Why Am I Just Finding These Guys?

 Apparently I've Been Asleep At The Wheel. Just Recently Ran Across These Guys. Seems The UK Is Churning Out (Classic Rock Revival) Bands For Some Years....Give A Listen!

 

 

Stoney Curtis - Cosmic Conn3ction - (2011)

It's nearly six years since rock blues guitarist Stoney Curtis recorded the ground breaking album 'Acid Blues Experience'. Not since Hendrix's hey day and the refracted big toned efforts of Robin Trower had a guitarist captured the essence of psychedelic rock blues so thrillingly. The album excitingly lived up to its title and delivered bone crunching riffs, deeply honed guitar tones and drifting psychedelic rock played with a level of intensity that probably frazzled the studio speakers.

The following 'Raw and Real' was the difficult second album and in truth consolidated rather than enhanced his reputation. A few years on, and with a new rhythm section and a gradual change of image from basket ball kid to long hair stoner, Stoney Curtis has done it again, and recorded a killer album in the Acid Rock/Blues genre.

'Cosmic Connection' is that rare thing, a studio album full of pulverising psychedelic tinged rock blues The twelve tracks rarely waste a note as Stoney rocks out with a deeply ingrained intensity and makes his guitar talk through a mixture of wah wah inflected, whammy bar mangled notes that rarely lose sight of feel and personal expression.

But where the first two albums combined musical adventure with raw passion and an authentic early 70's feel, Mike Varney's intuitive production brings enough light and shade to focus on the grooves and highlight the myriad guitar parts in such a way that the albums flows brilliantly.

Stoney's songwriting is also back to its best on an album that opens with rock/blues bluster and works its way like an express train towards a concluding heartfelt love song 'The Letter'.

There's some rollicking slide playing and lead guitar on the anthemic 'Blues & Rock & Roll' and some tough soloing on another high intensity blues 'When The Sweet Turns To Sour'. Stoney's solos are raw and spontaneous but convey real feel, gut wrench emotion and always add to the narrative of the song.

On 'Heading For the City', he explores the beauty of a perfect power shuffle on which the rhythm section of Aaron Haggert and Steve Evans push him all the way and the result gives the album an extra dynamic sweep. It's a tightly sprung affair with a powerful sonic quality and only a sudden fade out detracts from a real highlight.

'Soul Flower' is effectively the stylistic anchor track of the album and comes drenched in a wah wah and whammy bar avalanche. Stoney's vocals are mixed back sufficiently far enough to emphasize the melody line, as he explores every possible nuance on his guitar and he even references the title track on another impressive slice of psychedelic rock.

And if 'Heading for the City' is an expansive shuffle, then 'Good Lovin' Done Right' is a stop-time, tightly wrapped exposition of the form, before Stoney unravels volleys of guitar, lightning flurries and repeated chords with Jesse Bradman adding a fat sounding organ. There's an integral flow to the record as the band kick into the hard rocking 'Big Beautiful Women', before a psychedelic crescendo leads them into 'Mary Jayne', a tough rocker on which Stoney soars like an angel. It's another example of the essence of a kick ass band captured live in the studio and given a coating of Duluxe by producer Mike Varney.

'Cosmic Connection' is top draw psychedelic rock blues played by a road tested live band who plug in and in the words of Michael Katon, 'rip it hard' until they reach their creative equilibrium.

There's a slightly longer gap between the restrained 'Infatuation Blues' and bone crunching rock of 'Before The Devil Knows You're Dead' and the jammed out bulldozer end section of 'Rise Up'. If this was a deliberate ploy to give added impetus to the explosive rock blues that follows, then it's a job well done.

'Cosmic Connection' is everything you would hope for from a psychedelic rock album. It's simply a great power trio rock record with added parts that make a mockery of so much over produced AOR.

If Hendrix brought adventure and a sense of the outrageous to the studio all those years ago, then Stoney doesn't so much try to emulate him as fashion some magical moments in his own way. He may even steal a Jimi intro on 'Rise Up' but 'Cosmic Connection' is a work all of his own, and like a stick of rock comes stamped with his name from beginning to end.

You should order or rush out and buy 'Cosmic Connection', crank up the volume, annoy the neighbours, and pretend you're 19 again and rejoice in psychedelic rock at its very best. by Pete Feenstra

Can Anybody Share Awesome German Band? Rotor

https://www.youtube.com/watch?v=WG5zzac-8EI&list=RDWWQxzHdzivc&index=10 

The Small Faces - From The Beginning (1966)

