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May Blitz is a British heavy rock power trio that was active in the early 1970s.

The group was formed in 1969 by bassist Terry Poole and drummer Keith Baker, the rhythm section of the blues-rock trio Bakerloo, both of whom left the group when guitarist Clem Clempson departed to join Colosseum. Jamie Black joined the group on vocals and guitars but both Poole and Baker left this group as well before it recorded anything, Poole joining Vinegar Joe and Baker Uriah Heep. Black then added fellow Canadian Reid Hudson on bass and Tony Newman, who had played with Jeff Beck, The Hollies and Sounds Incorporated, on drums.

After some time playing pubs in the UK, the group signed with Vertigo Records (in the US they were on Paramount Records - not generally known for releasing hard rock) and released their debut album in 1970. A second album followed early in 1971
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MAY BLITZ May Blitz album cover 3.94 | 6 ratings
May Blitz
Proto-Metal 1970
MAY BLITZ 2nd of May album cover 3.87 | 7 ratings
2nd of May
Proto-Metal 1971

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MAY BLITZ May Blitz / The 2nd. Of May album cover 0.00 | 0 ratings
May Blitz / The 2nd. Of May
Proto-Metal 1992

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MAY BLITZ 2nd of May

Album · 1971 · Proto-Metal
Cover art Buy this album from MMA partners
When deciding on which May Blitz album to get, I listened to samples from both the debut and this one on YouTube. The song "Snakes and Ladders" really stuck with me and so I decided to go with "The 2nd of May" (nice title), though since then I have found that the debut is rather expensive as an import and that both albums have been released on a single disc. No matter. I have gone back to listen to samples from the first album and I am so far convinced that this was the better choice, even though the ratings say the debut is better.

May Blitz really kick off, as in kick ass, with the opening track "For Mad Men Only", a charging drum beat and ultra-pulsing bass overlaid with a thunder of distortion-heavy guitar and a second guitar delivering the melody with all the subtly of a steam drill boring through rock. The guitar solo unfortunately seems to search without tapping into any really good vein and there's a spot or two that could have used a retake. Nevertheless, this song has the elements of a demolition team bearing straight ahead through a concrete building.

There's a quick change of pace with the low-slung groove of "Snakes and Ladders", featuring a cool baseline and some hip percussion before the song gets overtaken by heavy minor chords that provide an awesome template for early doom metal. As the guitar distortion effects lay out the audio track for Hell awakening, the vocals replicate a demonic choir chanting the sinister theme to Armageddon (the event and not the movie).

"The 25th of December, 1969" is a partially lighthearted take on an enjoyable Christmas Eve spent together among friends without much of the trimmings and a political message about Nigeria's invasion of the Biafran capital on December 23, 1969 and the ensuing fighting and killing that continued through to January 7th. Perhaps well intentioned, the song stands out as the weakest track on the album. A disappointment after such a strong start.

Never fear because May Blitz deliver another funky n' heavy number with "In Part" which features some groovin' flute as well. The last part of the song is dedicated to yet another obligatory early seventies drum solo, the second disappointment as the song was actually really going somewhere.

"8 Mad Grim Nits" is a frenzied instrumental track with more of that full-on bass thing and a showcase of guitar soloing and distortion effects. At times the guitar gets really dark and heavy. Plenty of tasty tidbits to be found here, though still quite freeform.

The sonic assault and battery of most of the album thus far has been a treat; however, "High Beech" slows us down in the right way with an acoustic number that is both haunting and beautiful while steering into that cool funky groove that the band are very good at conjuring. One of my three favourite tracks on the album.

"Honey-coloured Time" seems to attempt to make better that serious part in track three. It's developed much better, imbued with images of cool swirling purple and blue flows of colour (or are they amber?). There's a smooth jazzy bit and more psychedelic groove. So much groove on this album. Then surprisingly, the song concludes like a heavy blues rock number. Not sure of the logic behind that.

Now we are almost into Pink Floyd country with a simple acoustic number tripping with wavering guitar notes. "Just Thinking" sounds partially inspired by "Ummagumma" but still tries to hold together in the form of a song without becoming overly experimental.

