Archive for Flirtin With Disaster

Great Rock Albums of 1985: Molly Hatchet- Double Trouble Live

Posted in 1980s, Concerts, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , , on November 15, 2018 by 80smetalman

It was only logical that after six great studio albums, Molly Hatchet would put out a live album and boy what a live album! This album is so brilliant that it almost, I stress almost, removes my regret of never having seen this great band live. There was a couple of near opportunities to do so but the US Marine Corps had other ideas at the time. That means, I have had to settle for the consolation prize, not a bad one in any way, of “Double Trouble Live.”

What is cool about this live album is that the song selection has offerings from each of the studio albums. This includes the “Beatin’ the Odds” and “Take No Prisoners” albums when Jimmy Farrar handled the vocal duties. I have to say that Danny Joe Brown does a good job on both of the songs “Beatin’ the Odds” and “Bloody Reunion.” Speaking of Danny Joe, the band even plays a track, “Edge of Sundown,” from his one album with the Danny Joe Brown Band. Therefore, this album has a great diverse mix but Molly Hatchet shines on each and every song.

Of course, there are all the familiar Molly Hatchet classics we have come to love. “Flirtin’ With Disaster,” “Bounty Hunter,” “Fall of the Peacemakers,” “Stone In Your Heart,” “Satisfied Man” and “Boogie No More” are all played brilliantly live. You’d expect nothing less. On top of that, it was only natural they opened with “Whiskey Man” but the song where they really go above and beyond is “Gator Country.” That has always been a cool song but live, guitarists Duane Roland and Dave Hlubeck go absolutely nuts and turn it into a great jam session, well done lads!

When I first heard the album, I was slightly perplexed as to why they would cover Lynyrd Skynyrd’s legendary “Freebird.” After all, most Southern rock bands have their own answer to the Skynyrd classic. Blackfoot has “Highway Song” and even Molly Hatchet had “Fall of the Peacemakers.” So I asked myself, “Why?” The answer came when I listened to the track. Molly Hatchet definitely do it justice. I mean, I have heard some awful attempts covering this classic and I wanted to take an Uzi to those pretenders but Molly Hatchet would have made Ronnie Van Zant proud. There is also a cover of the Allman Brothers classic, “Dreams I’ll Never See” and again, it’s nicely done. Like I said, “Double Trouble Live” nearly removes my regret of not having seen them live.

Track Listing:

  1. Whiskey Man
  2. Bounty Hunter
  3. Gator Country
  4. Flirtin’ With Disaster
  5. Stone in Your Heart
  6. Satisfied Man
  7. Bloody Reunion
  8. Boogie No More
  9. Freebird
  10. Walk on the Side of Angels
  11. Walk With You
  12. Dreams I’ll Never See
  13. Edge of Sundown
  14. Fall of the Peacemakers
  15. Beatin’ the Odds

Molly Hatchet

Danny Joe Brown- vocals

Dave Hlubeck- guitar

Duane Roland- guitar

John Galvin- keyboards

Riff West- bass

Bruce Crump- drums

It has been said the “Double Trouble Live” is one of the best live albums of all time. It’s definitely one of the best in 1985. The only reason it’s not number one for the year as there is a definite contender as well but I’ll get to that one in due course. In the mean time, have a listen to a fantastic live album from Molly Hatchet. You too might not feel so bad if you haven’t seen them live.

Next post: Joe Walsh- The Confessor

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Great Rock Albums of 1984: Molly Hatchet- The Deed is Done

Posted in 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , on August 20, 2017 by 80smetalman

In the mid and late 1980s, there was a belief that whenever a hard rock or heavy metal band incorporated keyboards into their sound, they had sold out and were trying to sound more commercial friendly. Yes, this was the case for a good number of bands back then and Molly Hatchet were accused of the same when guitarist Steve Holland was replaced with keyboards player John Galvin, who had played with Danny Joe Brown when he had his own band. Sure, the band moved away from their Southern Rock stylings to a more commercial friendly arena rock sound but their 1984 album, “The Deed is Done” is by no means in any shape or form a sell out.

