Edit History
Optional description
What to report
Reason
Report

Bloodrock 2 1970 Album

Bloodrock 2 Bloodrock 2
41
Affinity
100%
0.5
0%
1
0%
1.5
0%
2
0%
2.5
0%
3
0%
3.5
0%
4
1
100%
4.5
0%
5
0%
Recent Ratings
First Ratings
Top Lists
Not added to a list yet. :(
My Tags
No tags added.
My Lists
Not added to a list.
Choose a list
New list name
New list description
Item description
My Catalog
Length
43m 8s
Country
United States
Release Dates
1970-10-01
Description
Bloodrock 2 is the second album by the Texas rock band Bloodrock. It was released on Capitol Records in October 1970 and produced by Terry Knight. The album was certified Gold by the RIAA in 1990.
artist
producer
label
Other Roles
No other roles added (Edit page)
Tracklist
1. Lucky in the Morning 5m 48s
2. Cheater 6m 52s
3. Sable and Pearl 4m 58s
4. Fallin' 4m 6s
5. Children's Heritage 3m 34s
6. Dier Not a Lover 4m 10s
7. D.O.A. 8m 30s
8. Fancy Space Odyssey 5m 11s

Reviews

All Reviews
A couple of key personnel changes take place here – Rick Cobb joins the band as the permanent drummer, enabling Rutledge to solely focus on his front man role (and Cobb wrote many lyrics as well) – and more importantly, the band starts incorporating the songs of Fort Worth guitarist John Nitzinger into their arsenal. Just about everyone pegs this album as a moderate drop-off from the debut, but I may be the only person going the other way here. Since Terry Knight produced this album, and judging by the cover, there was at least a couple of things done specifically for shock value – the gory, blood-dripping album cover, and “D.O.A.”. And that’s about it, really. On the average – surprisingly – the material feels a bit lighter than the raw, anger-filled stuff that was all over the debut. But don’t get it twisted – there are still songs about revenge and death and other depressing things to be heard here – it’s just that with the added talent on board they were in a mood to show that’s not what they were all about, after all. “Lucky in the Morning” kicks off the affair in kind of the same way that “Gotta Find a Way” did for the previous record, functioning like the angelic yin to that song’s evil yang, with seriously glorious organ flourishes, happy group harmonies, and Rutledge sounding much cleaner than ever before. Huh? “Cheater” brings back the vengeful factor into the album, but still sounds more rootsy and rednecky then evil and brutish. But the payoff with both songs comes when you get to the tough workouts and solos in the latter halves, anyway. “Sable and Pearl” is the one place where Rutledge just overdrives it past all limitations, vocally and lyrically (“TEACH ME TO LOVE YOU/ANYWAY YOU CAN!”), but a small part of me actually enjoys this exercise in overblown, hippie-throwback machismo, from a guilty pleasure standpoint. Starting from “Fallin” the album appears to get back to a mood more attuned to first album standards, although even here there are some curveballs presented. “Children’s Heritage” is a track which is interesting because, in some brief sections, it is actually more exaggerated than “Sable and Pearl” was, yet much tighter from a technical standpoint. The collective groove laid down by the band here is undeniable, and most likely only the incredulous nature of it all prevented from being a real hit on the charts. The album ender, “Fancy Space Odyssey”, is essentially the mid-tempo version of “Heritage”, roughly using the “Day Tripper” bass line as a riff to tell a story about the band’s early club-playing days in quite the absurdist sense. That does not leave us with much else to talk about, other than the infamous “D.O.A.”. Its’ appearance on the charts was in an abridged form, but here you get the full Monty – eight minutes and twenty-five seconds of this dirge – from the first organ-played imitation siren to the last ambulance siren which ends the thing. For me – having now heard it countless times – I have to say, as with many extended Bloodrock tunes, the payoff comes at the end, when all of the players are given a chance to shine. Rutledge gets three verses and by the third one, you are beyond wondering if it was a bit much, especially the way he delivers the words at certain points, in order to further amplify the effect from his end. But overall, the song really is a fantastic late night B-movie classic – not something you would recommend for repeated listening, but every once in a while, when you need a little heart racing….I could, and probably should mention more here (“Fallin”, and especially “Dier Not a Lover” are formidable tracks – I love Cobb’s drum work on the latter piece) but I think I will leave it off here for now, and move onto the next record. Just know that, with Bloodrock 2, it would appear the group found their cheap thrills-inspired groove
0

Comments

No comments yet. :(
Reason for report
Description