I was keen to hear this band’s debut recording as I own all of Innes Sibun’s dozen previous CD’s, but I also wanted to learn more about Marcus Malone, who has managed to fly largely under my radar. Innes (whose surname rhymes, more or less, with Simon, I believe) is a gritty Blues/Rock lead and slide guitarist, whose work would appeal to fans of Rory Gallagher, whereas Marcus’ vocals (he restricts himself to rhythm guitar here) appear to lean towards Soul and Funk as much as they do towards Blues or Rock, so I was curious to hear how successfully their styles would combine.
Innes is, of course, adept at supporting vocalists, having worked with Robert Plant many years ago and most recently with Sari Schorr (before ceding the guitar role in the latter band to Ash Wilson) and he shows up well in the lyrically rather repetitive title track which opens proceedings. The rhythm section, which includes Stevie Watts on keyboards and Roger Inniss on bass (drummer Chris Nugent is a new name to me), is also quickly into its groove.
Malone’s ‘Let Me Love You’ is described in the release notes as a crossover between Dave Grohl and Paul Rodgers, but I didn’t really feel those influences. Similarly I didn’t hear the alleged Curtis Mayfield influence in Sibun’s ‘I Want You Back’, although it is the stronger song of the two for me. Likewise the Malone penned ‘Taste Of Your Love’, which adds Massimiliano Guidi on acoustic guitar as Innes switches briefly to mandolin, pales a little in comparison with the trio of Sibun compositions which follow it.
The first of those three songs, ‘Jodie’, is in a Country Rock vein, although the Rolling Stones are the stated vibe, while the slow minor Blues ‘I’m So Tired Of Living’ features some trademark Sibun guitarwork and is, for me, the best song on the album. ‘Lovelight’, which Innes wrote several years ago in Mostar, Bosnia, has a more radio friendly hook, perhaps a little like some of Whitesnake’s later work.
Malone’s ‘She’s My Girl’ is described in the promotional notes as Motown meets the MC5 (a concept I’m still struggling with, even after repeated listens!), but I can hear the influences of the Stones and the Faces (perhaps it’s the repeated “ooh, la, la” refrain…) more clearly in this good time rocker.
The penultimate track ‘Rabbit Hole’ wasn’t intended for this album, but Innes persuaded Marcus to include it and contributed some great guitar to make it one of the stronger songs in the set. Indeed, for me, it would have made a stronger album closer than the funkier ‘Everyday’s A Miracle’ (confusingly the promo notes refer to “Stevie Watts’ beautifully understated gospel lines”, yet states elsewhere that he is replaced by Moz Gamble on this song), which has its own charm, as well as overtones of the Isley Brothers.
So all in all a nice listen, with Innes’ compositions faring best to these ears after the first few auditions, and definitely a band that I’ll hope to hear in a live setting (the album launch gig will be at the Boom Boom Club in Sutton on Saturday 15th February).
Apparently there is no truth in the rumour that the powers that be wanted Brexit to coincide with the release of Anchor Lane's debut album 'Casino', although a bit like Brexit, their eagerly awaited release on Friday 31st January on R7 Records has certainly been well worth waiting for! To coincide, with the album's release, the Scottish Rock band are also holding an album launch at London's The Black Heart in Camden tonight (Thursday 30th January), followed by a headline gig at Bathgate's Dreadnought Rock on Saturday 15th February with support from Quiche & PYRO.
Anchor Lane first came to the public’s attention in 2017 with the release of their 4-track EP 'New Beginning'. Since then, they have toured incessantly scoring notable guest spots with Cheap Trick, Eagles of Death Metal and Tremonti. The band have garnered an impressive reputation as a thrilling and dynamic live act and have notched up significant appearances at renowned Rock festivals including Download, Isle of Wight, Stone Free, Belladrum and Hard Rock Hell.
