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