Clark Hutchinson
Retribution

THE REVIEW

1970. A time when America, England, and Italy were brimming with a multitude of excellent bands. Besides the very famous Yes, Genesis, Pink Floyd, there were millions of groups in the underground of prog and acid rock that not everyone was aware of. Continuing my obsessed search in the progressive landscape, I found a very interesting group, namely Clark Hutchinson, a band that released 3 CDs (which is quite good considering there were many groups that, unfortunately, made one album, even a very good one, but then stopped..).

They formed in 1970 initially as a duo, that is, Andy Clark on keyboards and vocals, and Mick Hutchinson on guitar. Their first work was "A=MH2", very difficult to listen to, characterized by long free improvisations on non-canonical scales, influenced by a certain psychedelia. After this excellent album, the band expanded by adding two more members, Amazing Stephen on bass, and Den Coverley on drums. This line-up brought to light in the same year "Retribution", setting the sound much more on hard rock blues, with acid contaminations and darker and more direct. An anarchic sound at times, distorted and "stoned", in the American sense of the term, very similar to bands like Zior, Edgar Broughton Band, and Monument.

The album opens with the blues scale of "Free To Be Stoned", an anthem to freedom typical of the seventies, introduced by the charged and distorted voice of the singer, and after several guitar slashes, the band's technical evolution can be immediately noticed. The Hendrixian temptations are evident, thanks to the omnipresent rhythmic drumming and Mick's unleashed performance on the six strings. Unreal. In the second track, you have the impression of ending up in a Colosseum album, but it's actually a beautiful jazz phrasing still by Clark Hutchinson. That is the carefree "After Hours", which is the opposite of the clumsy "Free To Be Stoned". Here, the blues scales ground by Mick take center stage, as always impeccable despite his guitar fury, and the perfectly thematic piano makes the listening much more relaxed.

With the dreamy and beautiful "In Another Way", we return to rock patterns, almost American southern, that along with "Dreaming" by May Blitz and "No More White Horses" by T2 justifies its place among the most beautiful rock ballads of the English underground. Linear and full of pathos is the voice that gives an additional touch of originality to the composition, allowing us to reach the end of the album without concern. The fourth track "Best Suit" keeps the album at very high levels, and the band once again delivers a great rock lesson, where we find an expressive keyboard solo and the overwhelming voice of Andy Clark. After this, it moves to less fast rhythms, with a slowdown where the guitar has plenty of space to indulge in solos and more.

Another sensational riff introduces "Death, The Lover" initially supported by the Hammond, then transforming into a kind of dark-flavored march with an unparalleled shouted voice. An obsessive and perfectly psychedelic rhythm that seems to have no escape routes, effortlessly seizing and involving you.

We have reached the end of this good album by this not-so-famous band, which for too many years, along with a thousand other groups, covers the dark panorama of progressive rock. I strongly recommend listening to all fans of good rock and digging up these excellent bands that you certainly won't find on MTV. Enjoy listening!!