do on sides such as "Nothing Is Easy" or "For Our Mothers." The second side consists of a suite containing "Down Along the Grove," "Another Travelling Tune," and "Fran and Dee Take a Ride." This 16-plus minute epic allows Steamhammer to improvise and stretch out. The open structure makes room for the various musical styles to be thoroughly explored with more intricacy than a majority of the three- and four-minute tunes. The double lead electric guitars, courtesy of the song's co-authors, Pugh and White, blend well with Jolliffe's jazzy sax and flute improvisations. Enthusiasts are encouraged not only to seek this platter, but the Mountains (1970) follow-up as well. AMG.

listen here

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RE-POST: Steamhammer - Speech 1972

Musically, Steamhammer was the cream of the crop of all rock bands from their thriving primordial era. In the realm of power rock trios, they were comparable to Cream. Yet this band is far superior in every way, but they failed to get the rave reviews and critical attention that the flashier Cream garnered. Diverging from the typical power rock style on Speech, their fourth and final album, the band found themselves in a dilemma without their vocalist, who had left after the previous release, Mountains. This led to a radical development for the band. Instead of hiring a new singer, the rest of the group picked up the slack, and reduced the role of the vocals significantly, opting for a progressive jam style that was hugely innovative for its time. Guitarist Martin Pugh offers a crashing, furious style that mixes Jimmy Page with early Robert Fripp. When Pugh seeks passages of beauty and tranquility, he finds them with ease, but when he aims for intensity, watch out! He literally attacks the listener, pounding them with his mammoth, perfectly executed riffs. Meanwhile, bassist Louis Cennamo is so talented and innovative that he single-handedly brought the bow into rock music with his bowed bass intro to the album. Several years before Page would pick up the bow for "Kashmir," Cennamo uses the bowed bass as means to an end, not for simple effect. Just as a normal bassist alone, masters within the genre owe their lifeblood to him. For he is able to play along with just about the toughest, most technical drumming around, that of drummer Mick Bradley, who is easily the most accomplished musician of the trio. To state that he is rock's greatest drummer is simply not enough. His energetic approach to the drum kit helped him become one of the first and only drummers in rock history, along with King Crimson's Michael Giles, to use polyrhythmic drumming, a style commonly used by jazz drummers. His dynamic performance on the primarily instrumental "For Against," which blows away John Bonham's "Moby Dick" and Ginger Baker's "Toad" in a heartbeat. On this album, there was a rumor that the band received some secret vocal and lyrical help from Yardbirds vocalist Keith Relf. Whether or not this is true remains a mystery, but what is fact, sadly, is that not long after this album Mick Bradley succumbed to Leukemia and passed away. This marked the end of Steamhammer, but the other two members forged on, forming a band called Armageddon. Speech is one of rock's finest and most creative hours, and one tends to wonder where Steamhammer could have gone from this point on had it not been for obscurity and sudden tragedy. AMG. listen here