No Connection
Feed The Machine

I officially conclude my period of inactivity on DeBaser with a new review, the first of many others I'm preparing. After a long search, I finally managed to find the discography of No Connection. It was quite a challenge, but now I can review their works. Let's start from the beginning, as this British classic-rock band is unknown to most. Perhaps some may have (vaguely) heard of them: maybe through the FlatOut racing video game series, a true advertising manifesto for No Connection, which features five tracks from the band in two of its chapters, apparently the most beautiful ones.

But let's move on to review the first work in this cycle of mine. Actually, I chose not to start with the debut album, "Justified" (almost impossible to find, even online), but with this good "Feed The Machine," one of the best, which I deemed worthy of a good review. Indeed, the combination of songs that opens the album - the title track and "Burnin'" - is truly excellent. Overwhelming rhythm, more than good instrumental parts; moreover, the voice of the singer (and guitarist) Graham Young is perfect for the genre. Incidentally, both songs are featured in the first chapter of "FlatOut." Coincidence? Anyway, it's quite obvious that I can't just lavish praise (unfortunately) for this album, which, it's not too bold to say, no longer reaches the levels of these opening tracks. Especially the quieter songs, like the ballads "Beautiful" and "Love The Illusion," take on decidedly repetitive and boring tones and ultimately fail to engage the listener at all. But there are also songs that we might say deserved more after listening to them multiple times. This is the case with "Don't Need Your Love" and "Right Place Wrong Time," to name two. But in these (and others), there's an important, incredible flaw: there's no solo. And the good Graham certainly has the means to produce a noteworthy solo, as we’ll hear in the second half of the album, more promising instrumentally, especially in "Take It From Me" and "Pity The Fool," but reaching its peak in "God & I," which includes an instrumental part that is decidedly above the album's average, despite the vocals, which are not exactly the best.

The album then ends with "Got Your Number," which brings back a bit of confidence to the British trio, although, as mentioned, not up to the quality levels of the best songs. Personally, I think this band has great potential, although, when listening to albums like this, it seems they have little imagination in songwriting, and most of it flows by without leaving a mark on first listens, even encouraging the less patient listener to skip a song (or the album). However, my final judgment is more than deserved for the good aspects shown.