While there are notable differences with this album and their very famous hard smashing album “Flirtin’ With Disaster,” the hard rock sound is there for all to hear. Even with two guitars, Molly Hatchet really rock out on the album, the keyboards only give it a more melodic back ground. The most prominent examples are the two tracks released as singles, “Satisfied Man” and the one I prefer slightly more, “Stone in Your Heart.” These are both rockers with John’s keyboards providing excellent melodic back up. Unlike so many bands who tried using keyboards, Molly Hatchet does it right here and unfortunately, this is why the album didn’t sell as well as the fore mentioned biggie. Some metalheads scoffed at the use of keyboards while mainstream trendies were put off by the hard guitars and labelled them heavy metal. That’s another issue about the 1980s, but I’ll save that for another time.

As for the rest of the tracks, they cook as well and the now guitar duo of Duane Rolands and Dave Hlubeck show that even with two guitars, they can still kick ass. There is many a good hard rock song on “The Deed is Done” to be heard. However, if someone moaned about them using keyboards, then that person might have really been freaked out by the use of a saxophone on the track, “She Does She Does.” What younger metalheads didn’t understand in the 80s was that saxophones were employed very well in many a good rock song throughout the ages and it is done very well on this track. And while Molly Hatchet may have moved a little away from their Southern Boogie Rock sound, it is still there in the tracks, “Heartbreak Radio” and “I Ain’t Got You”. In fact, the second half of the album really rocks. “Good Smoke and Whiskey” wasn’t only a great track, it was my theme song for a while. However, my personal favourite on this album has to be “Man on the Run.” The old style of Molly Hatchet is stamped on it from the very beginning and the keyboards, like on the hits, provide the necessary support. This song is probably the best example of how you can incorporate the old Hatchet with the new. So what you do get with “The Deed is Done” is a more melodic hard rock sound in places but with the traditional southern sound not completely forgotten. It does make an excellent combination to the open minded.

Going on a little more about the keyboards, John Galvin is definitely underrated in this position. Some have compared him to Lynyrd Skynyrd’s Billy Powell, probably because their both from Southern Rock bands. Like Southern Rock bands, the piano is given that honky tonk sound which only works with bands like these two giants. However, John’s work with organs and synthesizers can’t be ignored because he plays them well. Oh yes, with all the talk about keyboards, I forgot to mention that the album also marked the return of Bruce Crump on drums. It was good to hear him return on the album.

Track Listing:

  1. Satisfied Man
  2. Backstabber
  3. She Does She Does
  4. Intro Piece
  5. Stone In Your Heart
  6. Man on the Run
  7. Good Smoke and Whiskey
  8. Heartbreak Radio
  9. I Ain’t Got You
  10. Straight Shooter
  11. Song For the Children

Molly Hatchet

Danny Joe Brown- vocals

Duane Rolands- guitar

Dave Hlubeck- guitar

John Galvin- keyboards

Riff West- bass

Bruce Crump- drums

Additional Musicians

Jim Horn- saxophone

Jimi Jamison, Tom DeLuca, Steve Bassett, Terry Manning- background vocals

I think that I’ve established before the metal court that “The Deed is Done” album was in no way a sell out for Molly Hatchet. While the album marks a departure from their traditional Southern sound, it still rocks and rocks hard. It’s just a shame there were too many musically narrow minded people around in the mid 1980s who didn’t give the album a chance.

Next post: Blackfoot- Vertical Smiles

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Great Rock Albums of 1983: Molly Hatchet- No Guts No Glory

Posted in 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , on February 22, 2016 by 80smetalman


One Southern Rock band that did still get some attention up North in 1983 was the great Molly Hatchet. What excited many Hatchet fans north and south of the Mason-Dixon Line was the return of lead singer Danny Joe Brown to the band to record the “No Guts No Glory” album. For those who are new to 80smetalman, it might be a good idea to have a crash history lesson. Danny Joe Brown left Molly Hatchet after the magnificent “Flirtin’ With Disaster” album, actually he was kicked out because of his drinking, and replaced by lead singer Jimmy Farrar who sang on the next two albums, “Beatin’ the Odds” and “Take No Prisoners.” While there was nothing wrong with either of those albums and Jimmy Farrar is a very capable singer, there seemed to be something missing from those albums. It was hoped that Brown’s return would re-ignite the chemistry that brought them fame with “Flirtin’ With Disaster.”