Just when the first-generation British Invasion bands galloped ahead into pop art in 1966, the Small Faces worked a heavy R&B groove on their 1966 debut. That's not to say that this pack of four sharp-suited mods were unaware of the times. If anything, no other British band of the mid-'60s was so keenly tuned into fashion, the four Small Faces capturing the style and sound of dancing pilled-up mods better even than the Who, possibly because the group could carry a groove better than the Who, as this tightly propulsive debut amply illustrates. Like many '60s debuts, The Small Faces is split between covers, songs the label pushed on the band, and originals, some clearly interpolations of songs they'd been covering in clubs. "Come on Children" echoes James Brown's "Think," and "You Need Loving" is based on Willie Dixon's "You Need Love." Later, Led Zeppelin would rework the Small Faces' "You Need Loving" into "Whole Lotta Love," and while it's easy to hear how Steve Marriott's raw-throated howl influenced Robert Plant as much as Marriott's heavy shards of guitar influenced Jimmy Page, what's striking about The Small Faces is that there is very little blues or rock & roll here: it's all hard-charging, driving R&B and soul, the emphasis all on the groove. By stressing the beat, the Small Faces carry themselves over some slight songwriting -- the band's energetic interplay carries them over the rough spots between "It's Too Late," "What'Cha Gonna Do About It," and "Sha La La La Lee," and that concentration even pushes them into trailblazing territory, as on the lean, ominous pulse of "E Too D." Such moments keep The Small Faces sounding fearless and fresh even when by other respects it is very much a record of its time. by Stephen Thomas Erlewine

The Cold Stares - Texas (2026)

 

Amanda Marshall - S/T (1995)

This Canadian singer has a pop-rock style reminiscent of Sheryl Crow, with a dash of Melissa Etheridge's growl. Her earlier influences range from folk-popper James Taylor (evident on "Trust Me [This Is Love]") to her countryman Bryan Adams ("Sitting On Top Of The World"). As in Crow's songs, characters from all walks of life populate Marshall's songs, whether it's the Southern homemaker escaping her alcoholic spouse in "Birmingham" or the lost soul looking for salvation in "Last Exit To Eden." Only 10 songs long, AMANDA MARSHALL is a tasty appetizer for what promises to be a delectable body of work. (allmusic.com) 

 

The Charlatans - Between 10th & 11th (1992)

I loved this album when it was released. And at a time when the charts mattered, I was extremely disappointed when it limped into the album charts at number 21 before promptly disappearing.

The record still holds up today despite it’s very dark undertones.

Go on… give it a proper listen, and it’s far better than its rep suggests. In fact, it’s probably their most misunderstood record—tight, shadowy, and quietly confident. Tim Burgess sounds more front and centre than on Some Friendly, still laid-back as ever but finally nudging toward actually singing rather than mumbling. The basslines from Martin Blunt throb with purpose, and Rob Collins’ keys are, frankly, majestic throughout.

“Weirdo” is the obvious knockout—one of their finest ever, with that spiralling organ line and just the right mix of funk and menace. But there’s depth beyond the single. Tremolo Song shimmies in with electric piano and a bassline that slinks rather than swaggers. Ignition dabbles in weird, filtered textures that feel like getting sucked into a radio. And Can’t Even Be Bothered is practically orchestral compared to their earlier stuff—like they were trying to out-melancholy The Verve before The Verve had even got going.

Yes, it bombed at the time. Wrong sound, wrong moment. But in hindsight, this was the turning point—the survival album. They’d wobble, they’d stumble, but they never quite fell.

Goosebumps from start to finish! by Del Franklin

 

Matthew Curry & The Fury - If I Don't Got You (2011)

Great voice, subtle yet searing guitar work. I am especially impressed by "Blinded by the Darkness"(sax solo by Doug Daniels), the rich blend of horns, organ, sweet guitar licks and Matthew's gritty voice. Outstanding stuff. This young blues artist has the sound of down home blues with great guitars. He's raspy and intelligible and can make his guitar cry. His music is moving and hits you where you live. Keep rocking those blues! by Oparin Oleg
 

 

Anybody have a copy of this whole CD? 

Simon McBride - Crossing The Line (2012)

Hailed by the guitar press internationally, Simon McBride has been on the edge of stardom for a few years now. One of the only non-US artists to be endorsed by PRS, it's only a matter of time before he steps into the shoes of fellow Irish guitar wizards Rory Gallagher and Gary Moore. GI caught-up with Simon on the eve of a major tour of the UK, Holland and Belgium.

Leaving school at 16 is not universally considered to be the smartest long-term move. But when you are bursting with precocious talent and unbounded ambition, why hang around, waiting? Belfast-born Simon McBride must have been one of those irritating kids who just 'gets it' from the start. Straight into Blues Rock at the age of ten, just five years later he won a major award from a UK guitar magazine and just a year later, turned full-time pro to join Sweet Savage. It was what you might call a flying start!

Just as important in the development of McBride's evolved style, however, was the next period of his career, as he tells us in his interview. He spent years playing R&B and Soul with ex-Commitments vocalist, Andrew Strong. It may seem a far cry from the Metal of Sweet Savage, but the need to lay back inside the overall sound of the band has given McBride, though still young, a sense of mastery and economy which stands him in good stead, especially as he has now emerged as an accomplished singer and songwriter.

