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OJM
Heavy
Go Down Records

Though OJM’s Heavy was original released in 2002, it’s been dusted off and given a second life by Italian record label Go Down. The Treviso four-piece pioneered the Italian stoner, psych, garage rock music scene in the first years of the new millennium and have released four full-length studio records since forming in 1997. Heavy gets right to it with the six-minute “Hard Cocks’, a demo track added to the original opus. Like all true Italians their bravado is their mantra and these guys have it in spades. The augmented vocals and grunge-like, fuzzed out riff pull the listener into their hypnotic sludge. Hitting full stride comes “The Sleeper” with no-nonsense bass hammering and wooly chords over a screaming vocal. Pieces of Soundgarden infect the plodding “You Come” and the garage organ lights up “Follow My Leader”, but the more adventurous “Mix Up!” turns a space-rock thumper into a true psych classic. At this stage of the game, the band were still getting their footing, but listening to them wander about and eventually gel together is all the fun.

The occasional pop element jumps in with “As I Know” using a polished chorus and layered guitar quagmire. The track’s boogie vibe is readily danceable and could easily have been a club hit. Other songs are far more ‘out there’ including the cosmic “Strange Dreams” with its lumbering bass grooves or the epic eight-minute “Theorem” that uses tempo changes to create a dynamic texture and trans-like aural journey through layered soundscapes. The acoustic picking keeps the loose instrumental jam grounded as it weaves through bludgeoning rhythms. It’s in the Sabbath-like “Revelation” and the frantic bass riff of “T.V. Eye” that the group seems most at home. Within the record’s dense grooves OJM found their heart and soul forging on to greater heights of notoriety. In Heavy, one can appreciate the risks, exploration and energy the band put into nine basic recordings giving it a certain charm. Perhaps it’s that earthy chemistry that keeps us so addicted to their cerebral drone.

Website: Go Down Records

DOME LA MUERTE AND THE DIGGERS
Supersadobabi
Go Down Records

Dome La Muerte and the Diggers return with their third album for Italian label Go Down Records. Eleven punishing tracks of garage punk rock’n’roll dominate Supersadobabi with a toxic mixture of twin guitar fury and heavy-to-the-bone boom beats. Dome La Muerte, founding member of the legendary C.C.M., Not Moving and Hush leads his all-new lineup with the precision of a master craftsman. Having toured across Europe with Nico, The Clash, Nick Cave and the Seeds, Johnny Thunder’s Heartbreackers, the Fleshtones and the Fuzztones, he knows a thing or two about delivering the goods. Among the nine originals, the disc features The Stooges cover “Little Doll” and 1968 hit “Shape of Things to Come” from the cult rock movie Wild in the Streets. Sounding more live than studio, the record is an energetic shot-in-the-arm with the roaring “Nice Family” coming out of the box at full speed. In the footsteps of The Stooges, MC5 and Hellacopters is the two-minute “If You Fight” packing in as much duel guitar lead and pounding rhythm as the song can take.

Other tracks like the groovy “Woman in Trouble” and open-chord rocker “Broken Chains” have a vibrancy that nods to the past while still remaining refreshingly current. The brisk-paced “Sell Out” and “Screamin’ at the Wind” are full-on guitar warriors with Detroit dust choking the air. Played with swagger, spit and sweat the band accelerate around the curve and race hot toward the checkered flag. “Your Favorite Obsession” is the band’s ode to The Rolling Stones with a dirty riff and strutting backbeat while “Bad Trip Blues Again” introduces some stunning slide guitar before moving into a psychobilly punk whirlwind. Known for the foray into spaghetti western territory, the four piece do not disappoint as they roll out the record’s final cut “We’ll Ride until the End.” A tribute to the epic musical landscape of Ennio Marconni is only the beginning as the group gallop through western surf riffs with fuzzed-out feedback. The instrumental solidifies the new lineup as season professionals and locks down the Diggers as dedicated disciples of distorted feedback.

Website: Go Down Records

THE CLAMPS
Deadly Kick For a Fat Fucker
Go Down Records

The Clamps are chop-shop biker rock of the same ilk as V8-Wancker, Nitrogods and The Bones - right down to their burly slur. Tattoos, muscle cars and women are clearly the focus with songs dedicated to each. The power trio is a supergroup of sorts pulling from the fertile Bergamo region of Italy. Ben, (former guitar and vocals for Winter of Souls), hooked up with Bely (former bass and vocals of the Jolly Power), the two then recruited Marcy (former drummer of the Hypnotic Hysteria). They fuel up on high-octane dirty heaviness right from the first tack “Bones”, a greasy garage rocker sure to leave a mark. The riffs are fat and loud with “Honey” and “Loser” becoming kings of the hill through a drum sound that’s absolutely deafening. The trio take a breather in the plodding, Sabbath-like “Just another Girl” where Ben’s gravel vocal gives ‘real’ meaning to his snarl, “Damn you…for telling me more lies”. Bass-heavy “Let’s Go to Destroy” and open-chord giant “Lost Lovers” have more in common with the Hooker and Valient Thorr as they pummel, spit and kick there way into your brain.

