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