'Casino' is a sonically exhilarating album from the band who take influences from Royal Blood, Nirvana, Soundgarden and The Foo Fighters. Despite being in their early twenties, there’s a maturity to Anchor Lane’s song writing. They don’t shy away from tackling difficult subjects as 'Casino’s themes include toxic relationships, addiction and the death of a close friend. The album was written by singer Conor Gaffney, guitarist Lawrence O’ Brien, bassist Matthew Quigley and drummer Scott Hanlon in Glasgow and recorded at Vale Studios in the Midlands with renowned rock musician, writer and producer Toby Jepson (Wayward Sons, Gun, Little Angels). Indeed, so the story goes, the album name reflects their gamble of sacrificing their jobs to concentrate on writing the album. Packed with immense sounding up-tempo tracks it showcases the band as exceptional Rock musicians and skilled songwriters.
Perfect opener, 'Blood & Irony', the first of two tracks co-written with Black Star Riders legend Ricky Warwick, with its hook-driven grungy feel, builds to a rip-roaring crescendo, a triumvirate of guitar solo, fuzzy guitar and intoxicating howling vocals, that immediately showcase Gaffney’s prowess as a frontman. The first single taken from the album 'Fame Shame', is much more than a raucous up-tempo Rock track, given its Punky, catchy riff and fist pumping chorus of "We Don't Care!" - think The Offspring - although Warwick's influences come to the fore mid-section with trademark Lizzy/Wishbone guitar harmonies. The official music video was filmed in the band’s hometown of Glasgow with director Ross Boag (Biffy Clyro, Twin Atlantic and Fatherson) whose aim was to capture the raw energy of the band’s live performance - Fame Shame's message condemning society’s fascination with technology and social media.
'Voodoo's Bad Company/Free Blues Rock vibe intro heralds another well constructed track that most certainly keeps the '70's alive and kicking, again not only showcasing the versatility of Gaffney's voice but also some spellbinding guitar from O'Brien, as is another card up their sleeve, the album's title track, another slice of 70's Rock, with its subtle twist of distorted vocal/wah guitar plus great backing vocals. Almost halfway through and there's not let up in the quality with 'Clocks', time for some more glorious, wholesome, head banging guitar riffage and great vocals, welcomely complemented by some neat mid-section keys.
Don't be fooled by the slower intro to 'Stone Cold Hearted' which nicely develops into a Creed meets The Feeling hybrid - sort of Heavy Rock lite - whilst 'Shell Of Me' is another slow opener that delightfully takes things down a gear with another great vocal/distorted guitar, proving that the guys can certainly mix it up a bit. Despite its misleading title, 'Flatliners' is a refreshing, catchy, up-tempo Heavy riffing Punk Pop singalong that just gets better and better with repeated plays.
Hanlon's pounding opening drums on their latest single 'Dead Run' - the incredibly catchy stadium Heavy Rock track which touches on the subject of addiction - is the second track co-written by Ricky Warwick, who also lends backing vocals to the chorus. And talking of Warwick, the Black Sabbath Country sounding underbelly on the quirky 'Honey', brings the album to a fitting close. Indeed, 'Casino' sweats all the passion of William Wallace, with their proverbial balls of Rock under their kilts. Time will tell, as to what other cards they have hidden up their sporrans, but with 'Casino', there is no doubt that the gamble has paid off.
If, like me, you didn’t know much about Albert Cummings before hearing his latest killer album ‘Believe’ then listening to the opening track, the old Sam & Dave chestnut ‘Hold On I’m Coming’ will tell you almost everything you need to know: clearly this geezer from Massachusetts has good taste and is unafraid to not only tackle a much covered number but deliver a cracking performance that bears comparison with the energy of the original; he has the pipes for sure, which sets him apart from the majority of gunslingers out there, and his powerful tones handle this and other tunes on this excellent album as if he has been gargling jet fuel before breakfast for a number of years.