The old chemistry certainly does return on the “No Guts No Glory” album from the very first song. Things definitely feel very upbeat on the first two songs and at the time, I wanted to scream, although I did inwardly, “Welcome back Danny!” While the first two tracks set the pace for the entire album, it is the third track that propels things into the ionosphere. “Sweet Dixie” is one of those Southern rock boogie tunes that has me bouncing in my chair whenever I hear it. Unless I’m walking, then it makes me quicken my step. Even when I returned north after I got out of the service, the lyrics reminded me of the good things about being down South.

“Just give me those stars and bars, Willie on the radio

A good cold beer and that rebel cheer

And man I’m ready to roll

That sweet sweet Dixie music really gets into my soul

So Mr Deejay won’t you play that Southern rock and roll.”

Of course the guitars of Dave Hlubeck, Duane Roland and Steve Holland are all over that song as well as the entire album but the song where they really shine is the best known song from the album, “Fall of the Peacemakers.” Written as a lament over the murder of John Lennon although I always saw it as an anti- war song, the three guitarists lay down some killer solos in the style of “Freebird” or “Highway Song” on the final five minutes of it. “Fall of the Peacemakers” has been said to have been Molly Hatchet’s own “Freebird.” The guitars are certainly good enough.

Having originally bought “No Guts No Glory” on vinyl, actually my first vinyl purchase upon leaving the service, the songs mentioned were side one. Side two is definitely not filler. There are five awesome tracks on it that keep the party going very well. Of those five, the standout for me is “Kinda Like Love.” They do throw in something a bit different at the end as the closer, “Both Sides,” is an instrumental. Some more great guitar work on it to end the album just right.

Other interesting facts about the album are the fact that this is the only Molly Hatchet album not to portray a Franzetta painting on the cover. Another is the use of keyboards. Danny Joe Brown was wise to bring John Galvin over from his Danny Joe Brown band to play on the album. The album also features a completely new rhythm section with Riff West on bass and Barry BB Borden on drums. They work very well here.

Track Listing:

  1. What Does it Matter
  2. Ain’t Even Close
  3. Sweet Dixie
  4. Fall of the Peacemakers
  5. What’s it Gonna Take
  6. Kinda Like Love
  7. Under the Gun
  8. On the Prowl
  9. Both Sides
Molly Hatchet

Molly Hatchet

Danny Joe Brown- vocals

Dave Hlubeck- guitars

Duane Roland- guitar

Steve Holland- guitar

Riff West- bass

Barry BB Borden- drums

Additional musicians:

John Galvin- keyboards

Jai Winding- keyboards

*Note- Steve Holland would leave the band during the tour for the album and John Galvin would replace him and become a permanent member

Thanks to the return of Danny Joe Brown, many would say that Molly Hatchet was back. I know they never really went anywhere but the “No Guts No Glory” album in my mind, returned them to former glory.

Next post: Talking Heads- Speaking in Tongues

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Great Rock Albums of 1981: Molly Hatchet- Take No Prisoners

Posted in 1980s, Heavy Metal, Music, Rock, Uncategorized with tags , , , , , , , , on March 19, 2014 by 80smetalman



No longer will I trust another person’s account of any album in influencing me whether or not to buy an album. Back in 1981, I was interested in buying the “Take No Prisoners” album from Molly Hatchet but a couple of my marine buddies had gotten it and they all said that the album sucked. As a result I was put off ever buying it and I never listened to it until a couple of days ago and let me tell you, those guys were wrong, very wrong. “Take No Prisoners” might not be as good as “Flirtin’ With Disaster” or their first self titled album or even “Beatin’ the Odds” but it doesn’t suck, no way.

For many years now, Jimmy Farrar has been given the blame for the lack of success of this album and probably for “Beatin’ the Odds” as well. I now think this is rather unfair to the man because as I said when I visited the previous album, if he was with any other band, his vocal ability would have been more praiseworthy. Unfortunately, he was in the shadow of Danny Joe Brown and that is the problem. I have to admit myself, when hearing a couple of songs on this album, I was thinking to myself that Brown would have made a particular bit sound better.