An early convert to Paul Reed Smith's guitars, McBride has lately become a user of PRS amps, too, and he does so because he wants to, as he says in our interview, not because he has has been leaned-on by the guy who makes his guitars.

Most of what needs to be said about McBride's playing speaks for itself on his albums - the most recent of which, Crossing The Line, was released in 2012. Just embarking on a tour of the UK, Holland and Belgium if classic Blues Rock is your thing it's going to be unmissable!  By Guitar Interactive Magazine

 

Andy James Band - In Blues We Trust - (2012)

Sun Chronicle raves: 'From get-your-mojo-on contemporary blues to the traditional delta variety, guitarist Andy James knows no limits... beneath that quiet exterior beats the heart of a blues lion. James and his outfit crank out some extraordinary grooves...' This is one hot blues act not to be missed!!!
 

Jaime Brockett - Remember The Wind And The Rain (1971)

Folksinger and composer Jaime Brockett's debut album, Remember the Wind and the Rain (1971), easily demonstrates why readers of Broadside magazine heralded him as Boston, MA's top male performer circa 1968. Brockett's emotive side is revealed on the title track, "Blue Chip," and the hauntingly beautiful "Nowadays," juxtaposed against the anti-authoritarian hippie anthems "Talkin' Green Beret New Super Yellow Hydraulic Banana Teeny Bopper Blues" and the nearly quarter-hour "Legend of the U.S.S Titanic." Even though the latter sounds like an amphetamine-fueled rave, it includes a coded message and some sage advice: if one has the need to partake of recreational combustibles, it should be done "in the privacy of your own home." This is opposed to imbibing on the bow of a ship -- as the narrative blames a pot-tokin' first mate as the responsible party for the vessel's fate. "St. Botolph St. Grey Morning Dulcimer Thing" -- bearing the name of St. Botolph, Boston's patron saint -- is another interesting entry, as it is Brockett's sole original as well as the only instrumental on the disc. The melody contains a few striking resemblances to the Beatles' "Norwegian Wood," and Brockett's prowess on the hammer dulcimer is impressive as the tune ambles and winds up to an accelerated climax and then gently slows for the conclusion. As the spelling might infer, the achingly poignant "Suzzane" isn't a cover of the Leonard Cohen song, but is one of the effort's standouts, thanks in part to Tony Rubino's eloquent acoustic fretwork. The withdrawn intimacy in the reworking of "One Too Many Mornings" sharply contrasts with Bob Dylan's version, offering up an otherwise obscured vantage point in the author's verse. The long-player concludes on a portentous note with "Bag on the Table," a hauntingly noir tale of a life lost and tragically wasted. Although Brockett would go on to record a couple more albums, it is undoubtedly Remember the Wind and the Rain that most folks will recall. by Lindsay Planer

Nap - Villa - (2016)

This Oldenburg-based trio does a great job cramming spacey psychedelic jams into five-minute songs; the abbreviated running times give these fuzzy mostly-instrumental tracks maximum impact. By jumping seamlessly between proto-metal, ‘60s psychedelia, and even surf rock, they make it hard to pin down where each daydream will go next. (bandcamp)

 

A Real Psych Rock Gem, Not To Be Missed. (Puck)
 

Rory Gallagher - Irish Tour (recorded in 74, CD from 1999)

Irish Tour was recorded in January 1974 in Belfast, Dublin, and Cork at a time when precious few performers -- Irish or otherwise -- were even dreaming of touring the trouble-torn island. Northern Ireland, in particular, was a rock & roll no-go area, but Gallagher never turned his back on the province and was rewarded with what history recalls as some of his best-ever gigs. Irish Tour, in turn, captures some of his finest known live recordings and, while it's impossible to tell which songs were recorded where, across nine in-concert recordings (plus one after-hours jam session, "Back on My Stompin' Ground"), the energy crackling from stage to stalls and back again packs an intensity that few live albums -- Gallagher's others among them -- can match. Highlights of a stunning set include dramatic takes on Muddy Waters' "I Wonder Who" and Tony Joe White's "As the Crow Flies," a raw acoustic rendering that is nevertheless totally electrifying. A frustratingly brief snip of the classic Shadows-style "Maritime" (aka "Just a Little Bit") plays the album out in anthemic style and then, of course, there's "Walk on Hot Coals," a marathon excursion that posterity has decreed Gallagher's most popular and accomplished statement -- a status that Irish Tour does nothing to contradict. It's foolish playing favorites, however. Even more than Gallagher's earlier Live in Europe album from 1972, Irish Tour confirms Gallagher not simply as the greatest bluesman Ireland ever knew, but as one of the island's greatest-ever performers. by Dave Thompson
 

West, Bruce & Laing - Why Dontcha (1972)

The record opens with the powerhouse title track. Pure West, but not quite Mountain, the band barely has the unit going before West belts in screaming, “Why dontcha/come to my place”.  It’s a great number to open the album, but the momentum is brought to a halt with the slowed-down, slightly bluesy psychedelic “Out Into the Fields”. It’s a great song, but its placement between two smokin’ joints is simply wrong. The third track, “The Doctor”, begins with a pounding, driving syncopation reminiscent of Blue Cheer. Switching the order of tracks two and three would allow for a longer high-energy introduction to this band, before dropping down a few notches to think about what was just heard.