His voice has the authority of Howling Wolf and it’s probably no coincidence that he covers ‘Little Red Rooster’, again taking a classic track and putting his stamp on it. I almost haven’t mentioned that he also plays stinging lead lines on his Strat’ with a lovely clear tone that is a real pleasure to hear; no widdling for the sake of it, but Classic Blues phrasing. The production on the album is superb; the music leaps out and smacks you in the face from the off with some excellent horn arrangements, well up in the mix and the sort of distinctive backing vocals that really lift the songs, as on second track in ‘Do What Mama Said’ which sizzles with vibrancy.
‘Queen of Mean’ keeps the tempo at close to boiling with an electric Texas style shuffle, the horns are again just magic on this, really exceptional. The strength of Albert Cummings’ vocals and his confidence are epitomised by his tackling Van Morrison’s ‘Crazy Love’ and knocking it out of the park. After that ‘Get Out of Here’ kicks things off again with a cool and infectious riff against which there is some nifty organ work. The keys are again prominent on a funky take on Little Walter’s ‘My Babe’. The remaining tracks are just as good; in fact, the whole album is ridiculously good. Fingers crossed that we get to see this gent play some gigs on this side of the pond before too long. Definitely the real deal.
24 year-old Frenchman Felix Rabin, has been on my radar for a couple of years now. I had the pleasure of seeing what I think was one his first UK gigs when he opened for Danish dude Thorbjorn Risager (try saying that after four pints) at the 100 Club back in March 2018. Well he impressed me, and he obviously impressed some others in the know that night as he ended up as the support for Wishbone Ash later that year which put him in front of loads of discerning ears and eyeballs.
Momentum gained, in 2019 he did not one but two headline tours up and down the UK and satisfyingly saw the crowds grow when he returned to the same venues. When I saw him I picked up his EP ‘Down Our Roads’ which featured 5 originals and a polite cover of ‘Hey Joe’ all recorded back in 2015 when Felix was just 19. You can’t quite believe that this nice French boy would talk back to his Mum, let along shoot his old lady as the protagonist in ‘Hey Joe’ does, but the guitar work here is far from polite and drenched in fuzzy wah wah and weaving way around the beat in a suitably Jimi-esque fashion. The originals are strong too, especially when you consider that the Stones didn’t actually get around to writing their own material until Keef & Mick were 22 and here’s Felix knocking out them out at 19. The recordings on that EP gave you a good taste of Felix’s talents and whet the appetite for what the future might bring.
Well that future is here and Felix has a new EP called ‘Pogboy’. The title comes from the nickname he earned in the studio while recording it due to his habit of using the “Pog” effects pedal on just about every song. According to the maker’s website it gives you a “peanut butter milkshake thick sound”. Well you can certainly here it on a lot of the tracks here, particularly the crunchy double tracked ‘Angels’ (no, not a Robbie Williams cover, phew).
Engineered by Ross Hogart, the man behind the knobs for Van Halen and REM, there’s an airiness and sparkle to the sound that was missing from ‘Down Our Roads’, which sounds more like an unusually good demo in comparison.
Everything has moved up several notches here - the writing, the playing, the mood, the singing and the production all sound like the proud work of a young man taking his first steps into greatness rather than a precocious boy who’s been studying SRV in his bedroom. The feel of it puts me in mind of John Mayer’s ‘Heavier Things’ - a laid back vibe of Blues-but-not-Blues where the songs are given space to shine and subtle shades of brass pop up here and there for colour. It’s interesting how brass is used on this EP, sometimes it’s way in your face like on Gary Moore’s ‘Back To The Blues’ album and other times it’s more in laid back Miles Davis ‘Blue In Green’ territory. Whoever arranged it has done a fine job. That’s not to say Felix has put that Strat back in the case - the subject of death makes a return on the slow burner called, um, ‘Death’ where Felix gets all Gary Moore on yo’ ass, accompanied by those mournful muted trumpets.
