Gov’t Mule: The Tel-Star Sessions Review

In this the year of our lord, 2016 one of the greatest bands to ever strap on guitars and lay down the rock and roll celebrates it’s twentieth birthday. Gov’t Mule needs no introduction or explanation. This band  kept heavy blues based rock alive while the rest of the world was moshing to grunge, post-grunge, and nu-metal from the mid 1990s to the present. They celebrate their big 2-0 with the release of The Tel-Star Sessions. These “sessions” are the original demos that Warren Haynes, Allen Woody and Matt Abts cut when The Mule first got together in way back in 1994.

The Tel-Star Sessions showcases the band at it’s most hungry. The band lays down rock and roll like a diesel locomotive out of control, yet they stay firmly on the tracks. Originally, Haynes regarded the Tel-star tracks as demos-never to be released. Upon reflection years later, he liked what he heard and decided to remix the recordings. What stands out here are Haynes’ vocals. At the time he felt his singing was a bit “rough,” but it’s really just that rock and roll hunger coming through. He sounds determined, and completely bad ass on cuts like “Rocking Horse” and “Mr. Big.” Allen Woody does a lot more than just fill in the spaces. When Haynes steps back after a solo, Woody’s lines are some of the most tuneful in all of rock bass-dom.

It’s fun to compare the Tel-Star Sessions with the Mule’s debut. Six of the Tel-star Sessionstracks can be found on their first album, while “Blind Man In The Dark” would appear on Dose, the second studio release. Two tracks have never been included on any studio release: ZZ Tops’ “Just Got Paid” more than does the Billy Gibbons original justice, and “The Same Thing” is a great interpretation of the Willie Dixon classic.

Abts and Woody are one of the most impressive rhythm sections of all time and it’s great to hear them doing their thing once again. Tel-Star Sessions, like most archival recordings reminds us of just how talented a young band was on their first attempt at reviving a sound that was in danger of being forgotten. Lucky for us.

The Review: 9.5/10

Can’t Miss Tracks

– Blind Man In The Dark
– Mr. Big
– Just Got Paid
– Rocking Horse
– The Same Thing
– Monkey Hill

The Big Hit

– Monkey Hill

The Apocalypse Blues Revue: The Apocalypse Blues Revue Review

The self titled debut of The Apocalypse Blues Revue can be summed up in one word; intense. These twelve tracks include some very traditional forms, including blues shuffles, slow blues, mixed meter, minor blues, acoustic blues and blues rock. Regardless of what form of blues they take on, The Apocalypse Blues Revue plays with a level of intensity rarely heard in today’s traditional blues market.

The Apocalypse Blues Revue consists of former members of the post grunge hard rock band Godsmack. Shannon Larkin (drums) and Tony Rombola (guitar) bring their hard rocking ram in down your throat approach to the project and Brian Carpenter’s bass playing fits nicely in the pocket with Larkin’s powerful yet tasteful approach. Vocalist Ray (Rafer John) Cerbone’s Jim Morrison-ish baritone is very refreshing. He sounds perfectly natural and soulful. Tony Rombola’s guitar work is reminiscent of Frank Marino or Robin Trower with vibrato wide enough to throw a cat through. He sounds very authentic as a blues player and not like a rock player trying to play blues.

The Apocalypse Blues Revue opens with the comfortable shuffle, “Evil Is As Evil Does.” From the first note it’s obvious that these guys know what great blues is supposed to sound like. The slow driving “Junkie Hell” showcases Rombola’s great tone and aforementioned vibrato. “The Devil Plays A Strat” is one of the more rock oriented tracks with it’s mixed meter, Robin Trower inspired riff and Cerbone’s wonderful baritone storytelling. “The Tower” is another great Trower inspired track showcasing Rombola’s deeply soulful playing and Cerbone’s impassioned crooning. There’s really no need to tell you about every track, but you should understand that in many ways this is a very traditional blues record. It’s the band’s performance that makes the record really rock hard. On “I Think Not,” they show that they know how to bring it down a bit when the song calls for it. Everyone one is on their spot. No one is over playing. Every member simply play’s balls first.

