•
Rating: Company of Snakes are essentially much of the old, original Whitesnake without the diva David Coverdale. It makes little difference, because the youngster recruited as frontman in his place is a devoted disciple, much less narcissistic at least.
The album is solid, because the ugly but talented guitar duo formed by veterans Mick Moody and Bernie Marsden really knows how to craft and deliver pure British blues rock—consistent in theme and free from American gimmicks and pandering.
With the heyday of eighties classic rock, pop metal or however else you wish to call it now over, and the nineties’ grunge fascination also faded, it’s a pleasure to slip back into the seventies by listening to works like this—released in 2002, but already carrying thirty years on its back in terms of style, inspiration, and guiding principles.
Those guiding principles are that of a dry and decisive blues rock, embellished with guitar solos and backing vocals only when necessary, mostly dedicated to a smart and dynamic cohesion between two equally important guitars intent on alternating, harmonizing, differentiating and then uniting, following the old school initiated by the Rolling Stones and a few others since the sixties.
The ideas are there, the riffs work, no poses or grimaces to disturb—only substance, clearly set in a retro context. And there is enough variety in rhythm and atmosphere, albeit clearly confined to the chosen genre.
“Ayresome Park”, dedicated to an old British stadium, opens and closes the album and is a solo instrumental by Moody on an archaic acoustic guitar tuned in “open” key; “Ride, Ride, Ride… etc.” on the other hand is a boogie made infectious by the inclusion of slide guitar.
The title track is a blues rock that alternates claustrophobic sections tightly wound around the riff with others that are more expansive, thanks to arpeggiated passages and intriguing counter-choruses, all driven forward by a pulsating bass. It’s great melodic, almost epic, rock. “Sacrificial Feelings” leans toward the Dirigible; without trying anything too complicated, Marsden and Moody celebrate hard rock in its most enjoyable form, even if they lean on undeniable stereotypes.
“Little Miss Happiness” has shades of the old Rolling Stones, or at most the Faces, or perhaps the Creedence Clearwater Revival, though the singer invents a vocal style one might describe as “Roy Orbison with power”—can you imagine. The hot rock’n’roll “Kinda Wish You Would” is half Whitesnake, half Lynyrd Skynyrd—what you’d expect, perhaps, but well put together. The other r’n’r (despite the title), “Back to the Blues”, is more anonymous. I get the same fill-in vibe from the blazing hard rock “All Dressed Up”.
The inevitable ballads, robust yet melodic, are titled “Hurricane” and “Days to Remember”. The first leans toward Wishbone Ash, thanks to all those harmonized guitars and vocals. The second is much more made in USA—drawn-out and lyrical, textbook in the verses then more surprising and personal in the bridge and choruses, thanks to a beautiful chord sequence, unexpected key changes and, cherry on top, a fantastic twin-guitar solo.
The mid-tempo “Can’t Go Back”, if I were to associate it with relatives, reminds me of Bad Company; the voice is completely different, but the rock attitude is the same. Finally, the Led Zeppelin return a little with “She” (acoustic folk mixed with relentless hard rock).
Every time I listen to this record, it makes me think I ought to consider it more often—which is a great sign.
Loading comments slowly