Enough of the negative though because this album really boogies. In every song, the guitar magic of the trio of Roland, Hlubeck and Holland shine through with those special riffs that made me love Molly Hatchet in the first place. “Power Play” is the stand out track for me but the others are right up there as well, “Bloody Reunion” especially. Then they play a perfect blinder with “Respect Me In The Morning.” Most tend to think that because the song is a duet between a man and a woman, in this case Jimmy Farrar and Baby Jean Kennedy of Mother’s Finest that the song will immediately be a ballad. It certainly is not. This song rocks in the way that Molly Hatchet are known for and Kennedy’s vocals only make it that much better. Truly this album deserves more respect that what I give and I immediately and sincerely apologise to the band for my ignorance over the past three decades.

Track Listing:

1. Bloody Reunion

2. Respect Me In The Morning

3. Long Tall Sally

4. Loss of Control

5. All Mine

6. Lady Luck

7. Power Play

8. Don’t Mess Around

9. Don’t Leave Me Lonely

10. Dead Giveaway

Molly Hatchet

Molly Hatchet

Jimmy Farrar- vocals

Dave Hlubeck- guitar, slide guitar

Duane Roland- guitar, slide guitar

Steve Holland- guitar

Banner Thomas- bass

Bruce Crump- drums

I realise now that I have actually committed a double faux pas. Not only have I ignored a cool album on account of here say, I have neglected another band whose albums I should be visiting here. I remember Mother’s Finest back in the day and did listen to some of their stuff. They shouldn’t be pushed into obscurity, there are many pop acts deserving of that. Therefore, I will be featuring them in one of my upcoming posts.

Next post: Danny Joe Brown and the Danny Joe Brown Band

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Great Rock Albums of 1980: J Geils Band- Love Stinks

Posted in 1980s, films, Humour, Music, Rock, Uncategorized with tags , , , , , , , , on June 20, 2013 by 80smetalman


The USA, Canada and the UK have always enjoyed a musical interaction with one another where acts from one country get the same notoriety in the other. However, this hasn’t been the case with all acts. For example, when I get to 1981, I will reveal who I think is the best American artist not to have made it in the UK. (I’m sorry, you’ll have to wait til then.) Something similar can be said about the J Geils band. While watching British MTV, they had a weekend viewing of one hit wonders and one of those was the J Geils band with the song “Centerfold.” I was astounded! How could they be considered one hit wonders when they had been making great rock in America all throughout the seventies? I would have thought they would have at least heard of the title track of the album I’m visiting here today because “Love Stinks” is the song I will always remember them for.

“Love Stinks” is my favourite J Geils song  and it has been covered by great rock and metal artists such as Joan Jett and Bile as well as been used in commercials and films such as “The Wedding Singer.” It is also the title of the eleventh album from them. As I mentioned earlier, they tore up the seventies with a number of great rock albums and I am slightly kicking myself for not featuring any of them in previous postings, my loss. This album is no different. I love the seventies hard sound with the keyboard in accompaniment that make songs like “Till the Walls Come Down” and “Just Can’t Wait” great songs. I am also amused by the band’s sense of  humour with “No Anchovies, Please.” Yes, “Love Stinks” is a great rock album to be enjoyed by any officianado of the fine art of rock music.

Track Listing:

1. Just Can’t Wait

2. Come Back

3. Taking You Down

4. Nighttime

5. No Anchovies, Please

6. Love Stinks

7. Trying Not to Think About It

8. Desire (Please  Don’t Turn Away)

9. Till The Walls Come Tumbling Down

The J Geils Band

The J Geils Band

J Geils- guitar

Stephen Bladd- drums, vocals

Seth Justman- keyboards, vocals

Danny Klein- bass

Magic Dick – harmonica, saxophone, trumpet

Peter Wolf- vocals

The song “Love Stinks,” along with “Centerfold,” will forever be identified with the J Geils Band. However, the rest of the album the first song comes from is definitely worth a listen as well. I hope my British readers will definitely take me up on the offer if they haven’t listened to any in the  past. I know you’ll like it.