The Apocalypse Blues Revue is an unapologetic blues album and a very mature sounding debut. The band has discovered a sound that is unique and familiar all at the same time. This talented group of musicians is off to a very strong start. It will be interesting to see where they take it from here.

The Review: 8.5/10

Can’t Miss Tracks

– Work In Progress
– Crossed Over
– Whiskey In My Coffee
– The Tower
– The Devil Plays A Strat

The Big Hit

– The Devil Plays A Strat

Left Lane Cruiser: Beck in Black Review

Dirty blues, nasty rock, distorted vocals and half the band leaving all go into the recipe for the latest release from Left Lane Cruiser. This is a bit of an unusual “best of” album in that there are six new (to us) tracks. Beck in Black is a celebration of the band’s previous line up of Frederick “Joe” Evans IV on guitar and vocals, and Brenn Beck on drums. This was the line up for the first ten years until Beck left the band in 2014.

The fourteen track collection does a good job of capturing all the moves in the band’s repertoire. Beck in Black demonstrates Beck’s skills behind the kit, from the frantic trash-can percussion of “Zombie Blocked” and jittery boogie of “Crackalacka” to the steady groovin’ of “The Pusher” and the syncopated drive of “Chevrolet.” “The Pusher” is one of six unreleased tracks appearing on this album, which means that serious fans will probably want it even if they already own eight of the numbers appearing here. The “Luther Dickinson on crack” guitar work and howling vocals from Evans are Left Lane Cruiser’s sonic hallmarks, and Evans does not disappoint, wailing into overdrive no matter what the theme or tempo of the song. The lone ballad, “Maybe” is a great example of how even during a more tender moment Left Lane Cruiser never really slows down. The collection isn’t just a farewell to the group’s first drummer, it’s also an demonstrative summary of the band’s work in their first decade.

Beck in Black is a great starting point for Left Lane Cruiser virgins. If you are a fan of hard rocking, down and dirty, post punk blues rock you will want get to know Left Lane Cruiser andBeck in Black is a the perfect introduction.

The Review: 8.5/10

Can’t Miss Tracks

– Amy’s in the Kitchen
– Maybe
– Chevrolet
– Zombie Blocked
– The Pusher

The Big Hit

– The Pusher

Ty Curtis: Blame Me Review

Ty Curtis is back with a down and gritty new record called Blame Me. Ty’s newest album is packed with soul, blues and ripping guitar riffs. This latest effort also features some of the most heart-felt, emotion tugging vocals to come out in several years.

The album opens with “That’s Good,” an old school rock number that showcases Ty’s soulful vocals and over -the- top guitar playing. “That’s Good” rolls right into the title track, which was also the first single from the record. “Blame Me” is a hard rocking track about relationship woes. Ty’s soulful rock vocals, reminiscent of Paul Rodgers reign supreme and stand out above everything else. “Back Again” shows of Ty’s killer guitar work. He shifts gears on the  slower more soulful “I Can Say,” but still has those electric guitar moments interspersed at times occuring like exclamation points at key moments in the song.

Some other moments of note include, “Shake It Up,” which builds gradually in to a louder, blues rock track with the electric guitar having its own voice.”Urge and Temptation” is a roots reggae rocker with great vocal moments as well. Blame Me closes with the old school soul of “Never Get My Love.” This is hands down Ty’s best performance on the entire record. It’s one of the those rare productions with a great dance groove and down right mean guitar work.

The overall production is what you would expect from a blues man. It’s tight and punchy. Longtime drummer, Jerry Jacques, and bassist, Tony Valdez, drive Ty’s performance, like a jockey on the final lap of the Kentucky Derby. Blame Me is an impressive set of burning blues rock tracks with very tasteful southern rock overtones. It is an great addition to any blues rocker’s collection.

