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16 and Savaged

16 and Savaged in Bloomington, MN
Current price: $16.99
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Size: CD
Silverhead
's second record,
16 and Savaged
, finds the unit much tighter, yet like any great
rock & roll
band, they maintained that all-important swagger. The addition of guitarist
Robbie Blunt
gives the group an added punch, and he and
Rod Davies
proved to be one of
glam
's best twin-guitar attacks. Vocalist
Michael Des Barres
steps up as well, and his
Steve Marriott
-bumping-into-
Rod Stewart
rasp never sounded better, before or since. The boys come out blazing on the groovy opener,
"Hello New York,"
nailing the
Bolan
strut and swiping the
"Get It On"
licks, while the gleefully sleazy
"More Than Your Mouth Can Hold"
has a definite
Faces
vibe, an intro borrowed from
"Street Fighting Man,"
and all the subtlety of a
Gene Simmons
lyric. In fact, the near-
metal
crunch of the album may have been an influence on the still developing
Kiss
sound. The lights lower for
"Only You,"
and while
Des Barres
shines, the song ultimately misses the mark. The newfound intensity of the group is most evident on
"Bright Light,"
a
glam rock
boogie monster that chugs along for a few minutes, before bursting at the seams for a photo finish that, paradoxically, sounds very much like a
punk
Led Zeppelin
. The second half of the LP contains some fine and engaging rockers in
"Heavy Hammer,"
"Cartoon Princess,"
and
"Rock Out Claudette Rock Out,"
but is in desperate need of a
ballad
to help with the pacing -- ideally one on par with
's
"Wounded Heart"
or
"In Your Eyes."
Unfortunately, the weaker final numbers are made all the more obvious by this lacking element, keeping the disc a notch below their debut.
turned out to be their final studio album, and
have all but been forgotten. Though not without its faults, the album is still one of the most exciting records from the
period, and it, along with the group itself, should be remembered as one of the era's finest. ~ Bart Bealmear
's second record,
16 and Savaged
, finds the unit much tighter, yet like any great
rock & roll
band, they maintained that all-important swagger. The addition of guitarist
Robbie Blunt
gives the group an added punch, and he and
Rod Davies
proved to be one of
glam
's best twin-guitar attacks. Vocalist
Michael Des Barres
steps up as well, and his
Steve Marriott
-bumping-into-
Rod Stewart
rasp never sounded better, before or since. The boys come out blazing on the groovy opener,
"Hello New York,"
nailing the
Bolan
strut and swiping the
"Get It On"
licks, while the gleefully sleazy
"More Than Your Mouth Can Hold"
has a definite
Faces
vibe, an intro borrowed from
"Street Fighting Man,"
and all the subtlety of a
Gene Simmons
lyric. In fact, the near-
metal
crunch of the album may have been an influence on the still developing
Kiss
sound. The lights lower for
"Only You,"
and while
Des Barres
shines, the song ultimately misses the mark. The newfound intensity of the group is most evident on
"Bright Light,"
a
glam rock
boogie monster that chugs along for a few minutes, before bursting at the seams for a photo finish that, paradoxically, sounds very much like a
punk
Led Zeppelin
. The second half of the LP contains some fine and engaging rockers in
"Heavy Hammer,"
"Cartoon Princess,"
and
"Rock Out Claudette Rock Out,"
but is in desperate need of a
ballad
to help with the pacing -- ideally one on par with
's
"Wounded Heart"
or
"In Your Eyes."
Unfortunately, the weaker final numbers are made all the more obvious by this lacking element, keeping the disc a notch below their debut.
turned out to be their final studio album, and
have all but been forgotten. Though not without its faults, the album is still one of the most exciting records from the
period, and it, along with the group itself, should be remembered as one of the era's finest. ~ Bart Bealmear