They’re both obviously classic heavy rock records. British outfit Atomic Rooster released their first album, Atomic Roooster (with the extra ‘o’), in 1970, and Aussie proto-doomers Buffalo unleashed Volcanic Rock three years later. If you’re standing in a store, and the two of them are there on the shelf in front of you, there’s no decision. You buy both.

But what I’m curious about in this new feature (that I hope will be a series from here on out, depending on the reaction/response it gets) is the artwork. Atomic Roooster and Volcanic Rock have some of the most ridiculous artwork ever put on a vinyl sleeve.

The first is a hawk trapped in a glass cube that inexplicably has breasts — and what’s up with that chair in the corner? — and the latter it what looks like a skull-faced neuter from Dragon Ball Z holding a giant penis over his head as he stands atop a giant volcano that turns out on the second half of the gatefold to be a woman’s ass and what may or may not be menstrual lava.

Each astounds in how little sense it makes, so I put it to you — which is the better cover?

Atomic Rooster, Atomic Roooster (1970)

or Buffalo, Volcanic Rock (1973)

Click either to enlarge the image, and leave your vote in the comments.

Wow. I guess if you don’t read this site regularly, that headline makes no fucking sense whatsoever. So be it. Mysterious headlines are totally tr00 kvlt.

Aussie rockers Buffalo issued one of the great underground classics of the heavy ’70s in the form of 1973′s Volcanic Rock. They were never huge in their day, they put out a couple records and lost members, put out a couple more records, and then broke up. Pretty much the story of every band ever. But if you’re a fan of early Black Sabbath and you don’t check out Volcanic Rock, you’re missing out.

It’s another one of those records that I’d had my eye on for what feels like an eternity before I finally gave in and picked it up from eBay. The version I got — a silver-disc in a full jewel case with professionally printed artwork — is nonetheless almost certainly a bootleg. There’s no label information on any of the art, but the disc says “SM The CD Label” and lists its country of origin as West Germany. Cold War boots. Awesome.

Whatever. Unlike every other edition of Volcanic Rock I could find in the wide intertubular expanse, this one was reasonably priced, so no regrets. It’s hard to pick a favorite track among the five killer bluesy, heavy riffing cuts, but I think “Freedom” might just be it. The bassline is too awesome to go ignored, and though opener “Sunrise (Come My Way)” is catchy, the preaching in “The Prophet” is top notch and the riff from “Shylock” is so “Symptom of the Universe” it makes my head want to explode that I didn’t buy this record sooner, there’s a doomed groove to “Freedom” that trumps all.

In the long run, Buffalo‘s second album is probably more known for its artwork — the skull-faced androgyne on top of a lava-menstruating volcano holding aloft a penis-shaped rock — than the music itself, but these songs flat-out rule. I’m glad as hell that I didn’t make a heavy ’70s podcast before picking this one up. Good shit, highly recommended for riff historians and those who, like me, weren’t there the first time around.

Forget it, I’m out.

I’ve started three other articles since that Zed review below and they, like that review, all sucked, so I’m punching out early for the weekend. It’s a beautiful day anyway, so I’m going to go try and enjoy it. Thanks to the over 1,200 people who came here yesterday, topping even Wednesday’s numbers. I’ll be back Monday with hopefully a more productive disposition.

Maybe it’s the image in my head of Kansas flatland stretching to the horizon and then some, but there’s something isolated about the widely varied tracks on the self-titled, self-released full-length debut from The Midnight Ghost Train. As though, despite the amount of low-key touring the band has done, they still can’t escape their nestled-in geography. This is not necessarily a bad thing, particularly as the band — a duo on the record who since have added bassist Will Shumate and relocated from their original home in Buffalo, NY — incorporates lonely and blues-laden acoustics with their densely-packed furry riffage.

The Midnight Ghost Train is led by guitarist/vocalist Steve Moss (he plays bass on the record too). Brandon Burghart handles the drums here since joining following the excellent The Johnny Boy EP, and there are a slew of guests throughout. The dramatic “Desert Red” is made all the more so by violin and cello contributions, and former drummer Jake Levin sings a gruff lead vocal on “Mustache.” Levin is one of three guest vocalists — Joseph Hester shows up on “Desert Red” and Edward Jackson adds backup for “They’re Burying Me Alive” — and although it would be easy to read this as a lack of confidence on the part of Moss as a singer, the vibe The Midnight Ghost Train gives off isn’t so much that as it is simply wanting to change things up. Moss shows himself capable of handling Fallon-esque throaty preaching on “The Swell” and a more subdued, near Cisneros-style on “River Silt.” No perceivable insecurity there.

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Someone needs to sign this band. Today.

Every now and then you find an unsigned band who make it all worthwhile, and that?s how I feel about Buffalo?s The Midnight Ghost Train. Not only are they self-financing a full month-long US tour, but their bluesy, boozy, diverse six-track The Johnny Boy EP — which is actually about 50 minutes long — is pushing the stoner envelope with a sound as natural as it is brazen.

A trio featuring Steve Moss on guitar and vocals, Keith Harry-Carey on bass (since replaced by O.D. Lallo of L.O.M.F. and formerly Negative Reaction) and drummer Jake Levin (since replaced by Brandon Burghart), also on piano, The Midnight Ghost Train are one of those bands who actually deliver when you say, ?Wow, I sure hope there?s a harmonica on this song.? The Johnny Boy EP opener ?Brothers? gets moving with a driving riff and the memorable, charming lyric, ?I?m in love with a new girl every week.? Moss? vocal has a very stoner rock rough edge, and on the softer, longer, more atmospheric ?Stranger? he seems to have taken a diction cue from Eric Wagner?s later work in Trouble. Not a bad thing since it works coupled with the echoing, bluesy guitar.

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Alright, alright, enough already, Brand New Sin. First you got rid of Brian “Slider” Azzoto and that was a total mistake because, as everyone knows, your band is never gonna get anywhere if you’ve got a 300 pound guitarist and then you get rid of him. It’s band law, look it up.

As if that wasn’t bad enough, vocalist Joe Altier (no slouch in the beer-gut department himself), who had what might still be the best “Yeeeeaaaaahhhh!!!” in all of heavy metal — we’re talking Howard Dean-esque intensity — was sent packing and replaced with… Joe Sweet? Really?

And now he’s gone too? Well guys, I finally get the point. All you had to do was ask. Yes, I will drive six hours up to Buffalo and come sing for you. I will be your Brand New Sin-ger.

[Cleverness quota: Met.]

In his defense, Mr. Sweet is headed for a second round of fatherhood and has — gasp! — a real job. Can’t hold that against him. What led guitarist Kenny Dunham to also quit is anyone’s guess. According to Blabbermouth, it’s the age-old pursuit of “Other interests.” Interests like not being in Brand New Sin. Maybe he just got a new HDTV and wants to catch up on Law and Order: SVU. I can respect that.

Oh wait, your guitarist, Kris Wiechmann, is taking over lead vocals. Missed my chance, again. You know, since there’s only two founding members left in Brand New Sin, and since we’re about seven years removed from when that self-titled disc came out on Now or Never and nothing since has quite matched up, maybe I don’t want to take that ride Upstate anyway. Maybe it’s time you got yourselves a new name and did the “Featuring Former Members” thing. Then call me.

Or hell, get that dude from Greatdayforup. He’s not busy, and he’d only have to drive five hours.