The Review: 8.5/10

Can’t Miss Tracks

– That Good
– Back Again
– I Can Say
– Never Get My Love
– Blame Me

The Big Hit

– Blame Me

The Temperance Movement: White Bear Review

White Bear is the highly anticipated follow up to 2014’sThe Temperance Movement. There has been a bit of a buzz about this record being a departure from their debut. The best way to describe it is that White Bear is a little more Faces-Stones-Black Crowes, and slightly less Zeppelin-Free than their debut. The real difference is simply a natural growth that we come to expect from truly great bands and The Temperance Movement delivers in spades.

All twelve jams are very memorable, rock and roll affairs.White Bear kicks off hard with “Three Bulleits” and the call to battle “Get Yourself Free.” The latter has a groove in the verses that is absolutely infectious and erupts into a blistering anthem in the chorus.  “A Pleasant Peace I Feel” touches on something reminiscent of more psychedelic Beatles. It builds to a chaotic yet very satisfying roar. The opening power chords of “Modern Massacre” will have you thinking that someone slipped in a lost High Voltage era AC/DC track in there. It’s bold and beautiful and completely filthy, like real rock and roll is supposed to be.

Phil Campbell is the embodiment of rock roll abandon in the tradition of Chris Robinson, Steve Marriott and early Paul Rodgers. The guitar work of Paul Sayer and Luke Postashnick provides all the textures that you would expect of a great rock band. Their massive crunching is simply devastating and when combined with Damon Wilson’s bass and Nick Fyfe’s drums it generates enough menace to make you want to turn it up loud enough to piss off your parents.

White Bear is the answer to all those naysayers who proclaim “Rock is dead.” The Temperance Movement is proof that rock is not only alive but it’s as nasty and in-your-face as ever. The only criticism that I can offer is that White Bear should come with a label that says “For Best Results, Play At Full Volume!”

The Review: 9.5/10

Can’t Miss Tracks

– A Pleasant Peace I Feel
– Get Yourself Free
– Oh Lorraine
– Modern Massacre
– Do The Revelation
– Three Bulleits

The Big Hit

– Three Bulleits

Albany Down: The Outer Reach Review

The Outer Reach is the third studio album from the London based Albany Down. Paul Turley, Donna Peters, Paul Muir and Billy Dedman have fused into a very tight and powerful band with their own sound and style of rockin’ Blues in the best British tradition. Produced by Greg Haver and recorded at Modern World Studios, The Outer Reach is their best album yet.

The album opens with the epic “Feeding the Flame.” It’s soulful blend of Zeppelin, Bad Company and Deep Purple but with a very modern aesthetic sets you up nicely for the entire listening experience. Peters and Dedman hold down the groove while Turley’s guitar and Muir’s vocal simply soar.  The band shifts gears a bit with the horn drenched “Supersonic Girl.” The groove is so tight that it would make Tower of Power proud. “Mr. Hangman” with it’s dark lyrical theme has a slight southern rock vibe but grooves a lot harder than Skynyrd ever did. The ultra melodic power rock of “Home” will have audiences singing a long with their lighters swaying above their heads. “The Drop” is a bad ass riff with face melting guitar work from Turley and a power house vocal performance from Muir.

A lot of current blues based rock bands opt for a low-fi sound with fuzzy guitars and distorted vocals etc… Albany Down takes the complete opposite approach. Greg Haver’s larger than life production style screams “Albany Down is the biggest band ever!” And in a perfect world they would be.

Albany Down has done something unique. They have embraced their influences in a very overt way, while at the same time carving out a sound a vibe all their own. The Outer Reach contains zero filler. It is simply one great track after another. If putting out records packed with great songs and stellar performances makes you “retro” then Albany Down is guilty as charged.

