Published on May 7, 1999
Velocity is a band who could have been frozen back in the ’80s
and just thawed out in 1999. Sounding a lot like both Foreigner and
Bad Company when both bands decided to use some testosterone, their
music features crunching guitars, clean leads, occasional cock-rock
flirtations and a whole lotta attitude… and I’m lovin’ every
minute of it.
Essentially a two-man band (with the addition of Mr. Big drummer
Pat Torpey), Velocity – David Victor and Chris Dodge – throw
caution to the wind and play the music they like on
Impact. It is a reminder of how good hard rock could be in
the ’80s… and how good it still sounds today when performed
correctly. (Side note: Velocity has since fleshed out its lineup
with drummer Bob Gaut and bassist Chris Thornton.)
Now, I’ll be the first to admit that the lyrical content isn’t
exactly
War And Peace – but when was the last time you listened to
hard rock as fine literature? And as long as Victor can continue to
deliver the goods as well as he does on this album, you won’t hear
me complaining too much. (In fact, the only negative I could point
out would be Victor’s diction; sometimes what I heard in a song and
what the lyric sheet said were polar opposites.)
What Velocity also has going for them is that they’re not
concerned about the mile-a-minute solos. Granted, both Victor and
Dodge are very good guitarists, and both are able to whip out some
tasty solos. But it often seems like the melody of the song is more
important than whacking off on the guitar neck – which is a
refreshing change of pace.
Tracks like “You Don’t Amaze Me Anymore,” “She’s Been Around”
and “Riot Goin’ On” all adequately show the kind of talent that
Velocity has – even to the point of doing a ballad of sorts
(“Supernatural Lover”) and being able to pull it off without
sounding cheesy.
There were only two weak points on
Impact. First, after an album filled with songs that were
well-written and devoid of teenage sexual braggadocio, “One Minute
To Midnight” comes around and puts the focus back on getting laid
(“Skip the flick / Cut to the chase / Baby, yeah baby, you’re gonna
feel some rhythm tonight / Love rhythm”). Damn… the hopes of
moving forward dashed again by penis worship.
The only other weak point was the instrumental closer, “Open
Road”. While I’m not suggesting that doing an instrumental is a bad
thing, this one could have used a bit more development before
unleashing it on the public – especially in the abrupt ending to
the song, which doesn’t reconcile well.
Still, these two points aren’t that big when compared to the
whole album, and
Impact is a solid slab of rock that pays respects to the
past while making the sound fit today’s scene. If there’s any
justice, Velocity should see their career take off like a
rocket.