“Turn Me Over” is a great piece boosted by the fiery harmonica that opens and carries the tune. The guitar/drum combo provides a tight groove under Bruce’s vocal that could easily be danced to and is similar to some Yardbird tunes. Where “Turn Me Over” is a modern rock and roll blues, “Third Degree” is a pure rhythm & blues blues (if that makes any sense). The band plays the cover song straight and hard, with dead-on delivery. On the record, side one would end here, and it’s a great way to close the side. In this era of compact discs, there is a tendency to forget about or simply never consider “sides” of records.

Keeping that in mind, the uptempo “Shake Ma Thing (Rollin’ Jack)” is less jarring than it would be if it truly did come right after “Third Degree”. Regardless, the song rocks as hard as Cream ever did (but still a bit shy of Mountain’s huge sound). The record’s tempo is shaken (once again) by the placement of sappy ballad “While You Sleep” only to have it raised 10 notches with “Pleasure”. Flow should be highly considered when laying the tracks out for an album, and this is an example of “close, but not close enough.” That said, “Pleasure” is not the record’s heaviest, a title probably reserved for “Why Dontcha” or “The Doctor”, but it’s certainly the fastest, most rocking song on the album and one to play repeatedly.

“Love Is Worth the Blues” is credited to all three members, but conventional wisdom pegs it as a Jack Bruce piece. It is one hell of a heavy, sludgy rock number drenched in the blues. What is interesting about this song is that if you listen to it closely, you might recognize parts of it as the Rolling Stones’ “Play With Fire”. So much so that when West, Bruce & Laing covered “Play with Fire” on their live album, Live ‘n’ Kickin’, they used the Jagger/Richard lyrics with the music to “Love Is Worth the Blues”.

The album has a solid ending with “Pollution Woman”. About the song, critic Joe Viglione wrote that this was the direction the band should have taken for the entire album. He also suggests that keyboards might have stabilized the band. The inclusion of keys via Mountain’s Knight or Blind Faith’s Winwood would have been monumental in establishing a firmer ground upon which to develop the band’s sound. I might have to agree to some degree, though not entirely, because some of these songs are phenomenal as they are. However, I will agree with Viglione regarding the production of the album. There wasn’t as much “oomph” in the production to give it that heavy-ass Mountain sound with the jazzy basslines Bruce’s blues contained. It wasn’t all Johns’ fault, as the band did have a hand in production.

Rather than worry about what it could have been or should have been, we should just embrace this album as a wonderful effort by some amazingly talented musicians. On paper, it looks and sounds amazing: the growling guitars of West, the heavy pounding from Laing, and Bruce’s jazzed-out blues-rock on bass. Cream meets Mountain, you would think. However, it doesn’t quite become that, nor does it necessarily aim to. By the time this album came out, Cream had been disbanded for three years. Sure, fans probably wanted a new Cream album or at least a little taste of something, but is that what the musicians wanted? Cream’s breakup wasn’t sweet, and Mountain exhausted its band members. It’s easy to see them wanting to distance themselves a bit while, at the same time, maintaining that lifeline just in case. Sometimes when I listen to this album, I get the impression that these guys just wanted to rock out a little and make a record for no other reason than to make a record (and maybe make a few bucks, too). Regardless, put it on, and turn it up…loud. (excerpt from classic rock review)

 

Paul Cebar - The Get-Go (1997)

Milwaukee native Cebar has tottered on the edge of notoriety for years, and this disc is a testament to his staying power. Dabbling in flavors of brassy R&B, calypso, reggae, ragtime and blue-eyed soul, Cebar delivers an album filled with winning original tunes in a confident and well-weathered tenor. From the bouncy "She's Found a Fool" to the baleful "Itta Bena Boy," the trip is a delight. by Tim Sheridan

She Found a Fool
Don't Let It Pour
Bungalowing Big Time
Trying
Clap for the Couple
Keep You (Going Away)
He Forgot What He Knew
Got to Grind
Sending My Love
Spacelab Girls from Huntsville
Lovely As the Day Is Long
Wasabi
Itta Bena Boy
Lovely As the Day Is Long [reprise]

An AMG Album Pick

The Doobie Brothers - Toulouse Street - (1972)

 