The Review: 9.5/10

Can’t Miss Tracks

– Feeding the Flame
– Home
– The Drop
– Mr. Hangman
– Supersonic Girl

The Big Hit

– Feeding the Flame

Jack Berry: Mean Machine Review

Mean Machine is the second album from Nashville’s Jack Berry following Blues Rock Review’s #2 album of 2013, Heathen Heart. Berry is a Los Angeles to Nashville transplant who plays great riff rock with alt-pop flare that would make Jack White proud. The drums are loud and in your face. The bass hits you in the chest like a nine pound sledge hammer and the guitars are drenched in fuzz and octave pedal goodness.

The album kicks off with the balls out protest shuffle “Bad Dog.” It’s a simple but effective riff and warms your ears up for what’s to come. “Coal,” which sports an early Black Keys vibe, is a good example of how Berry weaves in various influences while still speaking in his own unique voice. “Heavy Hopes” is appropriately titled with it’s slow and sludgy, post Black Sabbath riff. The amps sound absolutely crushed. Could he actually be turned up to fabled eleven? “King of Diamonds” opens with a riff reminiscent of The Faces. Here Berry waxes melancholy, like the voice of one crying in the wilderness. He also visits this feel on the heavy yet emotional, “The Bull.”

Mean Machine is a great blues tinged alternative rock record with impassioned performances. Some may accuse Jack Berry of wearing his influences on his sleeve like on the Zeppelin inspired “Kiss Like,” which appeared on Heathen Heart and was re-recorded here, but he’s just so damn good that I don’t think that even matters. With Mean Machine, Jack Berry plants his foot firmly on the shores of the new world of alternative blues based rock.

The Review: 9/10

Can’t Miss Tracks

– Bad Dog
– Coal
– Heavy Hopes
– King of Diamonds
– Kiss Like
– The Bull

The Big Hit

– The Bull

Jack Berry The Bull by Jack Berry

The Temperance Movement: White Bear Review

White Bear is the highly anticipated follow up to 2014’sThe Temperance Movement. There has been a bit of a buzz about this record being a departure from their debut. The best way to describe it is that White Bear is a little more Faces-Stones-Black Crowes, and slightly less Zeppelin-Free than their debut. The real difference is simply a natural growth that we come to expect from truly great bands and The Temperance Movement delivers in spades.

All twelve jams are very memorable, rock and roll affairs.White Bear kicks off hard with “Three Bullets” and the call to battle “Get Yourself Free.” The latter has a groove in the verses that is absolutely infectious and erupts into a blistering anthem in the chorus.  “A Pleasant Peace I Feel” touches on something reminiscent of more psychedelic Beatles. It builds to a chaotic yet very satisfying roar. The opening power chords of “Modern Massacre” will have you thinking that someone slipped in a lost High Voltage era AC/DC track in there. It’s bold and beautiful and completely filthy, like real rock and roll is supposed to be.

Phil Campbell is the embodiment of rock roll abandon in the tradition of Chris Robinson, Steve Marriott and early Paul Rodgers. The guitar work of Paul Sayer and Luke Postashnick provides all the textures that you would expect of a great rock band. Their massive crunching is simply devastating and when combined with Damon Wilson’s bass and Nick Fyfe’s drums it generates enough menace to make you want to turn it up loud enough to piss off your parents.

White Bear is the answer to all those naysayers who proclaim “Rock is dead.” The Temperance Movement is proof that rock is not only alive but it’s as nasty and in-your-face as ever. The only criticism that I can offer is that White Bear should come with a label that says “For Best Results, Play At Full Volume!”

The Review: 9.5/10

Can’t Miss Tracks

– A Pleasant Peace I Feel
– Get Yourself Free
– Oh Lorraine
– Modern Massacre
– Do The Revelation
– Three Bullets

The Big Hit

– Three Bullets

Steve Hill: Solo Recordings Volume 3 Review

Steve Hill, known for his impressive one man band live show, brings this concept to the studio once again on his latest release Solo Recordings Volume 3.  His modus operandi is to perform all of the instruments at the same time but this isn’t some novelty act.  Steve writes, records, and performs very soulful blues based rock, and Americana in a serious way and unless you see him live or watch one of his videos, you would have no idea of his one man band mastery.

