The first two albums by Nazareth are part of that group of albums from famous hard-rock bands that, at the beginning of their careers, started out by exploring other and more varied musical genres, with results of varying quality depending on the case (we're talking about the early and more psychedelic UFO, the Mark I of Deep Purple, the first three trio-format albums by Thin Lizzy, which I find to be beautiful records, or the debut of the Scorpions) but are often overlooked in favor of their more famous works, and somewhat unfairly in my opinion, as if those bands were always and only tied to hard-rock, while some of these albums are quite nice. Okay, this isn’t the case for the first Nazareth (who have never really been a top-tier band) since their first two albums, much more focused on a mix of pop-rock-hard-ballad often reminiscent of the sixties with hints of country and folk, are not exactly memorable masterpieces. However, overall this "Exercises" from '72 is a valid little record, most of the songs are pleasant and nice, some perhaps a bit too firmly rooted in the 60s pop ballad ("In My Time" doesn't remind you of anything, does it? Especially when the guitar solo kicks in with that sound?), but very charming. Then there are a couple of above-average tracks, those that open ("I Will Not Be Led" a nice angry orchestral rock) and close ("1692 Glencoe Massacre" a bit excessively loaded in the finale but a beautiful song) the album. more
The perfect music to sink into an abyss of melancholy. more
It's that when they perform it in concert, the crowd goes wild. more
A rather uneven debut album, with some very valid moments and others decidedly less so; overall, it’s a decent record, nothing exceptional. There are some beautiful songs, but almost never, even in the most inspired moments, does the album become truly memorable, while a good half of the tracks fall somewhere between "pleasant but nothing more" and the utterly forgettable. The best songs are found in the consecutive trio formed by "Empty Arms, Empty Heart" (with that truly catchy riff that's hard to get out of your mind), followed by "I Had a Dream" and "Red Light Lady," both featuring contributions on harmonium in the first and organ in the second none other than Dave Stewart, who in 1971 was already, for several years, and would continue to be throughout the 1970s, the omnipresent man of the fanciful Canterbury scene, here in the role of pure session musician. It’s a shame that "Red Light" gets lost in the final part in an overly grandiose blend of strings and winds that feels clunky and unnecessarily excessive. The other standout track is their version of the widely covered "Morning Dew" by Bonnie Dobson (from the Jeff Beck Group to Einstürzende Neubauten to Fred Neil, to name a few), here in an elongated version that's typically 60s psych-rock-ballad. A good rendition, great piece. Here, Nazareth, far from the hard rock that would bring them greater success, were clearly in search of a precise musical identity. more
Basically, a Debaser who believed in it a bit too much. more
You're not the only one!!!! I'm watching one series after another. more
The blows of the children do not fall on their fathers. more
Surrealistic Pillow and Volunteers, among the highest peaks ever reached in psychedelic rock. more
"Running up that hill," a masterpiece, a great artist... when it came out, I was 14 years old, but she was a true prodigy, beautiful, a dancer, with fantastic lyrics and music, not to mention the duet with the beloved Peter Gabriel who "saw it coming"!!!
A piece of music history! more
With Roger Waters immense, afterwards, a shit! more
Author: David Marte
Title: “Words of Baustelle. Commentary on the lyrics of La Malavita, Amen, I Mistici dell’Occidente.”
LINK TO PURCHASE THE BOOK
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available in Print-on-Demand paperback format (pp. 342 – €13.99) and digital Kindle (€7.99).

INTRO TO THE BOOK
“Words of Baustelle” features a comprehensive commentary and an in-depth textual analysis of 18 chosen songs from a personal “Trilogy of Life” of the Tuscan band: 5 songs from “La Malavita,” 7 from “Amen,” 6 from “I Mistici dell’Occidente,” exactly the first half from each album. more
Thank you, god of music, for giving us the opportunity to listen to this band, even if just for two albums. Simply extraordinary. more
Put me to sleep here, Lord, and wake me in Japan. more
Band of bastards without hope more
The group that introduced me to heavier metal.
The first two albums (The Legacy and The New Order) are essential in a catalog dedicated to the thrash genre. It’s impossible for me to remain indifferent in front of tracks like Eerie Inhabitants, Disciples Of The Watch, and Musical Death (A Dirge): they always manage to make me daydream, especially because of those magnificent arpeggios with a medieval flavor. more
He and Murolo are the leading figures of Neapolitan song. more
A great act of humility when he gave up the number 9 jersey and chose the 1+8. more
A band founded by singer and leader of the Rebel Rousers, Cliff Bennett, who for this new project surrounds himself with some young and talented musicians, who had already been playing together for about a couple of years: Ken Hensley, Lee Kerslake, and John Glascock, all of whom would prove themselves over the course of their careers. This self-titled debut with its very strange cover, somewhat surreal and somewhat metaphysical, is the quintessential Rock/Soul/R&B album of the era, with some hints of Blues and Rock/Pop Psych-Acid, of course, the most typical stuff that could be played in those years. And, not being particularly essential in terms of songwriting (we're not talking about a masterpiece here, after all), I understand why it didn't break through; however, it remains a nice record, without a doubt, very fun and enjoyable to listen to, well-played and featuring all good songs inside. The cover of "Bad Side of the Moon" by Elton John is beautiful (recorded almost simultaneously with the release of the original single), and a song like "Just Like All the Rest" is interesting where a lovely flute predominates, a presence that, in this type of album, seems quite indebted to those Jethro Tull whom Glascock will get to know much more closely 7 years later. For the rest, there are beautiful songs of passionate white Rock-Soul, driven by Bennett's wonderful voice, one of the album's strong points. Glascock's bass stands out in the sound, which is a good and fitting thing. more