Well, I guess if you read my glowing review of the first Vibratos album back in Pipeline 54, you probably want to know if I like this one as much. I'll put you out of your misery right away. Yes, I do, and it has joined its predecessor which is still in the current favourites rack. Once again, Warren Bennett and Dick Plant have put together a highly individual set of instrumentals, well played and arranged, with just the right amount of quirky touches to make the listener sit up and take notice.

On the strength of their first album, it was obvious that the musicianship would be of a high standard. What makes The Vibratos stand out, though, is the choice of material. Apart from a few excellent originals, there are a few classic film and TV themes, as well as instrumental versions of vocals. However, the choices are not always obvious ones. Take the opening track, for example. Ron Goodwin's stirring film theme might not seem a likely choice as a guitar instro. Yet with Flight Lt. Bennett, W. wielding his favourite 1965 Epiphone Casino, it comes off beautifully, with Squadron Leader Bennett, B. guesting on military snares. I confess that I'm not too familiar with Echo Beach, but it makes a nifty instro with Dick in charge here, leaving Warren to handle the organ riffs. Dave Bishop makes his first appearance wailing to good purpose on alto sax. A Bennett original is next, with a nice wee bit of scene setting with Warren and his missus. Bennett Senior contributes a neat little drum solo part way through, and Dave is back on sax, but otherwise it's all Warren. As usual he has captured the feel of a sixties instrumental without being in any sense derivative.

Film themes are always a good source of guitar-led instros, and The Vibratos have chosen a classic from the pen of Ennio Morricione. After a brief acoustic intro, Dick takes the melody on six-string bass and Strat. Nice one, and in complete contrast to the following track. Roy Budd was one of the unsung heroes of British film music, and his score for Get Carter is generally regarded as one of his best. A moody main theme over an insistent rhythm is complemented by Alan Hawkshaw's Hammond and Dave Bishop's sax. Classy and atmospheric.

Dick Plant's composition Diamond Head Drive has some similarities to his Cala Mondrago from the first Vibratos album, but that's not a problem for this listener. Plenty of guitars and a good driving beat. Back to the big screen with a John Barry piece from the Bond movie Thunderball. Warren picks up that favourite Epiphone again for a late-night treatment of Mr Kiss Kiss Bang Bang, which borders on the sleazy, thanks in part to Dave Bishop's sax and Brian B's brushwork. Another example of the slightly off-the-wall choice of material which the Vibratos seem to be able to pull off with such aplomb is the arrangement of Paul Simon's The Boxer. An unlikely source of an instrumental, even though Chet Atkins had tackled it many years ago. The acoustic lead contrasts nicely with the big sound of the backing, and this one has the kind of appeal that has you reaching for the repeat button.

I suppose it was only a matter of time before The Vibratos tackled the classics, long a staple of groups from The Cougars to Love Sculpture and Sky. In this case, their arrangement of the famous Grieg concerto is borrowed from ELO, but it is still a cracker, even though tongues are obviously firmly planted in cheeks, especially at the outro where the listener can play Spot The Tune.

Strangely enough, Dick had not heard the Shadows interpretation of the Easybeats' Friday On My Mind before recording his own version, which is no bad thing as we get his own take on the song. The name of Edwin Astley will be familiar to anyone who scanned the credits of British TV shows of a certain era. This one's all Warren and his Rickenbacker, with no intervention from Peter Wyngarde! Dick's Western-influenced number The Peacemaker was apparently turned down by Hank Marvin, despite - or perhaps because of - being in the classic Shadows style. One does not imagine Warren would miss the chance to have a Beatles connection somewhere, and once again it is a McCartney solo number from the Band On The Run album Layers of guitars, and another nice big sound. Finally, the Bee Gees. Stripped of the vocals, Heartbreaker is a good strong melody, and that, traditionally, is what instrumentals are all about. Once again Dick deploys six-string bass to good effect, as well as a Ventures model Mosrite.

There you have it. Fourteen tracks, with a total running time of just under one hour. Varied sounds and numbers that never outstay their welcome. If you liked The Ghost Of Old Compton Street, you will most certainly like this. With an exceptional live debut at Shadowmania 2002, I'm sure the Vibratos are here to stay. Now, lads, on to the "difficult" third album...

(available from Leo's Den)