The album kicks off with a trio of excellent blues rockers. “Damned” and “Dangerous” are full of Hill’s chunky guitar work and slap back drenched soulful rock belting. “Still A Fool & A Rollin Stone” is a hard driving slow blues rocker designed to melt your ear buds to the side of your head. Hill also has a softer, more folk and Americana side. On the the Neil Young inspired “Slowly Slipping Away,” Hill laments his time slipping away but feels young when with his lover, a sentiment reminiscent of Neil Young’s “Old Man.” The acoustic numbers are a nice down shift to give the album some dynamics but he never lingers long in that vein and quickly get’s back to the rock and roll. Tracks like “Rhythm All Over” and “Smoking Hot Machine” are stand outs among the barn burners. The latter features Hill tearing up some distorted harmonica as if playing guitar, bass, drums and singing wasn’t enough.

With Hill playing the drums and bass at the same time as the guitar, don’t expect any crazy drum fills or slap bass acrobatics. He puts his focus where it belongs. The guitar and vocal work are wonderfully hard driving on the rockers and appropriately vulnerable and heartfelt on the acoustic tracks. This JUNO winner does not disappoint. Solo Recordings Volume 3 is wildly enjoyable even if you have never seen Steve perform live, but do yourself a favor and check out his live show. This one man rock and roll machine is not to be missed.

The Review: 9/10

Can’t Miss Tracks

– Damage
– Slowly Slipping Away
– Rhythm All Over
– Smoking Hot Machine
– Dangerous

The Big Hit

– Dangerous

Supersonic Blues Machine: West of Flushing, South of Frisco Review

Supersonic Blues Machine, formed by bassist and vocalist Fabrizio Grossi, and drummer Kenny Aronoff with guitarist Lance Lopez, has just set out on their maiden voyage with their release West Of Flushing South Of Frisco. In addition to the already stellar line up, the release features guest performances by Billy Gibbons, Walter Trout, Warren Haynes, Robben Ford, Eric Gales and Chris Duarte making this super group even “more super.”

If you are familiar with Lance Lopez’s music then you know that this album is all about hard driving southern rock and blues based riffs. The album opens with the southern rock inflected “Miracle Man.” All the Lopez penned tracks are strong but here he shows off his knack for great hooks. In the right hands (or wrong hands depending on your point of view) the hooks are catchy enough to find a home on country radio. But don’t be alarmed. He follows up with the minor key grooving “I Ain’t Falling Again” and from that point on, the album just burns the entire farm to the ground.

The guest artists all put their unique stamp on their perspective tracks. Billy Gibbon’s “Running Whiskey” could be a lost ZZ Top track and “Remedy” with Warren Haynes would sound at home on a Gov’t Mule record. Both Chris Duarte and Eric Gales give empassioned performances. The ballad “Let’s Call It A Day” is a perfect vehicle for the legendary Robben Ford and shows him at this melodic best. He and Lance even do a little harmony work on the intro as well as near the end of the track.

West of Flushing, South of Frisco is a total treat for the those of us who crave great hard driving blues based rock and ear frying guitar playing. The core of Supersonic Blues Machine of Lopez, Grossi, and Aronoff have nothing to prove. They could easly have carried the entire project themselves. The guest stars are just icing on an already very tasty cake.