Next post: The Blues Brothers Soundtrack

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Great Rock Albums of 1980- Southern Fried Rock

Posted in 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , on June 17, 2013 by 80smetalman


If there was ever any proof needed that Southern Rock had finally come into the spotlight in 1980, it is the fact that some corporate record executive had the bright idea to put out a compilation album of great Southern Rock songs. I first saw this album on record store shelves in the summer of 1980 and almost after it appeared, advertisements for it began playing on radio and television. I had heard most of the songs previous to this album and now there was an album where I could listen to them all together.

“Southern Fried Rock” is full of great songs featuring classics like “Ramblin’ Man” from the Allman Brothers and the Charlie Daniels Band classic “The Devil Went Down to Georgia.” There is also a lot of variation on the album with slower songs like “So Into You” by the Atlanta Rhythm Section and the big country/rock crossover from the Pure Prairie League, “Amie” to rock outs like “Flirtin’ With Disaster” from Molly Hatchet, “Train Train” from Blackfoot and 38 Special’s “Rockin’ Into the Night.” This album has it all in terms of Southern rock with fifteen great songs.

Track Listing:

1. Ozark Mountain Daredevils- If You Want to Go to Heaven

2, Blackfoot- Train Train

3. The Charlie Daniels Band- The Devil Went Down to Georgia

4. The Allman Brothers- Ramblin’ Man

5. 38 Special- Rockin’ Into the Night

6. Black Oak Arkansas- Jim Dandy

7. Molly Hatchet- Flirtin’ With Disaster

8. Pure Prairie League- Amie

9. Bellamy Brothers- Let Your Love Flow

10. Elvin Bishop- Fooled Around and Fell In Love

11. Wet Willie- Keep On Smiling

12. Atlanta Rhythm Section- So Into You

13. Greg Allman- Midnight Rider

14. The Outlaws- There Goes Another Love Song

15. Marshall Tucker Band- Heard It In a Love Song

Allman Brothers

Allman Brothers

Molly Hatchet

Molly Hatchet



Charlie Daniels Band

Charlie Daniels Band

If I had to nit pick at this album, it is the fact that there are no Lynyrd Skynyrd songs on it. They were one of the most influential Southern Rock bands and it is a travesty that none of their songs are on it. Still, this is a fantastic album for anyone who wanted to investigate some of the great gems “Southern Fried Rock” has to offer.

Next post: The J Geils Band- Love Stinks

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Great Rock Albums of 1980: Molly Hatchet- Beatin’ The Odds

Posted in 1980s, Music, Rock, Uncategorized with tags , , , , , , , , on June 4, 2013 by 80smetalman


By the summer of 1980, I knew that Southern Rock had established itself up North and was listened to quite extensively there. However, in the October of the same year, I learned that it had made its way across the Atlantic when I saw this very album from Molly Hatchet on sale in a record shop in Southampton, England. The very same marine buddy who first introduced me to Southern Rock was with me at this time and we did both exceedingly rejoice in the fact that Molly Hatchet was listened to in Europe.

Being very predictable here but one can’t fail to mention that “Beatin’ The Odds” was the first album to feature Jimmy Farrar as lead singer who had replaced Danny Joe Brown who left the band on account of alcohol problems or so I’m told. Many Hatchet fans want to totally forget the Jimmy Farrar period of the band’s career but when I listened to the album a couple of days ago, (the first time in about 30 years) I tried to do so in a more open minded manner.

First, Jimmy Farrar is not that bad of a vocalist. Had he come out with another band, he probably would have been right up there with many of those who were around then. The unfortunate thing for him was that he had some very big shoes to fill when he replaced Brown at the mike. Saying that, I feel that the album still lacks a bit of punch to me when compared with the epic “Flirtin’ With Disaster” album. Yes, Molly Hatchet still plays that Southern bad boy boogie sound and this is in no way a bad album, but it is a quite a come down from the previous one. The track that stands out for me is “Penthouse Pauper” which has a great guitar intro and the title cut is pretty good too. “Sailor” is also a strong track. However, in spite of all the good things, to me, “Beatin’ The Odds” lacks something.

