| Musical Style: Metal/Hard Rock | Produced By: Cry Mercy & Mike McCormack |
| Record Label: Rowe Productions/Soundmass | Country Of Origin: Australia |
| Year Released: 1995/2022 | Artist Website: |
| Tracks: 10 | Rating: 75% |
| Running Time: 36:58 |
Listen to the Rowe Productions 1995 Cry Mercy self-titled debut full-length and you’ll feel like you’re traveling back several decades. As to the eighties, when straight up heavy metal, melodic metal and hard rock were the leading alternatives at hand, but also the nineties, when factoring a ‘current’ or ‘modern’ influence in line with the musical climate of the time. In terms of former, the varied rhythm and lead guitar work of Dean Jackson plays no small role in this regard, as does the convincing rhythm section of founding member’s bassist Oscar Rebelldeo and drummer Ian Dryland. From standpoint of latter, co-founding member and vocalist Walter Harnisch brings a modest punk-wave like feel to his delivery, which while taking some getting used to, fully complements the groups sound.
Ultimately, what brought the Australian quartet together was not just a shared love for the same music, but also a shared Christian faith as a bond.
An out of print and hard to find collectors item, Cry Mercy was re-mastered (courtesy of Paul D. Clifford at PCP Studios) and re-issued with upgraded packaging, noting the work of Scott Waters of No Life Til Metal Graphics. A multi-page booklet incorporates the original green tinted cover art along with lyrics and liner notes in an easy to read font and collage of band photos, articles and concert fliers.
Cry Mercy asks “What Am I Doing Wrong” on an opening track to skirt the mid-tempo as hard rock guitars and unrelenting mentality point to the aggressive (pinpointing the brash verse section and catchy (revealed in the tersely done refrain). Good and bad stands out in the process: whereas I enjoy Jackson’s high-energy soloing, the muffled backing vocals come off a bit off kilter. Lyric snippet:
Time will pass to loneliness
You’ve made your own self-righteous mess
The words and actions said and done
We all have lost, nobody’s won
We can change while time’s our friend
A broken heart that we can mend
Before the water meets the fall
The writings on the wall
Dryland’s drum solo opens one of this reviewer’s choice cuts “Don’t Ask Me”, a blues tinged hard rocker with a gritty riff mentality reminiscent to Aerosmith and Bride. Song succeeds with its aggression but without overdoing it in this capacity, with Harnisch’s modern tinged vocals lending a contrasting (and quite flattering) smoothing effect. Another positive is the bass solo that gives way to another stunning lead guitar run. Lyric snippet:
Don’t try and forget it, regret it
You’re trying to discredit
You seem to think that
You’re never gonna get it
You need more money ‘cause you ain’t got no sense
And your’e gonna buy a ticket to die
You need more money ‘cause you ain’t got no sense
You just bought yourself a ticket to die
“El Tiempo Gasto (Wasting My Time)” is first of two songs with lyrics in Spanish. It is one of my least favorite tracks. Not that it is in any way flawed, but I find it challenging to identify with due to not being in English, or at the very least is not as generous in terms of the catchy riffs and melodies to its predecessors. It does not help matters the song comes in at just two minutes.
“Girl’s No Good” stands out with its cool funky guitars. I find it much better, home to a bare bones metal mentality with equal portions of larger than life bass driven groove pointing to resounding hooks and rhythms to stay with you for some time. Of note is how Harnisch lowers his register and gives prominence to some earthy gravel to his delivery, while Dryland bestows some fitting double kick drum.
“Fine Kind Of Living” separates as one of albums heaviest. It begins to a thunderstorm ahead of gradually fading in, taking off to cowbell and perfectly placed crunch laden guitars - and exhibiting albums clean production in the process - and traversing the mid-tempo. The pointed backing vocals upholding the impressionable refrain are done to perfection. Lyric snippet:
Tonight a beggar walks the street
He’s looking for a place to eat
The gutter makes an early grave
He didn’t have to live this way
Why should I believe what people tell me
The masquerade will justify misgivings
I’m told this is a… fine kind of living
They say
“Time To Go” contrasts with a speed based approach, upheld by elevated timekeeping as walls of hulking guitars power to the surface and join with a backing voice harshly shouting ‘Go!’ Blistering lead guitar further builds upon the resounding power metal themes. This one does a nice job showcasing the solid Cry Mercy musicianship.
“Why” signifies another straight up metal stomper, devoting its initial seconds to open air guitar prior to plowing through its verse sections at a weighty, mid-paced clip. The catchy refrain lightening to swirling King’s X style backing vocals allows for an artistic effect. This one pinpoints a fantastic effort as one of the Cry Mercy finer musical moments. Lyric snippet:
It’s been a long, long time
But I’ve finally learned that
I’ve got to forgive you
But I don’t think that I’ll every forget
All the shame you put me through
I gave you love innocently
You gave it back twisted and deranged
I gave you trust, I had faith in you
And you threw it all away
Second Spanish song “Muy Ocupado Riendome (Too Busy Laughing)” also does little for me. It is another shorter piece at three minutes, but brings a punk essence with driving vocals and overall disposition chaotic of a speed-based nature. Again, perhaps it is the language barrier, but I struggle to identify with this one.
“The Fat Lady Has Sung” is much better. It represents another mid-tempo excursion, underpinned with a blatant bass line interwoven with ample doses of guitar feedback and distinct bluesy overtones. Along with “Why”, “The Fat Lady Has Sung” does a choice job capturing the metal edged but underlined with hard rock and (even if lightly done) nineties nuances.
With drum solo to start soon joined by crisp guitar, “Shut Up And Listen” dances with its catchy riffs and engrossing harmonies but also is not afraid to deliver its share of muscle, revealed in the heavy hitting refrain pushed by equally forward backing vocals. Interestingly, vocals highlight a chanted delivery but (mercifully) do not stray into rap territory and lead guitar further blues qualities. Lyric snippet:
Well now you made a real mess of your life
So don’t you bother come crying to me
You never really cared about a better life
But Jesus still hung for you on that tree
I told you once, I told you twice
You’ve never taken my advice
You always seem to jump the gun
Cry Mercy exhibits significant promise on its self-titled debut full length. I enjoy the forays into metal and hard rock along with occasional artistic nineties nuances, which combing for a flattering coalescing. Musicianship is spot on and a significant strength, while I also take to the lightly done wave like vocals. Overall, there is some real good material on Cry Mercy I grew into with repeat listen; on the other hand, I encountered a couple skip buttons as well, most notably the Spanish tracks. That said, I wish the group had stuck around to record a second album in order to grow into its full potential. Still, credit Soundmass for making Cry Mercy available after being out of print for such an extended span.
Review by Andrew Rockwell
Track Listing: “What Am I Doing Wrong” (3:08), “D.A.M. (Don’t Ask Me)” (5:03), “El Tiempo Gasto (Wasting My Time)” (2:19), “Girl’s No Good” (4:10), “Fine Kind Of Living” (4:39), “Time To Go” (2:57), “Why” (4:33), “Muy Ocupado Riendome (Too Busy Laughing)” (3:03), “The Fat Lady Has Sung” (3:31), “Shut Up And Listen” (3:34)
Musicians
Walter Harnisch - Lead Vocals
Dean Jackson - Guitars
Oscar Rebolledo - Bass
Ian Dryland - Drums
