Howling At The Moon - The Punk Panther's Album Reviews

Now, I have laid my criticisms on thick over the sound of the previous album, backing-wise but there is an improvement here. Although the group use the same contemporary sounds as on the previous outing, there is a crisper, clearer production to the sound that renders it more appealing to me. The tracks are all good ones too, especially the Black Eyed Boy re-write of When We Are Together (although this does suffer from the same muffled production), the Diana Ross-sounding Day After Day and two other great singles in In Our Lifetime and Summer Son. The Hush is probably the track that best exemplifies Texas's sound in this period.  There is also quite a lot of hints of later era Deacon Blue on this album's sound, which, if you have read my reviews of those albums, you will know I do not necessarily think is a good thing. It's about the production there too.  Highlights - In Our Lifetime, Summer Son, Move In, When We Are Together, Day After Day, The Hush

This is where Texas went from being a blues rock, slightly "cult" band to being a blue-eyed soul-pop one before our very ears, utilising contemporary dance beats, programmed drums, synthesised strings, artificial scratching noises and the like. as far as I am concerned, despite being full of really catchy and melodic songs (just as the previous album was), something was lost due to the muffled, dense and murky sound that was delivered in order to satisfy the tastes of Radio Two chart-oriented listeners. The difference in clarity (negatively) between this and the previous offering was seismic.  I just cannot get on with the sound on this one at all. Even on the faux Motown-Northern Soul of the "earworm" singalong hit single, Black Eyed Boy, there is an overall muddiness that detracts from it. Those synthesised strings sound awful. The same accusation can be levelled at the album's other big hits, Say What You Want and the scratchy White On Blonde. It is a shame, ...

Rick's Road was Texas's third album, and it has received a certain amount of criticism from various reviewers I have read, comparing it unfavourably to the two following albums, both of which were huge sellers. Indeed, AllMusic stated that it is "just one or two decent songs above being classified as drivel". Nonsense.  I have to robustly disagree with them. These people have had problems with the fact that it is a blues rock album and not a commercially-oriented poppy or hip/hop-influenced one, whereas for me it is the exact opposite - it is powerful, rocking and full of quality blues guitar, drums and harmonica. This, as far as I am concerned, is Texas at their best, before they went all programmed drums, and "contemporary" pop soul sounds. Texas never sounded like this again after this, a few backwards nods here and there, but not too much. For me, their first three albums were their best, when they wanted to sound as American as their name. Sharleen Spi...

An excellent debut album here from a laid back soul/funk outfit from North East England. Firstly, the album has fantastic sound quality (in contrast to another reviewer who seemed, incomprehensibly, to have a problem with it). It is clear, sharp and with a big, booming bass too. On the opener, Sunday Love, they quote The Jones Girls’ Nights Over Egypt, unsurprisingly, as the track has more than a feel of it about it. Their brand of smooth, late night soul is very much in that vein. Even the next track,  Listen, while more bassy and upbeat, has that easy groove to it that just washes over you. All Your Love has more than a hint of Rose Royce to it at the beginning before it goes into 80s funk territory, with some excellent percussion backing and a killer bass line. The singer, Louise Mehan, has that Rufus-era Chaka Khan sound to her voice or, as I previously alluded to, the singer in Rose Royce, Gwen something? Googled it. Gwen Dickey. Philly Line (Hit The Tracks) was the song that ...