Though it borrows heavily from Budgie’s “Breadfan”, “Burn” is a personal favorite. The dense guitar, sleazy groove and weighty drumbeat make it damn near perfect in its rusted-out combustion. Also leaving a lasting impression is the gruff and tilted “Wild City” where the speakers tremble in unbelief when cranked to full volume – especially during the solos. The opening riff of “Gazza”, gives away its Alice Cooper inspiration but pulses for two-and-a-half minutes taking the instrumental to a whole new level of awesome. “She’s The Devil” preaches the evil of the opposite sex while “All Together To Hell” is straight out of Motörhead’s songwriter’s book of speed metal and proper headbangin’. Even the bluesy “Never Cross My Way” becomes dangerous in the hands of this mob when they use their combined force as a battering ram on the tympanic membrane. The production is raw, the performance is energetic and the brute force of The Clamps is unmistakable.

Website: Go Down Records

BLACK DAGO
Black Dago EP
Go Down Records

Black Dago is a heavy rock quartet writing catchy songs that burn bright under influences ranging from The Cult and Stone Sour to Avenged Sevenfold and Five Finger Death Punch. They successfully mix stoner and metal with a healthy dose of classic rock. “I Am the One” comes busting out the box with a roaring riff and enough bass and drums to knock over a ten-ton stack of Marshalls. The vocals are husky, clean and mean – and turbo charged with emotion. Backed with solid production and a knack for visceral rock ‘n roll makes the EP an excellent sample of the band’s future. The bass-driven “Without Regret” adds a funk groove that’s not lost on the guitar’s assault. They add a bit of cowbell just to make it that much more awesome. The four string bass continues it’s dominance with the Pearl Jam-like “You Are Nothing”, a track that’s dark and brooding with a throwback to heavy grunge. The disc starts to fuzz out when the band kick out “Reckless” and bare their teeth with steel strings setting the amps on edge. The added space in between the instruments gives the song a powerful punch as it lumbers into the final track. Surprisingly “Hate” is an up-tempo, greasy rocker that brings together metal muscle, stoner grooves and biker balls. It’s five minutes of steamrolling heavy rock capping off a record full of future classics.

Website: Go Down Records

SNAKE HEAD RITUAL
Self Titled
Grooveyard Records

Ohio has always been a hot bed for good ol’ American rock ‘n’ roll, so it’s no surprise this Toledo five-piece have it flowing through their veins. The depth and maturity of their self-titled debut is absolutely stunning. They sound like they’ve been together for years. Singer Kevin Chez is a force to be reckoned with and is perfectly suited for blues-based rock. He growls through the lead track “Train” like he’s sung it all his life nailing its nuances and subtle inflections. Guitarists Bill McCullough and John Keller are Chez’s counterparts squeezing every note out of their six string axes. It’s with pure energy they fuse together in the southern blues soaked “Whiskey Woman” as it heats up the amplifier and roars from the speakers. Drummer Josh Laforge and bassist Chris Graham hold the whole thing together with a tight rhythmic structure that’s as much about groove as it is density. When the four lock together it’s a classic guitar-driven hard rock reflective of Foghat, Blackfoot and Molly Hatchet.

Their often-overlooked sound production gives Snake Head Ritual a full and balance sonic palette. From the slow burner “Tell Me” to the gospel-tinged “Lay Your Burdens Down” and riff-o-rama of “Smile”, the texture and instrument level is broad and consistent. It’s that attention to detail that elevates the songcraft making the music that much more memorable. The disc is built around several high-octane boogie numbers including the staccato monster “She’s A Shaker”, the swagger-filled “Give” and the retro flashback “Northern Boogie”. The lyrics are intelligent and often full of humor like the party line, “1987 thrash metal was king and everybody was head bangin” from the afore mentioned “Northern Boogie”. The axe-slinging “Heartless” stirs up dust when it steps outside the boogie and thrashes about with electrifying gusto. Eric Oblander of Five Horse Johnson lays down some serious harmonica throughout the record’s ten tracks, but it in the closing “Poor Robert’s Lament” that he sets the house a fire.

Website: Grooveyard Records

PURPLE HILL WITCH
Self Titled
The Church Within Records

Norwegian power trio Purple Hill Witch are fast becoming rising stars in the doom genre with their dark jammin’ blues. Spending the last four years to anchor their sound by releasing both a demo and EP, they are now ready to introduce their devil rock to the masses with a self-tiled 7-track long player. Mixing it up with inspiration gleaned from Sabbath, Pentagram and Witchfinder General, the band stick to bizarre, sinister, psychedelic themes over a stoned-out slow rumble. Tuned down and fuzzy, the thick guitar riffs create a sledgehammer effect, while the vocals lament and wail to a thundering bassline. Borrowing from their Doomstone Blues (demo), the group resurrect “The Landing” a sludgy, hypnotic tune almost 8-minutes long. The storyline pulls from the bands interest in late-night horror flicks under the influence of massive reefer and cheap beer. The 11-minute “Purple Hill Witch” pulls from the same demo with a plodding rhythm and wooly overdrive, making a nice ode to Sabbath.