The Review: 9.5/10

Can’t Miss Tracks

– Miracle Man
– Running Whiskey
– I Ain’t Falling Again
– Nightmares and Dreams
– That’s My Way

The Big Hit

– Remedy

Matt Andersen: Honest Man Review

Honest Man is the latest release from singer songwriter Matt Andersen. In case you haven’t heard of Mr. Andersen; he does over 200 dates a year worldwide and is a European Blues Award winner and a JUNO nominee. Andersen’s soulful baritone is a gorgeous cross between Joe Cocker and Marc Cohn and yet that doesn’t completely do it justice. Andersen’s voice is pure greatness and Honest Man beautifully showcases his talents as a vocalist and a songwriter.

The first single, “Let’s Get Back” has a Pat Green feel and a sweet brass solo that is a nice surprise in this country-ish track. Here Andersen muses about how his country as a nation has changed, but not for the better. On the heartbreaking ballad “I’m Giving In,” Andersen bears his soul about the seduction and allure of surrendering to another. This is one of the highlights of the album and has the potential to be a huge pop hit in the adult contemporary vein.  “Last Surrender” is a great old school R&B slow dance in the vein of Otis Redding.  All ten songs that make up the album explore both the political and personal sides of Matt Andersen. The title track with its tight Memphis groove and perfectly placed bari-sax kicks was inspired by a U.S. political cartoon, while “All The Way” takes a more personal approach as he sings about the decision to fully commit to a relationship.

If you’re looking for serious guitar riffing or rocking gutiar solos then you will need to look elsewhere. Honest Man is about the song. Commissioner Gordon’s (Amy Winehouse, Josh Stone) production and his use of some looped beats brilliantly serves the songs and Andersen’s voice. With songs this well crafted, all any producer has to do is just get out of the way. Honest Man is an album full of transcendent musical moments. The Commissioner’s light handed production approach to Andersen’s songwriting and magical voice might just propel him from indie songwriter to world renowned success.

The Review: 9/10

Can’t Miss Tracks

– All The Way
– Last Surrender
– I’m Giving In
– Honest Man
– Let’s Get Back

The Big Hit

– Let’s Get Back

Jeff Healey: Heal My Soul Review

Heal My Soul is the first album of new material in fifteen years from the late great Jeff Healey.  A  lot of posthumous releases leave me with the impression that there was a good reason why the artist never released this material.  Naturally, I was nervous when I was asked to listen to Heal My Soul and write a review. I have been a Jeff Healey fan since his debut, See The Light. Was I going to have to give a bad review to one of my favorite artists of all time?

With the first blistering guitar strains of the opening track “Daze Of The Night,” I breathed an enormous sigh of relief and it gets better, too.  “Moodswing” keeps us rocking hard with it’s wah-wah soaked riffing and trippy-drippy vocal lines. I started to realize that this is no collection of b-sides and throwaways. The acoustic “Baby Blue” is a gorgeous ballad with harmonies that just bring a smile to your face. “I Misunderstood” shows what Jeff can do with a cleaner “Strat-tone.” Then it’s back to hard driving blues rock riffing with “Please.” There isn’t a bad song or even dull moment in the whole lot. In many ways this is some of Jeff’s best work. Which begs the question, why did it take fifteen years to release?

Heal My Soul was compiled with the participation and full approval of the Jeff Healey Estate to coincide with what would have been Healey’s 50th birthday on March 25th, 2016.  Jeff Healey is remembered as one of the most outstanding guitarists and performers of the past 30 years. This album reignited my passion for Jeff’s music and I found myself digging into his back catalog.  Heal My Soul is much more than just a fitting tribute.  With it’s superb song selection, fiery guitar work and very modern production, this album sounds like Jeff made it yesterday.

The Review: 9.5/10

Can’t Miss Tracks

– Daze of the Night
– Please
– Moodswing
– Baby Blue
– Temptation
– Under A Stone

The Big Hit

– Daze Of The Night

Trevor Sewell: Hollow Review

Hollow is the latest release from blues multi-instrumentalist, Trevor Sewell. On Hollow, Sewell covers vocals, guitars, bass, mandolin, harmonica, and keys.  For the U.K. portion of the record he worked with Trevor Brewis on drums and percussion, Anthony McNally on fiddle and Franky Gibbon on bass and piano. The U.S. portion features Paul Barrere on slide guitar, Linda Chorney and Mia Moravis on backing vocals and Brooke Nickerson as featured vocalist. All the tracks were written, arranged and produced by Trevor Sewell.