Toulouse Street was the album by which most of their fans began discovering the Doobie Brothers, and it has retained a lot of its freshness over the decades. Producer Ted Templeman was attuned to the slightly heavier and more Southern style the band wanted to work toward on this, their second album, and the results were not only profitable -- including a platinum record award -- but artistically impeccable. Toulouse Street is actually pretty close in style and sound at various points to what the Eagles were doing during the same period, except that the Doobies threw jazz and R&B into the mix, as well as country, folk, and bluegrass elements, and (surprise!) ended up just about as ubiquitous as the Eagles in peoples' record collections, especially in the wake of the singles "Listen to the Music" and "Jesus Is Just Alright." But those two singles represented only the tip of the iceberg in terms of what this group had to offer, as purchasers of the album discovered even on the singles -- both songs appear here in distinctly longer versions, with more exposition and development, and in keeping with the ambitions that album cuts (even of popular numbers) were supposed to display in those days. Actually, "Listen to the Music" (written by Tom Johnston) offers subtle use of phasing and other studio tricks that make its seemingly earthy, laid-back approach some of the most complex and contrived of the period. Johnston's "Rockin' Down the Highway" shows the band working at a higher wattage and moving into Creedence Clearwater Revival territory, while "Mamaloi" was Patrick Simmons' laid-back Caribbean idyll, and the title tune (also by Simmons) is a hauntingly beautiful ballad. The band then switches gears into swamp rock for "Cotton Mouth" and takes a left turn into the Mississippi Delta for a version of Sonny Boy Williamson II's "Don't Start Me Talkin'" before shifting into a gospel mode with "Jesus Is Just Alright." Johnston's nearly seven-minute "Disciple" was the sort of soaring, bluesy hard rock workout that led to the group's comparison to the Allman Brothers Band, though their interlocking vocals were nearly as prominent as their crunching, surging double lead guitars and paired drummers. And it all still sounds astonishingly bracing decades later; it's still a keeper, and one of the most inviting and alluring albums of its era. by Bruce Eder

vinyl rip

Slobberbone - Barrel Chested (1997)

Slobberbone's second record pushes the country-rock concept to its logical extremes, fusing authentic roots trappings -- fiddles, dobros and the like -- with punk-metal rave-ups similar in spirit to AC/DC. The juxtaposition works: Brent Best is a fine songwriter, equally comfortable moving from bracing punk numbers like "Haze of Drink" to long, mournful guitar jams like "Get Gone Again" to quiet country sketches like "Little Drunk Fists"; combined with his band's impressive sonic reach, Barrel Chested is a real treat. By Jason Ankeny
 

Lucifer's Friend - S/T (1970) (1990 reissue with bonus tracks)

A German outfit fronted by a British singer, Lucifer's Friend first gained minor notoriety, and later major cult status, as both early practitioners of heavy metal and progressive rock.
Formed in 1970 Hamburg, by former German Bonds members Peter Hesslein (guitar), Peter Hecht (keyboards), Dieter Horns (bass), and Joachim Rietenbach (drums), the group was initially dubbed Asterix and recorded an entire album's worth of material before connecting with singer John Lawton, whose then band, Stonewall, was playing a residency at the city's famed Top Ten Club. Lawton's vocals would grace Asterix's only, eponymous album later the same year, and all involved were excited enough by the results that they immediately began collaborating on more material with which to relaunch the band under the provocative new moniker of Lucifer's Friend.
Released in early 1971, the Lucifer's Friend album contained organ-intensive hard rock along the same lines as contemporary proto-metal bands like Deep Purple, Atomic Rooster, and, especially, Uriah Heep, for whom, coincidentally, Lawton  would wind up singing several years down the line. But, for now, Lucifer's Friend's biggest challenge was a problematic aversion to touring, as well as a compositional restlessness that saw their sophomore effort, 1972's curiously named Where the Groupies Killed the Blues, morphing drastically to acquire progressive rock tendencies reminiscent of King Crimson  and, to a lesser degree, the quickly emerging Krautrock acts of the period. These compositional experiments would only intensify on 1973's I'm Just a Rock 'n' Roll Singer, which added entire brass sections in the vein of Chicago Transit Authority, and 1974's Banquet (featuring new drummer Herbert Bornhold), which soared upon even jazzier elements and symphonic arrangements delivered with help from the James Last Orchestra.
Lucifer's Friend would finally reign in such extravagance on 1976's Mind Exploding LP (where Bornhold was demoted to percussionist behind new drummer Curt Cress), and they even considered increasing their touring engagements, but their only problem now was that Lawton had quit -- accepting the offer to join Uriah Heep that was mentioned earlier. Scotsman Mike Starrs (formerly singer for Colosseum II) was brought in to replace him and Lucifer's Friend proceeded to abruptly abandon their progressive past for good, embracing melodic mainstream rock on a pair of albums: 1978's Good Time Warrior and 1980's Sneak Me In (adding second keyboardist Adrian Askew). Then, John Lawton returned for a final, harder-rocking Lucifer's Friend album, 1981's Mean Machine, after which the group officially split up until 1994's one-off reunion LP, Sumo Grip.
Interestingly, through all of these years and stylistic changes, it's ironically that original Lucifer's Friend  album -- more so than their more abundant prog rock releases -- which has enjoyed the most frequent reissues, being considered a classic document of early heavy metal. by Eduardo Rivadavia



