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Rating: Born and raised in the same context as the “cousins” Lynyrd Skynyrd, the Molly Hatchet were among the most authoritative representatives of the Southern rock scene for a good few years. In the Seventies, indeed, while old Europe was alight to the sounds of Immigrant Song and Child in Time, the old star-spangled colonies responded by shouting in chorus “Freeeee Biirrdd!”. Learning the lessons of hard rock, the Southern style pushed its blues roots to the highest levels, embracing country as well, thus forging a style that, as the name itself implies, is the emanation of a very specific socio-cultural context.
Almost as if by a twist of fate, Dave Hlubek and his crew, after the usual groundwork, debuted with a 33 LP in '78, right after the story of Skynyrd ended as we all know - the subsequent reunions of Gary Rossington and company had very little to do with the original group – taking on, in the eyes of many, the legacy. With a six-member lineup, powerful voice, and “triple guitar attack”, their self-titled debut LP achieved considerable success, featuring tracks like Bounty Hunter, Gator Country, and Dreams I’ll Never See that proved to be an excellent introduction. The honky-tonk atmosphere, tales of sultry tequila and whiskey-laden evenings, and troubled loves, as per blues tradition, were naturally part of the formula: nothing new was being invented, but it was done with necessary conviction. With the first LP, they also inaugurated a series of tributes the group would pay to their “fathers”: here, it’s the already mentioned Dreams, borrowed from the Allman Brothers Band. A side note: no one ever quite understood what Frank Frazetta's Conan the Barbarian-style covers had to do with boogie rock, but they were undeniably captivating. How many in the Eighties bought their LPs expecting Manowar clones? More than one, but perhaps they were pleasantly surprised.
The formula repeated the following year with Flirtin’ With Disaster: the title track became their Sweet Home Alabama and Whiskey Man and One Man’s Pleasure were just as good. Again, not much was added to the original formula, but the final result was once again noteworthy, with endless solos, the guitar trio of Hlubek-Roland-Holland dominating, gravelly vocals, and blues rhythms continuing to set the rules. It was 1979; disco and punk were making waves everywhere, while heavy metal was on the rise, yet paradoxically, here they continued to triumph with a proposal that couldn’t be more retro, being completely out of time. The proof? The tribute to Robert Johnson’s Cross Road Blues, a forty-year-old track frequently played live: this was the ABC of an entire genre. Flirtin’ With Disaster would remain the major hit for which they are still remembered today but also somewhat their swan song: Danny Joe Brown, halted by health issues, was forced to hang up the microphone, but his former bandmates would still carry on.
The most ardent fans always saw Brown as the true soul of the group, but credit must be given to his successor, Jimmy Farrar, for being up to the task. Thanks in part to the new arrival’s talents, the Hatchet of the new Beatin’ the Odds brought their hard rock vein to the fore without losing their essence. Sailor and Poison Pen confirm the skills of musicians who know how to blend robust rhythms and melodies, with Penthouse Pauper, a Creedence Clearwater Revival track, as yet another nod to their roots. The half-hour of music breezes by pleasantly, though here and there the first cracks start to show, with the sense that they are moving along paths that have been overly exploited, although the genre itself doesn’t offer much room for innovation. Nevertheless, they carried on steadily: Brown’s departure seemed to have been assimilated, the Hatchet live remained a powerhouse, and during the heavy metal boom, the six hopped on the bandwagon, even though it was a genre they had only limited dealings with.
The adventure continued in 1981 with Take No Prisoners, reaffirming the lineup from the previous record. Everything was formally impeccable, with the engaging Respect Me in the Morning, enriched by Baby Jean from Mother’s Finest, in the spotlight, but it was essentially a carbon copy of the previous albums. Bloody Reunion remained, nonetheless, an excellent piece with which to open a record and indeed would be reprised during subsequent tours. They also found time for the customary tribute, this time with Little Richard and his Long Tall Sally, but the formula had become overused.
One had to wait two years for a breath of fresh air with No Guts… No Glory, which closed the band’s peak period. The lineup was overhauled and, with Brown returning, they introduced a brand-new rhythm section with Riff West on bass and Barry Borden on drums, replacing the longtime Banner Thomas and Bruce Crump. The Hlubek-Roland-Holland trio was on fire and Fall of the Peacemakers was among the most representative tracks of the Hatchet and perhaps the entire genre, while with Kinda Like Love, they convincingly ventured into more radio-friendly territories, but it was the end of the line. Holland departed and was replaced by keyboardist John Galvin, embracing more catchy sounds from then on. They would proceed until the late Eighties, with Duane Roland being the standard-bearer of the lineup, having never abandoned the ship, before finally putting an end to it all.
For about twenty years, another version of the group has existed, without any original or historical members, led by Bobby Ingram, a guitarist who replaced Hlubek in the late Eighties, but it’s tantamount to a cover band. With Steve Holland passing away last summer, all original members have left this world, and seeing the Hatchet name still on festival posters is more than a stretch. In Europe, except for “the usual” Germany, they never enjoyed much popularity, while in the USA, they continue to have a loyal fan base. A few years ago, the five classic albums were reissued in a single box set by Sony/Legacy for the Original Album Classics series: needless to say, it’s a great opportunity to give a worthy tribute to these indomitable Southern warriors.
Molly Hatchet (historical lineup):
- Danny Joe Brown, vocals
- Dave Hlubek, guitar
- Duane Roland, guitar
- Steve Holland, guitar
- Banner Thomas, bass
- Bruce Crump, drums
Other musicians:
- Jimmy Farrar, vocals
- Riff West, bass
- Barry Borden, drums
Classic discography:
- Molly Hatchet, 1978
- Flirtin’ With Disaster, 1979
- Beatin’ the Odds, 1980
- Take No Prisoners, 1981
- No Guts… No Glory, 1983
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