If there’s one problem with this EP it’s that it comes to an end after just half an hour - you just wish there were another half a dozen songs like the ones you’ve just heard. But perhaps Felix has been quite canny in producing an all-killer-no-filler work here that will get him noticed and leave those listeners hungry for more. You won’t to get to hear it until April, but in the meantime you can hear those old songs on Spotify and there’s videos of a few of them on Felix’s web site - which Felix himself edited the clever clogs. He’s touring the UK in March opening for the marvellous Samantha Fish and hopefully he’ll have a few sneaky advance copies there that you can score ahead of the release date.
The rumours were flying prior to this release that Nikki Lamborn and Catherine Feeney (Been) were going to deliver a Blues-Rock album and join the resurgence in the genre led by Bonamassa, King King, Robin Trowner & Co. Well, to a point it’s true as five of the thirteen song album ‘For Better For Worse’ are Blues based. One thing is for sure, Never The Bride is known for variety and here we cross the Rock genre with the Blues, Country, Americana and even some Gospel elements dropped in for good measure.To carry out this recording, the choice of producer Livingstone Brown in London’s State Of The Ark studios, who has work with artists such as Tina Turner, The Climax Blues Band and Mr. Trower through to De La Soul and Maxi Priest, to name a few, can only suit the job in hand perfectly.
The opener kicks off with ‘Love Finds The Young And Old’, a mid-pace Blues rocker, which has a Bon Jovi anthemic feel about it, leads us to a quick genre switch with song two, ‘Web Of The Stranger’, the Bond themed number that Nikki adopts Shirley Bassey style phasing. In at three - ‘For Better For Worse’ - eases us in like a Sunday morning with a Blues ballad, where Nikki reaches for her heartfelt inner Janis (yes, Joplin) backed smoothly by Been’s sensitive piano pieces. So, we move swiftly on to what I’m calling the top number of album! ‘Don’t Trudge Mud In The House of Love’ - a title Seasick Steve would easily accommodate - with this deep down and dirty Blues rocker that should be top of every Blues DJ’s playlist - end of!
OK, lets move on and not to disappoint their original fan base track five goes more AOR with ‘We Can Work it Out’ before the first of two songs featuring keyboardist Catherine singing in her own Scottish voice with ‘Mind How You Go’ and later with ‘I Got A Calling’ (track 10) which, If I said were crossing Eddi Reader and The Mavericks, you can get a sense of the Pop/Country Been is taking us down.
In at seven - ‘Tiger Bay’ is a clever number, which could quite easily see fifty drummer boys matching down the valleys of South Wales to meet the incoming ships, whilst tracks eight and nine are home to a couple of AOR belters in the form of ‘April Rain’, a heartfelt piano ballad, and more mid-tempo, ‘You’re Not Alone’.
As for ‘Independence Day’, well, I feel like I’m on one of those Venice gondolas when we go all Bassey style on song eleven. Closing the album at number twelve is ‘Girls Are Back in Town’, a mid-pace rocker, and then lastly, the more down-tempo Gospel Blues of ‘Don’t Let the Rain Fall Down’ - not sure how you’re going to stop it Nikki and Been – but you do have a good collection for your repertoire!
Both physical versions of Vinyl and CD are available along with the usual digital outlets.
Celebrated Swedish Hard Rock band sensation H.E.A.T will tomorrow release their brand-new album 'H.E.A.T II' via earMUSIC, the first to be produced entirely by the band - with Jona Tee (keyboards) and Dave Dalone (guitar) as producers. Also featuring Erik Grönwall - vocals, Jimmy Jay - bass and Don Crash - drums, the album goes back to the band’s beginnings, redefining the raw H.E.A.T sound - a sound that oozes Classic Rock coolness paired with the snotty confidence of one of Rock and Roll’s most talented bands today.
