Toad
Tomorrow Blue

THE REVIEW

In 1972, Toad released their second album, Tomorrow Blue. Unlike their first record, the group now consisted of only three musicians, after the departure of the singer, who was worthily replaced by the already guitarist Vic Vergeat.
Mainly due to this desertion, the band's sound will now feature more solo moments, particularly several guitar cavalcades. Overall, however, the music remains undoubtedly high quality, with progressive streaks that could not be found in the previous work. In some tracks, the violin is also introduced, played by H. W. Lipsky.

We begin with "Thoughts", a song rich in tempo changes that starts with a musical theme that repeats for a good part of the song, but on which guitar solos of all types develop, expressing Vergeat's skills.
Following is the title track "Tomorrow Blue", an electric blues whose duration of 9 minutes leaves room for new escapades with the Italian-Swiss musician's 6-string guitar, where his style, sharp and noisy, stands out. At the end, the singing resumes (in English, as always), quite bold and recognizable.
Next is "Blind Chapman's Tales", undoubtedly one of the best tracks on the album, very relaxed, with classical guitar and violin, reaching its peak in the central part where we can find an excellent instrumental digression. The evocative voice also adapts to the atmospheres.
Then comes "Vampires", another excellent piece, a mix of hard rock and calm moments, and it’s precisely this alternation that the group plays on, with an unexpected finale where the song culminates with a short (strangely!) but at the same time very heartfelt solo, that conveys emotions to the listener. The best moment to elevate the song.
"No Need" is instead a very electric track, whose structure is constantly supported by the Hendrixian riff that marks its cadence. In the middle, other evolutions, this time noted for speed. As always, the rhythm section is also appreciable.
Next is "Change In Time", the longest track on the album with its 12 and a half minutes. On the whole, it's varied, with a hard start and subsequent digressions to confirm, if there ever was any doubt, the guitarist's abilities. Around the middle, there is a pleasant moment of rest, with evocative violin and guitar parts, in a classical style. All very beautiful, before the noise explosion that brings the song back to the initial motif.
The album closes with "Three o' Clock In The Morning", which departs from the music heard so far with a pleasant yet brief piano motif, played by the jack-of-all-trades Vic Vergeat.

In conclusion, another excellent record for the Swiss band, also this one trapped in the depths of rock, confirming what was done in the previous work. A band to mention among the best non-English Europeans of the genre.