The world beat meets, Cajun blues  “Hollow – Pt1”, opens the album. Trevor’s gutsy voice, reminiscent of Chris Rea, gives the entire album an edginess even on mid tempo ballads like the second track, “Shaky Ground.” Here Sewell creates a melancholy atmosphere with a combination of soulful vocals, and wonderfully medolic guitar work.  “What You Say” takes on yet another character with it’s subtle, funk feel. While all the tracks are excellent some of the standouts are the hard driving acoustic shuffle of “Small Change,” the mandolin drenched ballad “As Long As I Can Breathe,” and the Little Feat inspired “So Tired.”  The latter is a horn kicking, gospel back up vocal, slide guitar affair that would have made Lowell George damn proud.

The entire record has a nice eclecticism.  Every song is a little different but Sewell’s voice and solid writing ground the entire project. This is a true feat considering that he uses two completely different band line ups from each side of the Atlantic. Hollow actually took a little time to grow on me, but now I cannot stop listening. It’s the kind of record where you hear something new with each spin.  It’s a rich tapestry of sound and soul from one of the genre’s most talented artists.

The Review: 9/10

Can’t Miss Tracks

– Small Change
– As Long As I Can Breathe
– Hollow Pt1
– Hollow Pt2
– Shaky Ground
– So Tired

The Big Hit

– So Tired

https://soundcloud.com/trevor-sewell/so-tiredgoinhome

Ben Poole: Time Has Come Review

Time Has Come by singer/guitarist Ben Poole is the follow up full length studio release to 2014’s Live At The Royal Albert Hall.  Ben is still a relatively new artist on the blues scene.  With his smooth tone, tenor voice and pop sensibilities, Ben has clear crossover potential. Time Has Come has an official release date of April 1, 2016. Wayne Proctor is credited as the producer and guitarists  Aynsley Lister, Henrik Freischlader and Todd Sharpville are guests.

The album opens with the hard rocking “Lying To Me,”  the most aggressive track on the record and then takes it down a few notches with “I Think I Love You Too Much.” This is a soulful number sporting a nice mid-tempo groove, John Mayer-esque vocals and guitar work right out of the Robben Ford soloing book. Next is the soulful 6/8 ballad, “Longing For A Woman.”  This is a tender piece with some nice organ and piano work.  Ben picks it up a little more on “If You Want To Play With My Heart,” but brings it back down immediately with “Time Might Never Come.” The latter has a solo that is more than just a slight nod to David Gilmour’s iconic solo on “Comfortably Numb.”

“The Question Why” with it’s sweet ’70s southern California vibe, rounds out the album.  With the exception of the opening track, the entire record has a very mellow feel about it. Even the up-tempo “Stay At Mine” with it’s spanky Telecaster work feels like it’s just simmering and not really on full burn.

Time Has Come is a well made record. The songs are solid and Ben has a very nice voice in the pop/soul niche. There is also no deying his guitar cops. The notes seem to pop out of the mix and his phrasing will definitely tickle your ear. If you like some of the more current music from Jonny Lang and John Mayer, then Time Has Come is right up your alley.

The Review: 9/10
Can’t Miss Tracks
– I Think I Love You Too Much
– Time Might Never Come
– Lying To Me
– Longing For A Woman
The Big Hit
– I Think I Love You Too Much

Supersonic Blues Machine: West of Flushing, South of Frisco Review

Supersonic Blues Machine, formed by bassist and vocalist Fabrizio Grossi, and drummer Kenny Aronoff with guitarist Lance Lopez, has just set out on their maiden voyage with their release West Of Flushing South Of Frisco. In addition to the already stellar line up, the release features guest performances by Billy Gibbons, Walter Trout, Warren Haynes, Robben Ford, Eric Gales and Chris Duarte making this super group even “more super.”

