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25 of 25 people found the following review helpful:
4.0 out of 5 stars
The band they loved to hate..., December 7, 2005
Bloodrock took some below the belt hits during their career, mostly because of misplaced comparisons to Grand Funk Railroad, with whom they shared a record label and producer Terry Knight. Terry may have had influence over their recordings, but this was definitely a band with their own vision and direction. Bloodrock 2 is the album that brought them out of obscurity and included their only major hit, DOA. Most fans will agree that DOA isn't a fair representation of what they aspired to be and certainly not of what they eventually became. What Bloodrock 2 offers is a view of a work in progress.
With the addition of Rick Cobb, taking over percussion duties from lead vocalist Jim Rutledge, the band made a strong leap forward from their first album, setting aside experimentation and indulgence in favor of more serious song writing and tighter arrangements. Cobb's considerable skill lends itself admirably, and the payoff is evident in a cohesive album with much to like amidst one or two arguable flaws. Stronger cuts such as Lucky In The Morning, Cheater, and Dier Not A Lover, showcase the talents of each member. Delivered with conviction, the individual styles blend together into a singular vision of Texas-fried hard rock that carries Bloodrock to new musical heights.
As for the flaws, I can point out only one that seems obvious. Sable And Pearl is likable enough, but doesn't work very well as the ballad it tries to be when it's slammed with a bone crunching chorus. DOA, despite its hit status, might also be considered a misstep. It's reminiscent of their first album's meandering, and doesn't seem to fit as comfortably with the rest of 2. As I said, arguable flaws, none of which hamper the album's overall effectiveness. After 30 plus years of listening to this album, I have yet to tire of it.
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14 of 14 people found the following review helpful:
4.0 out of 5 stars
this album's importance in rock history, October 23, 1999
By A Customer
This review is from: Bloodrock 2 (Audio CD)
This album is, of course, remembered for its momentous cut "D.O.A.", toe-tag included with the LP. Like the proverbial car crash, the song was so horrible you couldn't take your ears off it. But this was 1970--actually, its popularity peaked nationwide in 1971--and if ever humanity threatened to kill itself off suddenly and with shocking violence, this was the time. Or at least we were convinced it was. Vietnam, race riots, and the possibility of an all-out thermonuclear war were as real as air and sunshine; the old clashed with the new. You remember exactly where you were and what you were doing when you heard "D.O.A." the first time. Sure, it's a bit on the dark side, but it's so powerful you can smell it. Sadly, it's the lone song this great band is remembered for. Give the other cuts a fair chance and you'll understand why VanGough removed an ear: NOBODY APPRECIATED THE GOOD STUFF! This is early cerebral rock performed by able and talented musicians/songwriters/lyricists. May I also suggest "Passages" as a wonderful adjunct to your new yet tasty Bloodrock collection. Darken a quiet room and listen.
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15 of 16 people found the following review helpful:
4.0 out of 5 stars
Good Stuff all the Way, May 2, 2001
This review is from: Bloodrock 2 (Audio CD)
As the other reviews say, the album is best remembered (at least by some)for the song D.O.A. It was a classic. But D.O.A. isn't the best song on this album. For me, Cheater and Fallin' are both better cuts. There was once a review of this album in the Rolling Stone Record Guide that chided Bloodrock for being a "stable mate" of Grand Funk. Regardless of how you feel about Grand Funk, the comparison was unfair. Bloodrock was not Grand Funk. They shared a producer, Terry Knight, and a label, Capitol. All the cuts on this album deserve a listen. Trust me.
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