Fastway - Eat Dog Eat (Album)
Mention the name Eddie Clarke to rockers – indeed, true metalheads – of a certain generation (including older members of Team HP) and you will invoke a certain reaction… first, their left arm will raise aloft, the hand transforming into the shape of the devil’s horns; next their eyes will glaze over and their heads will slowly nod forward, their hair magically uncurling from its ponytail and falling free over their shoulders before, finally, they fall to their knees and prostrate themselves on the ground in the best “we are not worthy” tradition. It is a rite which may seem strange to many music fans of a, shall we say, less mature vintage (and certainly ones with far shorter hair!): but, if you bend an ear closer to your seemingly mad older brethren, you will hear strange but familiar utterances emanating from behind their insane, smiling lips – words to classic metal anthems such as Bomber, Ace Of Spades, (We Are) The Roadcrew….
Yes, way back when – before many members of aforesaid Team HP were even an evil thought in their fathers’ braincells – ‘Fast’ Eddie Clarke was one third of Motörhead, THE band who virtually defined what we know as modern day heavy metal in the late 1970s and early 1980s. Then, with the triumvirate seemingly at the height of their invincible power, the guitarist split ranks and – unthinkable of the unthinkable – went commercial! Initially, he teamed up with another British metal powerhouse, UFO bassist Pete Way for what was supposed to be a joint project – hence the band monicker – before contractual obligations forced the latter to return to his ‘day job’ (he’s subsequently quit and rejoined a number of times): Clarke, however, soldiered on, recruiting Irish singer Dave King (now frontman with Flogging Molly) and former Humble Pie drummer Jerry Shirley, and going on to enjoy moderate but slowly declining success in the second half of Eighties – and, despite the occasional foray into the live arena (most notably at Download in 2007), he’s been quiet ever since (some achievement for someone who was once part of the loudest band in the world… see what we did there? No? OK, fuggedaboutit!).
Now, after a recording break lasting 21 years, Clarke has resurrected Fastway and stepped back
into the limelight, this time with former Little Angels vocalist Toby Jepson up front (and on bass duties) and the latter’s long-time collaborator Matt Eldrige on drums. So, you can imagine the anticipation here at HP when the parcel containing what already was being hailed in many circles as the comeback album not just of the year but of the decade arrived on the doorstep…
As soon as the rolling bass of Fade Out rumbles from the speaker, we know that it has been worth the wait, as Eat Dog Eat is ten tracks of some of the best mature rock that you are ever likely to hear. And the key word in that sentence is ‘mature’, as the one thing that shines through across the length (and breadth) of the album is that the fact that these are highly experienced and accomplished musicians and performers, each of them comfortable in their ability – and each at ease with each other. Clarke often is content to play ‘second fiddle’ (as on the aforesaid bass-led Fade Out) as, as with all great guitar players, his performances are often under-stated and almost unnoticed within the overall song structures – while, at other times, he just lets rip with blistering solos, such as standouts Leave The Light On and Sick As A Dog; however, at all times his playing is soaked in the passion of the blues, such as on Loving Fool, the stunning Dead And Gone, the foot-stomping groove of Freedom Song and the down ‘n’ dirty vibe of Who Do You Believe?
The other highlight of the album is, of course, Jepson’s vocals, which are just superb: deep, bluesy, mirroring Clarke’s guitar playing with their light and shade and fitting the material like a glove with their passion, energy and fire.
Overall, it’s an album where it’s really unfair to pick out individual songs or performances, as it all fits together in one glorious 45-minute package of damn fine, played-as-it-should-be, mature, classic rock album which should be heard, and appreciated, by anyone who dares to call themselves a rock fan.
Go, buy, listen, enjoy.
Yes, way back when – before many members of aforesaid Team HP were even an evil thought in their fathers’ braincells – ‘Fast’ Eddie Clarke was one third of Motörhead, THE band who virtually defined what we know as modern day heavy metal in the late 1970s and early 1980s. Then, with the triumvirate seemingly at the height of their invincible power, the guitarist split ranks and – unthinkable of the unthinkable – went commercial! Initially, he teamed up with another British metal powerhouse, UFO bassist Pete Way for what was supposed to be a joint project – hence the band monicker – before contractual obligations forced the latter to return to his ‘day job’ (he’s subsequently quit and rejoined a number of times): Clarke, however, soldiered on, recruiting Irish singer Dave King (now frontman with Flogging Molly) and former Humble Pie drummer Jerry Shirley, and going on to enjoy moderate but slowly declining success in the second half of Eighties – and, despite the occasional foray into the live arena (most notably at Download in 2007), he’s been quiet ever since (some achievement for someone who was once part of the loudest band in the world… see what we did there? No? OK, fuggedaboutit!).
Now, after a recording break lasting 21 years, Clarke has resurrected Fastway and stepped back
into the limelight, this time with former Little Angels vocalist Toby Jepson up front (and on bass duties) and the latter’s long-time collaborator Matt Eldrige on drums. So, you can imagine the anticipation here at HP when the parcel containing what already was being hailed in many circles as the comeback album not just of the year but of the decade arrived on the doorstep…As soon as the rolling bass of Fade Out rumbles from the speaker, we know that it has been worth the wait, as Eat Dog Eat is ten tracks of some of the best mature rock that you are ever likely to hear. And the key word in that sentence is ‘mature’, as the one thing that shines through across the length (and breadth) of the album is that the fact that these are highly experienced and accomplished musicians and performers, each of them comfortable in their ability – and each at ease with each other. Clarke often is content to play ‘second fiddle’ (as on the aforesaid bass-led Fade Out) as, as with all great guitar players, his performances are often under-stated and almost unnoticed within the overall song structures – while, at other times, he just lets rip with blistering solos, such as standouts Leave The Light On and Sick As A Dog; however, at all times his playing is soaked in the passion of the blues, such as on Loving Fool, the stunning Dead And Gone, the foot-stomping groove of Freedom Song and the down ‘n’ dirty vibe of Who Do You Believe?
The other highlight of the album is, of course, Jepson’s vocals, which are just superb: deep, bluesy, mirroring Clarke’s guitar playing with their light and shade and fitting the material like a glove with their passion, energy and fire.
Overall, it’s an album where it’s really unfair to pick out individual songs or performances, as it all fits together in one glorious 45-minute package of damn fine, played-as-it-should-be, mature, classic rock album which should be heard, and appreciated, by anyone who dares to call themselves a rock fan.
Go, buy, listen, enjoy.
