One of two albums the ‘Buzzard released as a last gasp in 1973. I have not heard Buzzard, but Allright on the Right is a bit overlooked, in my opinion, even though – and stop me if you have heard this before – the band suffers from the same identity issues which setback the previous two albums I reviewed. This time around, the product is more glam than tough rock and boogie blues, although those two traits are still in effect here in certain places. At least four tracks fit the glam category, and rather well, I might add, while the other four either belong in other realms or are somewhat ambiguous. The opener “Can’t Live Without It” is a pretty obvious Stones knock-off, but then again, there are certain parts the group makes its’ own as well, and it reinforces the group’s image as tough, take-no-prisoners, druggin’, boozin’, and fightin’ road warriors – nothing more or less. Some people might argue with the addition of the horns, but I think they are a nice touch. “Fast Bluesy Woman” is a fast, roots-based rumination on some groupie lady one of the guys met in L.A., or something, and again, rather Stones-derived in nature, but it is neat to hear. This gives way to the glam section of the album – the pretty riff which leads into “Gold Medallions”, the rather dangerous-sounding “All I Want is Your Love”, and the bold percussive “Rainbow Rider”, which is up there in competition for best track of the record. “Rudi Movie Star” keeps the glam vibes going, until the more progressive “Pictures” brings us back down to Earth. Finally, we end on the epic “Last War”, a bit of an extended track featuring a drum solo and weird sound effects to end the track, but no political content is involved here – all it signifies is the end of an obviously troubled relationship. For me, each and every track has something to offer, which is the main thing for a group like this.

This under-the-radar British outfit had connections to both Deep Purple (some of their albums were released on the group’s record label) and Rolling Stones’ bassist Bill Wyman (who produced all of their studio albums), but despite these links they never quite made the big time, for one reason or another. The group morphed from a late 60’s psychedelic act called The End, whose music I have not heard one note of. Beyond the odd name, I guess you could say Tucky Buzzard shared something in common with quite a few other cult acts from this era – they were talented, but seemed to suffer from a lack of direction, and ended up churned in the backwash of their supposed betters. The debut appears to have the strongest link to the previous psychedelic era, although towards the end of the album there are serious messages of the band going in another direction already. The album starts with “Time Will Be Your Doctor”, a jaunty organ-guitar rocker which was brought to the band by original drummer Paul Francis, who had already left the band by the time the debut record was released – which is why you will hear the same song on Fuzzy Duck’s debut album (recorded the same year) as well, as Francis played in that band, too. It’s a good song to kick the album off, but the group harmonies and song structure date it to 2-3 years before ’70, in my opinion. And I feel much the same way as the first half of the album progresses. Running through “Stainless Steel Lady”, the pastoral “Sally Shotgun” (which segues into the darker “Gu Gu Gu”), and “My Friend”, what I am hearing are decent psychedelic pop songs…but then I look at the year the album was released and do a double-take. The second side is certainly not anymore original than the first, but I feel like I am getting a more distinctive sound, in the very least. The last four tracks, especially, are moderate improvements. Instead of the sweet-sounding harmonies and Zombies-ish keyboard playing, we get some actual gruff attitude, mean guitar riffs, and singer Jimmy Henderson stepping to the forefront, finally, like a lead singer is supposed to. Probably my favorite track here is “Whiskey Eyes”, which is quite reminiscent of a Guess Who track but given an extra dose of venomous attitude since the subject matter is about a malicious, drunken woman bent on revenge. Overall, a choppy debut but it has its’ merits, and in the very least it is fairly listenable.

The big thing that gets to me is how cinematic the entire album is made out to be, from start to finish, with movie sound samples coming at you from all directions – listening to this one in headphones can be nerve-racking at times – and yet, you know it’s all done merely to get a reaction out of the listener, whether it be a scare or a laugh. La Sexorcisto, for all of its’ scares and/or fun, is cheap and disposable.

Thus begins, a more familiar version of White Zombie, even though it's only a mere taste of what was to come. Here we have the La Sexorcisto lineup in place, with guitarist Jay "J" Yuenger making his debut. And it's fun…but somehow you know the score in advance. From now, Rob's brand of calculated shock and awe is what rules the day, over and over, even on this short, three song EP, where the cover of "God of Thunder" is cartoonish shuck and jive, and the remaining two tracks are really just haunted hayride exhibitions. I give'em credit for finally finding their niche, but it's a predictable one.

Second time around, and from a technical perspective, it's an improvement…sort of. Tom Ricci replaces Tom "Five" Guay on guitar, to make possible the group's new foray into heavy metal (supposedly inspired by Rob Zombie listening to Ivan de Prume's copy of Ride the Lightning), but elsewhere, Bill Laswell's production job completely muffles Yseult's bass, and the group in general sounds as if they recorded this from the bottom of your neighbor's garbage can. Plus, the songs themselves have the grooves, but as with the previous album, the individual memorability is lacking. Which wouldn't be a big deal…except that now the reconstituted group is pretty far removed from their former noise-rock vibe, and in a realm where visceral feel of riffs and tones do count for something important, that's a strike against them. And when you take away the power of the rhythm section…? As a result, the whole affair has a weaker impact than the previous one, IMHO. Still, it's worth hearing a few times, just as a contrast between the rest of White Zombie's works.