1. Ride in the Sky
2. Everybody's Clown
3. Keep Goin'
4. Toxic Shadows
5. Free Baby
6. Baby You're a Liar
7. In the Time of Job When Mammon Was a Yippie
8. Lucifer's Friend

Bonus tracks

9. Rock 'N' Roll Singer
10. Satyr's Dance
11. Horla
12. Our World Is A Rock 'N' Roll Band
13. Alpenrosen

320AAC
Puck's Place

Gary Hoey - S/T - (1995)

 

A muscular, skilled guitarist, Gary Hoey belonged to a class of guitar virtuosos who emerged in the wake of Eddie Van Halen and Stevie Ray Vaughan. To an extent, Hoey sounded like a cross between those two guitarists, possessing considerable technical skill but with roots in blues, arena rock, even surf rock, a side that surfaced in his 1994 soundtrack to Endless Summer II. That score arrived in the wake of his lone rock radio hit: a cover of Focus' prog freakout "Hocus Pocus." Mainstream rock wasn't his destiny. Hoey carved out a following by playing guitar music that appealed both to guitar heads and a general audience, releasing a series of holiday albums under the umbrella Ho Ho Hoey, touring constantly, and establishing himself as the musical director of the Rock N Roll Fantasy Camp. (excerpt from allmusic.com)

Virgil & The Accelerators - Army Of Three - (2014)

What is it about Blues that makes stars of the so very young? Joe Bonamassa has seemingly released about 50 albums and he’s not yet 40, Ryan McGarvey has won umpteen awards in Canada and he is still in his mid twenties, while over here we have our own crop. Oli Brown for example, and The Mentulls to name just two, are putting out great records before they can shave it seems.

In the UK though, they all have to catch up with Virgil And The Accelerators. The phrase “hotly tipped” doesn’t even come close to the raptures these boys have had critics in since they stuck out debut record “The Radium” three years back. A Classic Rock album of the year, it was followed up in 2013 by Virgil McMahon (his brother Gabriel on drums, and Jack Alexander Timmins on bass complete the trio) winning guitarist of the year at the European Blues Awards.

It’s with quite a weight of expectation then, that the guys are ready with album number two. Originally supposed to be out in May, it was held up when Producer Chris Tsangarides (Thin Lizzy, Black Crowes) became ill.

Given this, and the rather lengthy delay between albums one and two, you can perhaps forgive an element of confusion and “….Three” begins with the line: “I’ve been wandering around lost in a haze, for weeks and for months of never ending hours and days.”

The track that follows “Take Me Higher” however shows that sentiment to be just lyrical license, because it is a strident, confident statement, and one of a band that is mature far beyond their years.

VATA have stated that on this record they wanted production values and growth, and boy have they got them. “Blow To Head” takes the blues troubadour as a travelling force story and gives it a huge riff, while “All Night Long” which is the first video from the record, adds a real dirty boogie feel, but in an apparent nod to their youth the band are “in over their head” as the heroine of the song has her way with them.

The playing here is incredible – and anyone who has seen VATA live knows this is no fluke – but the songs are what counts, “Love Aggression” for example seems tailor made for US radio airplay and you can imagine it being played on great long trips to the horizon. “Through The Night” is an epic, slow burner and “Free” might be a simple tale of boy-falls-in-love-with-girl-who-doesn’t-love-him-back, but here, as the bookend of the album it is so much more than that, it’s laid back bluesy class would be worthy of Clapton, it is quite superb.

You hesitate to wonder how good this young band from Worcester, England could be. Two albums in you also don’t want to say that this is their defining moment, but it feels like they are getting there. It is certainly the sound of a trio finding their feet in quite stunning fashion.

Whilst there is no need for anyone to surrender as there is so much good blues about right now, this particular Army Of Three seems to be inexorably to be on the march.

Rating 9/10 By Andy Thorley

The Southern River Band - D.I.Y. - (2024)

“Hailing from Western Australia and touted as one of the most exciting new bands to emerge in recent years, The Southern River Band officially arrive on the scene with their aptly named debut record D.I.Y.

Blending new tunes with their best singles from the past few years, the album has riffs, melodies and hooks for days — and in the wise words of Justin Hawkins of The Darkness, ‘This is a proper f*cking rock band.’

You’ll get no arguments here. Or there. “It has been insinuated by critics and fans alike that D.I.Y is the greatest rock ’n’ roll record of the last 20 years, and one thing is for certain: It’s definitely not the worst,” says Southern River Band’s Cal Kramer. So there.”(tinnitist.com)  320 mp3's not my rip, but I liked it so much, I wanted to share.

