When Buffalo released Volcanic Rock in 1973, they staked their claim as Australia’s first, truly, heavy rock band, giving local audiences a taste of the riff-heavy, doom-tinged energy that bands such as Black Sabbath were renowned for. Following their impressive debut, Dead Forever, Volcanic Rock cranked everything up with a louder, heavier, and bolder production. To say Volcanic Rock is the band’s greatest creative output would be an apt assessment for the extended jams and primal grooves are raw, unrelenting, and uniquely Australian, thereby ensuring that this is a landmark release worth celebrating.
Visually stunning, yet knowing the tone of the era, one can only imagine the raucous the artwork for Volcanic Rock would have created between conservative parents and their teenage children. Perhaps it was a good thing that Buffalo flew, somewhat, below the radar for if they had been more successful, you can almost guarantee that social expectations would have deemed the cover art inappropriate thereby requiring different artwork to be issued. That said, I think we can all agree that Volcanic Rock’s artwork is significantly more tame than their 1974 follow-up, Only Want You For Your Body.
While Volcanic Rock was never a commercial success, as with many albums that didn’t see the respect they deserved upon release, Buffalo and Volcanic Rock would achieve a cult following; particularly amongst those with a penchant for early heavy metal, psychedelic rock, and doom metal releases. The album’s raw production and extended track lengths may also have deterred casual listeners but this style of powerful rock is steeped in tradition and remains a sonic treasure to those of us who appreciate music that is somewhat on the fringes of mainstream rock and roll.
Sonically, the album is starting to show its age and despite being remastered by Gil Matthews in 2005, the Apple Music edition is non-committal as it pertains to which master has been given to the streaming giant. The two bonus tracks, Sunrise (Come My Way) (Single Version) and Shylock (Live Version) are missing from digitally delivered versions and the publishing seems to have reverted to Phonogram Pty Ltd, a Universal Music company, rather than Aztec Music; the label that reissued the album in the mid-naughts.
While I don’t have any major issues with the digitally available version, the cymbal crunching can get a little jarring on the senses, particularly if your system leans towards the treble range of the musical spectrum. Granted, this could be an aspect of the original recording, but sometimes mastering is a critically important element and it would be good to know if one offers a less crushed high-end than the other. Maybe I should just head down to Utopia Records and pick up a copy, for the 2005 reissue is still in print. Until then, the streaming edition is my go-to, so join me as I take a look at the songs that make up this legendary release.
Sunrise (Come My Way) opens the album with some killer licks that instantly set the mood for the music that’s about to come. Thick and creamy with a perfect amount of distortion and low-end power ensures Sunrise (Come My Way) is a memorable number that highlights Dave Tice’s incredible vocal delivery. Part metal, part blues rock, but 100% menacing, Sunrise (Come My Way) is amongst the greatest rock and roll numbers that you’ve likely never heard of; especially if you’re not overly familiar with the Australian music scene.
Freedom continues the ominous sonic presentation and is pure rhythmic gold with some of the very best guitar licks you’re ever likely to hear. Yes, there’s a Pink Floyd meets Black Sabbath feel to Freedom, but don’t let that deter you for this song is uniquely Buffalo; a slow tempo blues-based metal masterpiece.
'Til My Death is such a cool tune. You’ll be compelled to get out your air guitar and sing along to Tice’s otherworldly lyrics, for he takes this performance to another level. In addition to that, the chosen mix is pure perfection as Tice’s vocal sits atop and apart from the grungy musical bed, thereby allowing each sonic element to stand on its own merit. If you’re looking for a modern-day equivalent, may I suggest you check out the recordings of Wolfmother or Ash Grunwald.
The Prophet is another exceptional groove-oriented cut with a mid-tempo thunderous rhythm and blistering lead guitar work from John Baxter. Add to that Tice’s howls and snarls, sounding like a man possessed, and what you’ve got is a highly compelling album number.
Intro: Pound Of Flesh is the start of, arguably, the most ambitious moment on Volcanic Rock, for this dramatic, tension-filled instrumental is stunning as it leads into the idyllic Shylock.
Shylock is the masterpiece that you’ve been waiting for, for every tune, thus far, has been leading up to what can be best described as one of the greatest metal numbers ever recorded, in all of recorded music history. It will not only compel you to listen to the album again, but it will simultaneously make you wonder why Buffalo was never a household name. It’s manic, unhinged, and unforgettable and is undoubtedly one of Buffalo’s finest moments.
From start to finish, Buffalo’s Volcanic Rock is an impressive statement in the history of Australian hard rock and heavy metal. It’s ferocious, unfiltered, and confident in its heaviness and while it could be suggested that Buffalo were merely mimicking their overseas influences, that would be to the detriment of the musical experience for they ultimately forged their own path, one distorted riff at a time.