Yesterday, Today and Tomorrow is the third full-length album by the Hard Rock act Glyder from Ireland, and it’s a very well done homage to early hard rockers, mixed with a nice guitar oriented edge that is suitable to just kick back with a beer and enjoy the rock. While the band manages to really bring in some of the more laid back aspects of the style, Glyder can also manage to bring a somewhat spacey atmosphere to the music, which often sounds good and further relaxing when you’re looking for something good and gimmick-free in the Rock world. However, this doesn’t mean we’re staring at the album of the year here.
No, instead we’re faced with a flat out good album that doesn’t necessarily have any flaws to it, but at the same time is just nothing all that impressive or spectacular enough to make you go nuts over it. Had this band been around in the late seventies, maybe early eighties, it would be a whole other story, and really, this is the main time period the band seems to focus much of their musical aspirations toward. The music on Yesterday, Today and Tomorrow is a laid back rock style that seems is very laid back with simple riffs and drumming, with only the guitar solos being the more heavier moments of the songs due to a more upbeat and pop-like feel to the music without being too commercially generic. Another plus to the music is the way the production of the album was handled, having a slightly more analog sound to it and coming off pretty close to the sound you would get through an old LP of a band such as The Allman Brothers, just minus any and all Southern aspects to the material.
There are plenty of catchy tracks on here, such as “Knockout”, which really is the song that will wind up having you hooked onto the band, and honestly the only song on the release really worth bragging about with it’s infectious chorus that is harmonized beautifully against the music to stay lodged into your brain even well past the closing of the track. “The Bitter End” is another track that seems to stand out, and it’s moreso for it’s overall eclectic sound, being a track one would expect to hear during a sad moment in a drama or comedy from a film of the time this music would have originated from, or even a coming of age television show such as The Wonder Years, primarily during a high school prom scene of some kind. This ballad is actually rather well done and, again, winds up being one of the more exceptional tracks on the release, not so much by how catchy it is, but by the musicianship Glyder has to pull off a song such as this without any boring or pointless moments, musically or lyrically. The title track “Yesterday, Today and Tomorrow” follows the same kind of musicianship, but isn’t as much of a ballad as it is just another standard track. While the slower pace and saddened musical approach suits the song well, it isn’t all that engrossing a track.
Aside the mellow and laid back tracks, Glyder seems to almost experiment a bit with the whole concept of atmospheric material by using synths and even keyboards that give off a bit of a space rock feel to the album. “Jack Strong” and “Innocent Eyes” are the only two songs that really toy around with this concept, and only for a short period in each. It’s not a bad concept, especially since much of the music here is rather relaxing in the first place, but it doesn’t really seem like anything major for the album, and isn’t really anything necessary to Glyder‘s overall sound and actually puts these songs at a slight disadvantage because of how odd they sound against the rest of the music when those moments wind up kicking in. And, while on the topic of negative aspects to the album, “Time to Fly” is simply a terrible song, feeling like nothing else but a filler track for the release. There’s plenty of musical changes in the song, which often don’t make sense, such as the entire shift in musical tempo and flow to accomodate the guitar solo that really doesn’t work with the song in the first place, and the generic music that litters the track causes this to be a song you’ll immediately skip over even half way through the first time with it. The same can be said for the following closing tracks “All You’ve Done” and “Elverstown”.
Sadly, with all of that said, there’s just nothing all that astonishing about this release. With the only track holding this release back being “Yesterday, Today and Tomorrow”, there’s a real lack of anything strong here. Aside “Knockout”, much of the music on here is forgettable, but is still done well enough that you can pull this album out at any time and just throw it in and kick back as if this is something new you’ve heard. However, since there’s really nothing too astonishing, as you continue to go through it, it’s going to start getting a bit repetitive and often boring. While there’s plenty of musical diversity in the tracks, it seems like there’s no bite to the music, or even enough of a hook to really persuade the listener to assert this album as nothing more then background music. While Yesterday, Today and Tomorrow does it’s job well of capturing the now classic era of Hard Rock and creates an album you can easily unwind to, it doesn’t really have much to offer that will have you coming back for more. If anything, it’s worth sampling, but not an effort to be overlooked.