In 2009, H.E.A.T not only had a huge hit in Scandinavia with the song '1000 Miles', but that same year the band’s second album 'Freedom Rock' was nominated as one of the Top 50 albums in 2010 by Classic Rock magazine UK. Since then, they’ve toured all over the world, blowing audiences away with their outstanding live concerts. In 2019 the band released their live album 'Live At Sweden Rock Festival' - their second ever live recording - and for the first time on video – showcasing a lively and intoxicating setlist including 'Living On The Run', 'A Shot At Redemption' and 'Bastard Of Society'. So with their proverbial bar already set very high - how would this new 11-track offering fare?
If you really needed immediate affirmation that the 'real' H.E.A.T is back ablaze, then the pounding riff and drum on 'Rock Your Body' proves that their embers are well and truly burning nicely on this opener, thanks to Grönwall's fiery vocals - think Nathan James meets Joey Tempest - complemented by that, oh so 80's fusion, of Dalone's guitar and Tee's keys, that even throws in a mid-section 'Kashmir'-esque like snippet. Their fourth and final single 'Dangerous Ground' opens with the starting of a car engine, and fittingly its beat, chugging riffage and Dickinson inspired vocal, ignites into a killer track of great harmonies, chorus and lyrics that will make you want to put your pedal to the Metal. Indeed, H.E.A.T described the single as "the desert racing song of the century" and it's certainly one that you will want to listen to, full blast in your motor! Continuing with their resurgence and their signature sound, their aptly named third single 'Come Clean' is another classic combination of the AOR, Melodic and Classic Rock spectrum that kicks ass - with Dalone's awesome guitar solo not only bringing back great memories of Eddie Van Halen, but also its chorus, vocals and pounding drums, drawing comparisons to Iron Maiden and Bon Jovi.
It's fair to say therefore, that H.E.A.T don’t hide their love for their Classic Rock. Indeed some might accuse of them being cheesy, and inevitably, copying their heroes. However, as The Jam once put it: "The public gets what the public wants" and the fist pumping chorus of singalong 'Victory', which continues the pace with its classic guitar/organ riff, is not only proof that they’re young, ambitious and full of energy and ideas, but it also gives another generation the opportunity to re-discover the melodic approach to Hard Rock with bands such as Foreigner, Journey and Whitesnake, even though big hair and leathers are no longer mandatory! Don't be fooled by the Bluesy opening riff of 'We Are Gods' plus its melodic mid-section, before guitars kick in for yet another fist pumper with a great chorus. And once again there's no hiding place with the appropriately named 'Adrenaline' - with its catchy chorus, Dalone's knock-out guitar, outstanding vocals from Grönwall, plus some great drumming from the perfectly named Crash.
Their first single, 'One By One' released last September, gave a first glance as what is to come for the new album, and deservedly received a lot of airplay on Planet Rock. Another well constructed slice of Melodic Rock with some great backing vocals, it has a real 'Rocky' feel about it and as such is a real belter - H.E.A.T describing it as "about enlightening people and showing an alternative path to life. A road less travelled, if you will.” 'Nothing to Say' slows things down a bit - its unique 80's ballad/keys vibe somewhat reminiscent of compatriot Roxette rocks, whilst the punishing riff of 'Heaven Must Have Won An Angel', will no doubt surely result in a number of mature Classic Rock punters adding H.E.A.T's patch to their well-worn Denim uniforms. 'Under The Gun's big opening, develops into another driving microcosm of their mesmerising, freshly sounding, energetic Classic Rock and bombastic melodies - with dual guitar harmonies aplenty. Finally, their second single 'Rise' is a massive anthemic AOR hammer, which again the band describe as "uniting and rebelling against the powers that be. Whatever that may be is subjective to the listener.” Well, to put it simply, its a final, fitting, fist pumper of a singalong/chorus, that mid-song meanders into another bad ass Dalone guitar solo.