Track Listing:

1. Beatin’ The Odds

2. Double Talker

3. The Rambler

4. Sailor

5. Dead And Gone

6. Few And Far Between

7. Penthouse Pauper

8. Get Her Back

9. Poison Pen

Molly Hatchet

Molly Hatchet

Jimmy Farrar- vocals

Dave Hlubeck- lead and slide guitars

Duane Roland- lead and slide guitars

Steve Holland- guitars

Banner Thomas- bass

Bruce Crump- drums

I have coined the phrase “Sophmore Jinx” to bands whose second album didn’t match the expectation of a great first album. As “Beatin’ The Odds” is the third album from Molly Hatchet, I can’t really use it here. Furthermore, like I said, it’s not a bad album and it is a good one to have on in the background when sitting in your back garden on a warm day and swilling down some brewskies. However, when you do listen to it, try not to compare it to some of their more iconic albums.

Next post: The Charlie Daniels Band- Full Moon

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1980: A Golden Decade Begins

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , on March 30, 2013 by 80smetalman

You may be already or if not you will probably soon will be sick of me constantly broadcasting my belief that the 1980’s was the golden age of heavy metal. One of my original motivations for beginning this blog was to trumpet that belief, with the intention of backing it up by portraying all the great albums, bands and other fantastic memories I have from that year. There were some down sides to that golden decade as well, especially with who the US and UK had as president and prime minister during that time, but that’s another matter.

Golden decades have to start somewhere and for me it started in 1980. My life back then was totally different. First and most important, I was serving my country and had been in less than six months when it all began. As a new marine, I was longing to be sent to Iran and go and rescue the hostages single handed. Three days before the botched rescue attempt in the April, my battalion was woken up at two in the morning and driven to the air base forty miles away and put on a plane only to be told it was a drill. Three weeks later, President Carter sent us to Key West Florida to deal with the Cuban refugee crisis. I spent the last four months on a ship sailing around the Mediterranean Sea and Indian Ocean where I got within 67 miles of the coast of Iran, but once again, wasn’t allowed to go and kill anybody.

Enough of my life for that year, what about the music? In the first months of 1980, I can say I was a total convert to Molly Hatchet, playing the “Flirtin’ With Disaster” album constantly.


I also found myself being led down the trail of other great bands that would make their mark that year in the form of AC/DC, Judas Priest and especially Van Halen. The first two mentioned would put out albums that would fully enshrine them as all time greats and although in the case of Van Halen, some would look down on the “Women and Children First” album, (I don’t) they would still be one of the biggest names of that year.

Judas Priest

Judas Priest



Van Halen

Van Halen

I will of course be visiting all of these albums when I cover the decade opening year as well as those who were up and coming like Iron Maiden and Saxon and visiting other classic albums as well. So, I hope that you will all join me for what looks like to be a glorious ride through rock/metal history.

Next post: Foreigner- Head Games

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Great Rock Albums of 1979: Blackfoot- Strikes

Posted in 1979, Heavy Metal, Music, Rock, Uncategorized with tags , , , , , , , , , , on September 17, 2012 by 80smetalman

Naturally, after hearing “Flirtin’ With Disaster” by Molly Hatchet, I wanted to further explore this phenomena known as Southern Rock. Eventually, I came into contact with this fine album compliments of Blackfoot. “Strikes” was the third album by Blackfoot but the first one I listened to and for me, it’s their best.

This album takes the southern sound and just pounds the hell out of it with straight ahead power rock. The intro to the opening track, “Road Fever,” speaks volumes as it lures you by being rather hard but melodic and then the power chords strike and you can’t help to headband away to the rest. That is why that in 1980, “Road Fever” was one of my official travelling songs. The lyrics “Every time I am down and out and don’t know what to do. I drop a lude and hit the road and play me a song or two” may have something to do with it as well.

The rest of the album follows suit. The second track, “I Got a Line On You” although a cover, is done with the classic Blackfoot touch. The same can be said with their cover of the Free classic, “Wishing Well.” This doesn’t take anything away from their originals. The harmonica in the “Train Train, Prelude” sticks in my mind over 30 years later. The actual song is a classic rocker in its own right. And all this ends with the final jam “Highway Song.” I won’t get into the debate that it rips off the legendary “Freebird” because for me, the song has me playing air guitar for the entire length of the ending guitar solos, five minutes plus.