 

Cactus - Barely Contained /The Studio Sessions - (2004)

This two-CD collection is a companion volume to Fully Unleashed: The Live Gigs (2004) and contains the Cactus (1970), One Way. . . Or Another (1971), Restrictions (1971) and 'Ot 'N' Sweaty (1972) LPs and associated extras. The initial aggregate was a supergroup of sorts, with both Carmine Appice (drums) and Tim Bogert (bass) having been the formidable rhythm section behind Vanilla Fudge, Rusty Day (vocals) hailing from the Amboy Dukes, and Jim McCarty (guitar) late of Mitch Ryder's backing ensemble the Detroit Wheels. Even though Cactus was overshadowed by Led Zeppelin, they created their own blues-based fusion, rivalling the likes of MC5 in terms of sheer sonic intensity. While their debut included fiery reworkings of Mose Allison's "Parchment Farm" and Willie Dixon's "You Can't Judge a Book by the Cover," some of the best material consists of the band's compositions. Among them are the ballad "My Lady From South of Detroit," the heavy rocker "Let Me Swim" and the languid bluesy "No Need to Worry." Barely Contained: The Studio Sessions (2004) also highlights three outtakes from the first album, an original thrasher titled "Sweet Little 16," as well as "The Sun Is Shining" and "Rumblin' Man." The latter originally surfaced on the single-disc Cactology: The Cactus (1996) compilation. The follow-up One Way... Or Another (1971) sported a cohesive and less raw sound, benefiting no doubt from the help of noted engineer Eddie Kramer. However, "Big Mama Boogie" and the propulsive "Rockout, Whatever You Feel Like" are evidence that Cactus remained loud, raucous and driven. The Chicago-style "Hound Dog Sniffin'" is offered here as the sole leftover circa One Way... Or Another. The personnel shifted after their next long-player Restrictions (1971) as former Atomic Rooster frontman Peter French (lead vocals), Werner Fritzsching (guitar) and Duane Hitchings (keyboards) replaced Day and McCarty -- who split at the conclusion of the Restrictions tour. Incidentally, the final performance by the earliest incarnation can be heard on Fully Unleashed: The Live Gigs. By the time of the half-studio/half-concert 'Ot 'N' Sweaty (1972), much of the magic had significantly dissipated resulting in an uneven affair. Although "Bad Stuff" -- a blatant rip-off of Jimi Hendrix' "Foxy Lady" -- is a hard groove that soars thanks to Hitchings impressive contributions. by Lindsay Planer
 

Matthew Curry And The Fury - Electric Religion - (2013)

 

MCTF’s second CD, “Electric Religion” features all original songs co-composed by Matthew and The Fury. Already a veteran performer, Matthew has played with the greats since the start – jamming regularly with Tommy Castro, Bernard Allison, Bryan Lee, and Ronnie Baker Brooks. Matthew Curry’s first CD, “If I Don’t Got You” received high marks in the IBC, and the International Songwriting Completion. Matthew was also one of five international finalists in Ampeg’s “Straight-Up Tone” competition. (brotherhoodoftheguitar.com)

Silvertide - Show And Tell - (2004)

 

Silvertide are a good, ol' fashioned, loud n' rowdy rock and roll band, kind of a Black Crowes on sterroids. There songs are big, full, and comfortably arrogant. The vocals are confident and very sing-alongable, the lead guitars are mean and fun at the same time, and the rythyms are as tight as they come. This is definitely a class-act rock band, and I hope they get the opportunity to further what they brought to this album. (excerpt from Palm Beach Bookery)

Cry Of Love - Brother - (1993)

Cry of Love's debut was a near-perfect fusion of classic British hard-rock influences (read Free) and Southern rock sensibility, bringing a refreshing honesty to the dreary radio landscape of the early '90s. Vocalist Kelly Holland's gritty delivery (at times reminiscent of Billy Squier) is a perfect foil for the Hendrix flourishes of guitarist Audley Freed, resulting in stellar moments like "Highway Jones," "Pretty as You Please," and the grinding "Hand Me Down." Vying for the crown as the band's best song are the two radio staples: "Bad Thing" with its thumping bassline and effusive hand claps, and "Peace Pipe," a genuine counter-culture anthem for the '90s. by Eduardo Rivadavia

vinyl rip

 

Damnation - The Second Damnation - (1970)

 

The Damnation of Adam Blessing's second LP (sometimes attributed in discographies to Damnation) went in a harder rock direction than their 1969 self-titled debut. The result was a more stylistically consistent, yet overall less interesting effort that was closer to the standard of competent, but below-top-of-the-line early Midwestern hard rock bands, lacking some of the pop influences that were among the most interesting attributes of their prior album. It's not totally run-of-the-mill, though, since Adam Blessing was one of the best singers in the style, and since the group were more adept at background vocal harmonies than almost any other similar bands of the era. "Death of a Virgin" and (to a lesser extent) "Everyone," actually sound closer to the likes of Moby Grape and some of Quicksilver's more song-driven material than Midwestern hard rock; this and some other tracks are graced with some particularly exceptional bass playing by Ray Benich. Cuts like "Driver" and "Back to the River" are more typical of their approach, though, relying on pile-driving blues-rockish riffs and pummeling drums, boringly so on the overlong "In the Morning." by Richie Unterberger

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Stone Axe - II - (2012)

 

Remember when guitar solos mattered? Stone Axe does.

