(Available to purchase from www.whitebuffalo.co.uk)

2002 has has lagged far behind 2001 in the quality of albums released. But the next few months looks a whole lot more interesting starting with Coldplay’s much anticipated A RUSH OF BLOOD TO THE HEAD. And this is another one of them. We’ve written about Phil Campbell in these pages during the last few months because his story seems to echo the experiences of many in this distorted and difficult UK music industry environment (which is growing even more difficult as I write). The three-piece band White Buffalo grew up out of the ashes of Campbell’s earlier solo experiences and struggles, and it’s perhaps no surprise to find that the band has recorded this debut album on its own label.

While Campbell’s treatment by EMI was not ‘rock ‘n’ roll’, WAITING TO GO HOME definately is. So what does the band sound like? Think Nickleback, think Nirvana, think Pearl Jam and you’re getting pretty close. The album opens with the belting, delicious rock guitar riffs of All Or Nothing. The song fairly blasts out of the grooves before Campbell’s passionate vocal calms things a little before it again crashes heavily back into heavier rock territory. But this is no ordinary rock song. It has tangible and brilliant melody, wonderful lyrics and one of the finest rock vocal and instrumental performances I have heard on record this year. This is charting single material which even Radio 1 should find acceptable to play-list. Astounding stuff. The mystical, slower-paced vibe of Tempted is next up but the relative calm opens up to a pleading rock lament complete with dark, threatening guitar riffs and clattering, angry drum rhythm. Campbell’s vocal almost fights the instrumental blast and in the end it’s an honourable draw. Another stunning track.

Beautiful respite then dawns with the moving song Porcelain Skin. Now you tell me how a song can move you close to tears while still maintaining its rock integrity? This does exactly that through a hearfelt vocal, a genius of an instrumental arrangement, and a melody that stays in the head and just won’t let go. It’s a love song that reaches very deep and by rights should be the next Coldplay or Nickleback opus. Porcelain Skin signals a more mellow segment of the album which includes the contemplative, soaring and lyrically stupendous Without Your Love, and devestatingly beautiful acoustic, keyboard-led Wasted. The latter comes complete with mournful harmonica and just breaks your heart with its sincere ambience and supremely expressive vocal. But before this mellow segment is complete, the album’s folk-tinged title track appears. Waiting To Go Home is a ballad which I’m sure reflects Campbell’s desire to return to his home town in Scotland as conquering hero rather than down-trodden rock musician. It’s yet another majestic beauty.

The album has, thus far, blown me away, but there are still another five songs to go! Renegade has a Beatle-esque distant guitar opening and initially slower, calculating vocal and as it progresses it becomes clear that this song reflects Campbell’s eventual realisation that ‘there is a God’. And while distinctly rocky, it could be equally at home in a church or on an alternative dance floor. Concluding highlights include the heavily soul influenced, Hammond-led and epic Stormtrooper; the melancholy and moving Lose Yourself and cinematic Some Life (and I wish). I’m left breathless with the heights of quality and emotion that this album reaches. Consider that this has been achieved with begged, stolen and bargain studio time amidst financial struggle and personal desolation; with the support of band members and largely London-based fans and venues who remained faithful to a musical ideal. And achieved without a powerful, major record label machine in the background.

Having finally just reviewed the new Coldplay album, I have to say that WAITING TO GO HOME is better. It has a unique urgency, vitality, passion, and openness, while (surprisingly) beating Coldplay’s slower and more emotional moments. Campbell emerges as one of the finest and most versatile rock voices around today, while the band’s diverse and intimate songwriting is peerless. The album has a raw quality in contrast with the polished sound of his last solo album FRESH NEW LIFE (in my view, an unrecognised classic), and with that rawness (at times it sounds like a ‘live’ album) comes the level of passion, truth and listener involvement that rock music promised to deliver but seldom did. Phil Campbell, Evan Jenkins and Hossi of White Buffalo deserve the sort of electronic media attention bestowed so willingly on the likes of Coldplay and other hyped bands. We will watch and wait, but for now I recommend you buy this album because it is simply the best rock album released so far in 2002. Essential.

5/5