Track Listing:

1. Road Fever

2. I Got a Line On You

3. Left Turn on a Red Light

4. Pay My Dues

5. Baby Blue

6. Wishing Well

7. Run and Hide

8. Train Train, Prelude

9. Train Train

10. Highway Song


Rick Medlocke- lead vocals, guitar

Charlie Hargrett- guitar

Greg T Walker- bass, keyboards, vocals

Jakson Spires- drums, percussion, vocals

I can’t help believing that along with Molly Hatchett, Blackfoot, especially with this album, went on to influence a lot of metal bands from the South. At the time, and quite a bit now, Blackfoot were what I would call metal. The hard sound of “Strikes” bears testimony to that.

Next post: Nantucket- Your Face or Mine

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Great Rock Albums of 1979: Molly Hatchet- Flirtin With Disaster

Posted in 1979, Heavy Metal, Music, Rock, Uncategorized with tags , , , , , , , , , , on September 13, 2012 by 80smetalman

1979 brought a new genre of rock into the limelight, Southern Rock. The roots of this country boogie style meets heavy rock go back to the early seventies with the band many officianadoes credit as the creators of southern rock, The Allman Brothers.

Allman Brothers

Their blues based southern sound was unique at the time and would be a mainstay throughout the seventies. The cause of southern rock was further pioneered later in the decade by the great Lynyrd Skynyrd who brought a more harder edge to it. For a teenager like me who lived in the North, Skynyrd was one band from the South you could listen to and not only rock out, you wouldn’t be looked upon as some kind of redneck, although a lot of young rockers who were labelled such were into them too.


Lynyrd Skynyrd


Okay, enough of the history lesson, (I’m sorry, it’s the teacher in me again) on to 1979 and this fantastic album from Molly Hatchet. It was this album that thrust them into the light and make the entire rock world at the time stand up and take notice of them. They had a much harder sound than even Skynyrd and even the more slower songs like “Long Time” have a rockier edge that make you want to stand up and go “Yeah!” with a raised fist and a can of Budweiser in the other hand. When you listen to “Flirtin With Disaster” you are in no doubt that you are listening to a true hard rock album.

For me, the album was the thrash metal of 1979. Yes I know it doesn’t come anywhere near thrash but with the exception of maybe Van Halen, AC/DC or Ted Nugent, there was nothing heavier. I can say that “Flirtin With Disaster” completely sealed my cross over into hard rock and metal forever. When I heard this album, there was no going back.

The great thing about it is that although it’s a classic hard rock album, many of the songs still contain that southern boogie vibe originally began by The Allman Brothers and Lynyrd Skynyrd. Take the song “Jukin City” as an example. Hard guitars start the song and set a rhythm that is so catchy, it stays in your head long after you have head banged your way through its entirety. The same can be said about the other songs on the album and especially the title track. In each and every one you are greeted by some hard but strangely melodic guitar sound that makes you just want to rock out! That said, there is not enough credit given to the guitar combination of Roland, Hlubeck and Holland. Sure other bands have three guitarists, but none that work so well together as the forementioned three. I practically love every guitar solo on the album.

Track Listing:

1. Whiskey Man

2. It’s All Over Now

3. One Man’ s Pleasure

4. Jukin City

5. Boogie No More

6. Flirtin With Disaster

7. Good Rockin

8. Gunsmoke

9. Long Time

10. Let the Good Times Roll

Molly Hatchet

Danny Joe Brown- vocals

Bruce Crump- drums

Dave Hlubeck- guitar

Steve Holland- guitar

Duane Roland- guitar

Banner Thomas- bass

I sincerely believe that if Molly Hatchet had never been around (yes that would have been tragic) I am convinced that some heavy metal band in the 80s would have taken the name. The name alone indicates a heavy rock or metal band and was reason why I had to listen to the album. Furthermore, back in 79, the Frank Franzetta paintings which adorned the covers of this and other Hatchet albums inspired many bands long after in their album cover choices. So, why Molly Hatchet deserves all the credit for getting Southern Rock noticed by the masses, it should also be given the credit for its influence on the 80s metal scene after. This album is without a doubt their best one and one of my favourites of all time.

Next post: Bad Teacher

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