Born in 2007 in Port Orchard, Washington, at the hands of multi-instrumentalist T. Dallas Reed, whose prior outfit Mos Generator was beginning to follow a direction that no longer fit the band, as soon as there was a Stone Axe, there was a purpose, a reason for its being. Seventies rock preservation. Stone Axe was made and continues to flourish solely to honor the forefathers of true heavy rock and roll.

Think of Free, think of Thin Lizzy, the glory days of the power trio. The earliest days of Judas Priest, Ozzy Osbourne, Iron Maiden, Foghat, and AC/DC. Reed brings not only these sounds, but the spirit that birthed them, to life with vibrancy that, quite frankly, makes the current crop of “retro” acts with goofy hair and tight pants look silly.

Because it’s not about fashion. It’s not about overanalyzing or trying to follow this or that trend. It’s about the spirit of rock and roll, the spirit of creation. Stone Axe makes organically grown, passionately harvested classic rock and roll. You can hear it in Reed’s guitar, or in the swaggering vocals of singer Dru Brinkerhoff. There’s no irony to anything they do, no wink and nudge to say, “Yeah, look at us, but we don’t really mean it.” They do mean it. Every single time.

And in case you’re wondering, “every single time” comes up quite often. In their short tenure together, Stone Axe have banged out two eponymously titled full-lengths and more splits, singles and EPs than you can keep up with, through labels like their own Music Abuse Records, Roadburn Records, Ripple Music, Hydro-Phonic and RxEvolution Recordings. Reed handles the recording himself and is always writing, so don’t expect them to slow down, either.

The drive isn’t to innovate, but to celebrate. When you listen to Stone Axe, you hear parts that call to mind these heroes of rock and you’re happy. It’s okay to smile. That means you get it. Stone Axe aren’t out to reinvent the wheel, they’re out to keep it round in a world that’s decided it would be better squared off.

But they are looking to the future. With the recent addition of drummer Mykey Haslip and bassist Mike Dupont, Stone Axe is more of a complete band now than they’ve ever been, writing together and working on the next installment of the Stone Axe series.

There are many bands who profess to being in it “for the love.” Many fewer actually are, and fewer even still are bands who are born out of that love, who embody it in sound and mission. In fact, Stone Axe might be it, which is exactly why we need them as badly as we do today.

We live in an age where digital manipulation is so extensive most people can barely tell the difference anymore whether or not someone’s voice has been through a processor, and it’s high time someone came along to remind us that the most important element in creativity is the human element. That’s what Stone Axe has to offer, and if you miss out on it, it’ll be your loss. (ripple-music.com)

Hunter Root - Arkansas - (2023)

If you haven’t heard of Hunter Root yet, I suggest you change that.

With nearly a decade in the music industry under his belt, the Pennsylvania artist has been one of the state’s best kept secrets for quite some time now. But with the release of his viral single “Town Rat Heathen” this past January, which has amassed nearly a million Spotify streams to date, Hunter Root is quickly growing a strong following across the country.

Root, who is also the frontman of a Pennsylvania based psych-rock group called Medusa Disco, has cultivated a unique and genre-defying, yet undoubtedly appealing sound in the three solo records he has dropped since 2018.

And just as his music is really taking off and reaching new fan bases and markets, Root took to Instagram to announce that his fourth album, one with very special meaning to him, will be coming soon.

“I want to take a moment to explain the meaning of the album title as well. I called it ‘Arkansas’ for a few reasons. I am Pennsylvania raised but I was born in Fayetteville, Arkansas. My brother and I both. We were only there for a few years but we have tons of home videos and pictures of that era so I have a healthy collection of memories of that time despite being so young.

So, it’s going back to my roots (no pun intended). The name ‘Arkansas’ also reflects the genre the album is leaning towards. But the main reason it’s titled this is for my older brother, Nicholas Root. If you look on the back of the album you can see I dedicated the whole thing to him. He would love this name and would completely get it, being born there means a lot to us both.

Nick passed away two years ago as of April 15th at the age of 27. I was 26 when he died. He played guitar before me and is the reason I picked it up to begin with.

One of his worries on his deathbed was that he wouldn’t be remembered when he was gone. Fuck that, this one is forever for you Nick, I wouldn’t be here without you!” by Hill Douglas