"The 2nd of May" is a true product of its time, at once heavy and rampaging while maintaining a certain grooviness about it and also more laid back in late psychedelic atmosphere of the early seventies. Sometimes mellow and tripping, sometimes bombastic and aggressive. There are some who will want to check this one out.

MAY BLITZ 2nd of May

Album · 1971 · Proto-Metal
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siLLy puPPy
Although the big-boned mama is still hanging out on the album cover on this second release by MAY BLITZ she learns the art of keeping company with bird-headed folk as to take the emphasis off of her voluptuousness. Just like the visual art theme, also do we get a continuation of what's inside, namely more heavy proggy bluesy psych although a bit heavier at times with a little more expansion into other sounds.

The opener “For Mad Men Only” continues where the debut left off complete with that signature bass sound. On the 2nd track “Snakes And Arrows” we get some really cool fuzz guitar and some interesting electronic effects. On the 3rd track “The 25th of December 1969” we get some folk rock alternating with groovy bass dominated sections. “In Part” has a surprise accompaniment by a flute but eventually turns into an even more surprising and out of place drum solo. I do like drum solos but was this one necessary? The rest of the album continues the heavy psych with songs becoming slightly weaker (but always pleasant) by the time we get to the end.

This second album doesn't disappoint as it ramps up their sound a tad. Most reminiscent of Captain Beyond before they existed but there are obvious influences from both Hendrix and Sabbath but never too much so. The band was clearly open to experimentation and I have to say that it pays off for the most part with only scant few head scratching moments. Sadly their only two albums came and went without much success so the band called it quits but became a cult classic.


Album · 1970 · Proto-Metal
Cover art Buy this album from MMA partners
siLLy puPPy
A feel-good album of the first degree conjuring up a mix of the best of what heavy psych had to offer from the 60s and injected some seriously hard rockin groovy riffs to create the perfect recipe for some seriously addictive progressive blues rock that has the stamina to deserve the added tag of proto-metal.

MAY BLITZ formed in 1969 in the UK and quickly imploded leaving Canadian Jamie Black (Lead guitar and vocals) to replace those missing in action and recruited fellow Canadian Reid Hudson (bass, vocals) and Englishman Tony Newman (who was the drummer for Jeff Beck and the Hollies). After touring the pub scene they scored a record deal with Vertigo Records (also of Black Sabbath, Colosseum, Uriah Heep, Gentle Giant and Cressida fame).

This album really rocks! Every track on here is every bit as good as the best hard rock of 1970 you can think of with progressively complex yet catchy groovin melodic riffs and knock-yer-socks-off drum rolls with a beefy bass to boot. Everything comes together perfectly from the very first track “Smoking The Day Away” to the echo-and-effect laden closer “Virgin Waters.” Pay no attention to the hilarious cover! It's really what's inside that counts! And you can count on some high energy hard rock that perfectly balances the formula of heavy prog, bluesy psych with a groovy and even slightly funky edge. In the vein of Captain Beyond but two years prior.


Album · 1970 · Proto-Metal
Cover art Buy this album from MMA partners
From the stable of Vertigo Records who had Black Sabbath, Juicy Lucy and Uriah Heep just release thier debuts May Blitz was next in line halfway through 1970 with Tony Newman on drums from the Jeff Beck Group on the recording of Beck-ola and two Canadians from Vancouver Island, guitarist/vocalist James Black and bassist Reid Hudson who tripped and smoked thier way over to the UK looking for "stardom".

The vibe of this freaked-out psych proto heaviness of the album is captured on the opening track, "Smoking The Day Away",a haunting, massive doom down pour with a roach blues riff and a acidic solo with drums and the boom bass smoldering and bubbling below and connecting with nature chemically."I Don't Know" is a fusion of boggy blues smacked out with psych and eventually jacks up the juice of a jazz fusion firing together in unison. "Dreaming" is a cool, laid back body stone of a number.

Side two starts out with "Squeet" all over the wall..." One can only imagine where and when these lyrics came from as this track is all about heavy, a psych/blues twisted with a jazzy jam as "Tomorrow May Come" slows down the palpitations only to be ripped out of your mellow state from the "Fire Queen", which places one in pure protoness prison to finding yourself washed up on the stoned shore with "Virgin Waters".

One of the top five proto-metal releases of 1970 and essential of the genre. A stone slab of heaviness.

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