As the band said: "They just do it and they want to be the best at it." Well they certainly have achieved that. A real epic Melodic Classic Rock rollercoaster of a CD that not only turns up the gas to H.E.A.T mark two, but one in turn that will make you sweat and want to keep permanently on your current Hard Rock playlist. H.E.A.T play three exclusive UK shows this May along with British Rock band VEGA, award winning band Mason Hill and 4-piece Collateral, at Wolverhampton KK’s Steel Mill on Wednesday 28th May, London's Garage on Friday 29th, and finally Swansea's Patti Pavilion on 30th May. This is preceeded by a fifteen date mainland Europe tour, starting in their native Sweden at Stockholm's Fryshuset next Friday 28th February, and finally concluding at Aschaffenburg's, Colos-Saal in Germany on Monday 26th May.
Since making their noisy presence on the UK Rock scene known, the hard-hitting, three-piece British Alt-Rock, Grunge Rock band Molly Karloff have been busy in the studio recording the tracks to their highly anticipated second studio EP, 'Supernaturalation', which is due to be released next Friday 6th March, through Roulette Media and distributed by Cargo.
Following the release of their critically acclaimed debut EP, 'Dancing for Money' (2018), the Oxfordshire based band have toured their contagiously high-energy, hook-filled, fist pumping sound around the country, including packed venues across Oxfordshire and London’s Camden Town. Indeed, the band’s EP launch party will be held tonight at The Black Heart in Camden, London, supported by Spidervayne and Black Tree Vultures.
Comprising of Simon Guilliard (vocals, guitar), Dan Podbery (bass) and Jowie Adkins (drums), as expected, the EP embraces and evolves their unique, yet familiar Hard Rock sound, of stripped back guitar and bass grooves. Recorded at Parlour Studios, Kettering and engineered, mixed and produced by Neil Haynes (Sacred Mother Tongue, Black Dogs, Awake, Sympathy State), the band see 'Supernaturalation' as a precursor to the release of their debut album later this year.
Their title track was written using a baritone guitar, and right from its opening riff, the addictive hook and aggressive vocal immediately slaps you around the face (think The Offspring), setting the tone and hooks for a real foot stomping head banging groove and chorus, that takes a dig at hypocritical attitudes to drug addiction in society. Their first single released last month, 'She Said', is an infectious Hard Rock collision reminiscent of The Brew meets Black Orchid Empire (check them both out as well), with its swirling guitars intro, melodic verses, cool wah riff, punchy chorus and soaring vocals. Ironically its subject matter is all about perseverance, although you won't have to worry about that as its a track you will want to play over and over again.
The Punky guitar riff and vocal overtones of 'Do You Wanna' proves that both Punk Rock sensibilities and a unique Hard Rock sound can mix with big grooves and catchy choruses. Can't wait to see this one live tonight. Aptly, the driving rhythm assault continues with 'Do It Again' - plenty of melody and groove with another contagious chorus laid over the pumping hooks of the guitars. All about having no regrets, there are certainly no regrets in the construction of this fourth track which sees a short and frenetic guitar solo build into a crescendo before its final chorus. With its catchy, opening, foot-tapping Funk-Blues groove riff, EP closer 'The Other Side', about breaking taboos, doesn't hold back, simply delivering a straight-up, ‘four to the floor’ Hard Rock tune to finally Rock out to.
Whilst the EP lyrically captures the band giving a middle finger to numerous social issues; with a sideways dig at hypocrisy in society, musically that wild edge continues to manifest itself in their no-nonsense, addictive and distinctive attention-grabbing guitar riffs and catchy, chorus lines. Supernaturalation is certainly no Frankenstein's monster and all augurs well for their debut album later this year. In fact, I'm sure Boris & his Crypt-Kickers would love it. Molly Karloff's Supernaturalation tour continues next Friday 6th March at Oxford's The Bullingdon and concludes at The Carlisle in Hastings on Saturday 27th June.