If you are familiar with Lance Lopez’s music then you know that this album is all about hard driving southern rock and blues based riffs. The album opens with the southern rock inflected “Miracle Man.” All the Lopez penned tracks are strong but here he shows off his knack for great hooks. In the right hands (or wrong hands depending on your point of view) the hooks are catchy enough to find a home on country radio. But don’t be alarmed. He follows up with the minor key grooving “I Ain’t Falling Again” and from that point on, the album just burns the entire farm to the ground.

The guest artists all put their unique stamp on their perspective tracks. Billy Gibbon’s “Running Whiskey” could be a lost ZZ Top track and “Remedy” with Warren Haynes would sound at home on a Gov’t Mule record. Both Chris Duarte and Eric Gales give empassioned performances. The ballad “Let’s Call It A Day” is a perfect vehicle for the legendary Robben Ford and shows him at this melodic best. He and Lance even do a little harmony work on the intro as well as near the end of the track.

West of Flushing, South of Frisco is a total treat for the those of us who crave great hard driving blues based rock and ear frying guitar playing. The core of Supersonic Blues Machine of Lopez, Grossi, and Aronoff have nothing to prove. They could easly have carried the entire project themselves. The guest stars are just icing on an already very tasty cake.

The Review: 9.5/10

Can’t Miss Tracks

– Miracle Man
– Running Whiskey
– I Ain’t Falling Again
– Nightmares and Dreams
– That’s My Way

The Big Hit

– Remedy

The Family Business: Balls Pricey Review

Balls Pricey is the fourth release from the Madison Wisconsin neo-classic rockers, The Family Business. Over the years the boys have explored different genres from straight up heavy blues riffs on their debut Nightmares and Wildest Dreams, to the more Americana, Band-esque sound from the their last record Forefathers. On Balls Pricey  we find T.F.B. cranking out a mix of straight up rock and roll as well as exploring a few other related genres.

Balls Pricey opens with the hard rocking “The Problem.” The band quickly shifts gears with the R&B grooving “Make My Move” followed by the boogie rock of “You Never Know.”  The entire record is a mini catalog of various feels and grooves and types of songs in the blues rock idiom.  One of my favorites is the 6/8,  psychedelic,  Allman Brothers tinged “Blue.”  This is definitely one of the album highlights. The guys seem to be stretching their muscles a bit and they do quite well no matter what style they put their hands to.  Ambient production, rock and roll attitude, and their love of the blues keeps the record from sounding too eclectic. There is a definite sonic thread that The Familiy Business weaves through out the entire album. While it’s obvious that they can play anything that they want and still sound authentic, great rock and roll is still what they do best. Tracks like” Double Suite,” “Still Alive,” and “Big Red Button” is where they seem most at home.

Singer and guitarist Alex White is a natural blues rock singer with enough bite to convince the even toughest “rock is dead” critic. Lead guitarist Eric Ziegler’s tasteful solos create a powerful double guitar attack with White. T.F.B. meld rock and blues effortlessly. Both White and Ziegler benefit from the formidable rhythm section of Garrett Wartenweiler and Derek Hendrickson who keep Balls Pricey rocking hard from start to finish.

Ball Pricey, no matter what genre The Family Business is working with, has a very live feel.  It’s well produced but not slick. The guitars are warm and fat. The drums are loud and the vocals are ruff and soulful. This is the way that great rock and roll and great blues should always sound.

The Review: 9/10

Can’t Miss Tracks

– The Problem
– Blue
– Still Alive
– The Double Suite

The Big Hit

– Big Red Button

http://familybusinessband.bandcamp.com/album/balls-pricey