KERRANG ISSUE 40 – APRIL 1983
CONEY HATCH (Mercury SRM-1-4056)
This is an incredibly mature and thoughtful debut, packing the hard rock punch but full of interesting ideas. Its overall feeling is similar to that of the late Max Webster, probably down to the production turned in by Kim Mitchell.
Kim has taken basic strong and melodic themes Hatched by the band and instead of softening the playing for American airplay as is usual, he has brought out all the hot sweat and aggression of this power quartet to the maximum.
‘Devil’s Deck’, opens the first side and a storming number it is too. It pinpoints the Coney ability to come up with striking killer riffs which aid and abet the song rather than slaughter it to death. Vocalist/guitarist, Carl Dickson holds the act together with minimum effort and proves that he is the (slightly) commercial influence behind the band, as on the UK single ‘Hey Operator’ where a simple piano lick rides in harmony over some ferocious axe play.
When bassist Andy Curran takes over vocally, the material develops a decidedly tougher edge: this-alter ego roars in on four occasions, outstandingly on ‘Stand Up where Curran sounds spine-chillingly to a vocalist’s equivalent of Jack Nicholson (remember that leer in ’The Postman Always rings Twice’?) ‘Yeah, kinda manic!
The spark of originality springs up time and again during the albums ten sharp songs, even on Dixons’ commercial tinged numbers such as ‘Victims Of Rock’ but no more so than on the album closer ‘Monkey Bars’, another outstanding riff complementing Curran’s vocals. It’s the originality and flexibility of Coney
Hatch that ensure that they will be around for a good few years yet.