West Midlands based Shyyne release their new album ‘Go Your Own Way’ on Saturday 4thApril, care of WDFD Records. Don’t be switched by the album title to Fleetwood Mac, because this 4-piece outfit are unashamedly bringing their brand of 80’s sleaze Rock from the Californian coast to streets of the UK! Think Skid Row, Van Halen and Motley Crue for easy reference.
The band features singer Toni Gale, formerly of Surrender and Rezist, who is very much in the Vince Neil mould, and along with ex-Roulette guitarist Mark Wilkins, they formed the band back in 2015. The rhythm section of Matt Freeman on bass guitar and Richie Bevan on the drums complements their current line-up. The bands philosophy is good songs and fun times - so lets see and press play!
Opening up, ‘Say Goodbye’ races down the tracks with speed and ample riffing in all the right places. The first of one of my many favourite songs in this collection, with its Van Halen style of vocal harmonies, is ‘Movin On’, which is both very hooky and instantly memorable from the first listen through. ‘Feelin Fine’ works along the same line of the previous track with hints of the North East’s Tygers Of Pan Tang style of Rock rhythm.
‘Broken Down Girl’ is a clever little rocker with breakdown sections ideally set for masses of scantily clad ladies joining in (Oh, that was the 80’s!), followed by the title track, which drops in at No.5 for the sunset strip sleaze crowd, with its catchy chorus line and riff laden delivery. However, it’s the songs next up, ‘Show Me’ and ‘Take Me Down’, that represent the top numbers for me on this twelve song outing and define the bands quality.
Following up with ‘State Of Mind’, ‘Shut Up’ and, close to making my top three, ‘Aint A Crime’, roll steadily along the M6 before ‘Friday Nite’, in at No.11. The pace finally drops with the David Lee Roth kind of Blues styled closing track (think ‘Little Ain’t Enough’ album) in the form of ‘Song For The Broken Hearted’. In summary, not only a perfect player for that motorway drive, but also when this dreaded virus curfew is lifted, make sure you get along to see their show.
Noble Jacks hail from the Southern coastal city of Brighton, and comprise of UK Americana nominated award fiddle playing Will Page on vocals/guitar, along with Matty Deveson on bass. Formed in 2014, they finally stabilised their line-up to build a concrete platform, which has led them to play at festivals such as Glastonbury, The Isle Of White and Bestival, along with many European events.
Having just come off a tour with The Dead South and the “CV” thing obviously putting paid to further dates, including an album launch show, the good news is that they released their new aforementioned sophomore deluxe CD edition of 'Stay Awake' for peoples ears yesterday.
Comparison time? Well if your bag is The Levellers and Mumford Sons style, you’re going to like what’s going on here! Lets hit the start button. First up on this fourteen track album is ‘Ten Times’, a catchy mid-tempo violin riffed Folk rocker, followed swiftly by a more lighter dreamy Pop guitar driven ‘Lights Out’.
In at No.3 the love hopeful ‘Rely On Love’, while the Indy laced ‘Stay Awake’ trots us along the bridal path. ‘Morning Light’ has something of a Paul Simon vibe about it, leading to the more easy listening, yet rhythmic numbers, ‘New Beginning’, ‘Lift Me From The Floor’ and ‘This Rose’.
For me to say that the best two songs are next, is of course arguable, but the anthemic Rock of ‘What Did You Say’ and hooky guitar lines of ‘This Is Real’, caught me on the first play and tick the strong song box! ‘Enjoy The Ride’, followed by ‘Road Of Death’, may not sit well together as titles when your just about to take a journey, but they do return to their lighter Folky Americana from earlier on the album.
‘Noble Ground’, once again with that Paul Simon styled lick, and the Irish violin folk influenced ‘Dreams Carry Me On’, close down this Summery long player. When all this “CV” finally dies down, we will hear the Country lanes basking in ‘Stay Awake’ plus further growth on the live circuit.