Purple Hill Witch pride themselves on jamming together to workout song ideas. Their 2013 Alchemy EP showed a significant progression in their spaced out wandering while still conscious of melody and structure. Their admiration for NWOBHM bands like Angel Witch and Diamond Head come out in opening track “Queen of the Hill” with a bass drive and hook riff. The HP Lovecraft-inspired lyrics find a home in the darker recess of the band’s hazy strides while “Astral Booze” and “Aldebaranian Voyage (Into the Sun)” are more tripped-out space rockers. On the other side of the spectrum, the groovy instrumental “Karmanjaka” was based on a Swedish fictional children’s book. “Final Procession” sums up the band’s attitude with the line, “have a drink and watch the universe end” as they engage in a barrage of stoner grooves and wah-wah feedback. The foundation may have been laid 40 years ago, but these guys still find plenty life in the old mystical ways.

Website: The Church Within Records (Doom Dealer)

SERPENT VENOM
Of Things Seen & Unseen
The Church Within Records

London-based doomsayers Serpent Venom return with their second opus Of Things Seen & Unseen to the delight of Sabbath loving fans everywhere. Following the underground success of Carnal Altar (2011), the four-piece dug deeper into their Electric Wizard meets Saint Vitus repertoire, made it dirty and drank a lot of ale. Eventually the path to eight new songs came into focus. Leaning on their combined history from Orpheus Child and Sloth, they found their footing in keeping it steady; just four lads having a laugh, playing noisy music and getting drunk. “Sorrow’s Bastard” rises as a virtual thriller. Incredibly heavy with Iommi-like leads, it immediately gets the hair to rise. Granted the vocals are back in the mix, but the shear weight of the music is absolutely daunting. Equally dense is the massive “Let Them Starve”, a gloomy, punishing track where the bass functions as Thor’s hell hammer in the midst of an insane cycle of guitar tones.

The intensity of the music is almost lethal. Metaphysical pressure encroaches with every listen of “The Penance You Pay”. Like an impending thunderstorm, the song reverberates with the beat of the drum and open-chord flailing. Then, they slow the whole thing down for even greater intensity. “Death Throes At Dawn” with its tribal beat and the lumbering “Pilgrims Of The Sun” shake the earth with their doom-filled sludge. A sleeping giant awakening from its century long slumber is the only way to describe “The Lords Of Life”. For 8-minutes it beats on the ear with relentless pounding until all bow in submission. Contrasting is the acoustic interlude “I Awake” before the great battle of “Burning Free” clashes into a metal maze and runs pell-mell to the end of the record. Serpent Venom manage to skip the miserable side of doom and deliver a refreshing symphony that remains heavy as hell.

Website: The Church Within Records (Doom Dealer)

TOM GUERRA
All of the Above
Casa del Soul Records

Harford, Connecticut guitarist / songwriter Tom Guerra debuts his first solo outing after 15-years fronting Northeast legends Mambo Sons. The eleven-track disc, All of the Above, is a soulful journey back to the basics of rock ‘n’ roll, allowing Guerra to explore his blues influences -- from Muddy Waters and Buddy Guy to Rory Gallagher and Paul Kossoff. Focusing on a cohesive diet of melodies, tempo, and original arrangements, Guerra’s passion for guitar-based rock is warm and inviting. One can hear a bit of Springsteen, Mellencamp, and Steve Miller on the surface, but also some funk and R&B in the deeper grooves. Punching its way out of the box is “Simple Song” which engages with a catchy Strat hook, up-tempo beat, and ‘60s-style chorus. The heavy rocker “Queen of the Autumn Moon” peels off a few layers of classic Sweet with the dirty side of Slade. Yet, it’s the AOR magic of “Dirty Son” and “Here’s Tomorrow” that resonates the musician’s true inner self, with biographical tales of a past filled with lyrical memories.

Solo albums often host a wide-range of an artist’s taste from the eclectic to pop. Guerra’s nod to pop is the slick “Cup of Tea” with its UK polish and mod swagger. “Get Offa My Groove” comes in a close second as a toe-tappin’ hip shaker decorated by boogie piano, lollipop licks, and clocking in at exactly three minutes. On the eclectic side is “Down on the Turnpike”, bouncing to a funky beat with some retro disco and a handful of Frank Zappa playfulness tossed in. The center of the album is where we find Guerra dialed in, reflective and surprisingly loose. His rebel tale “Indian” tightens up over an aggressive riff and tribal beat spurred on by historic storytelling, while his sense of humor rolls out in the greasy blues grinder “Refrigerator Blues”. The rock comedy “Frankenstein Boots” calls to mind Guerra’s work with Rick Derringer and his parade of hits with the Edgar Winter Group. The album’s closer, “Love Comes To Us All”, was a song Guerra wrote after the Sandy Hook tragedy. Played acoustically, with layered gospel harmonies, it brings together the beautiful elements of a musical prayer.

Website: Tom Guerra

BULLFROG
Clearwater
Grooveyard Records

One can’t help but hear the absolute dedication to classic Seventies rock in the grooves of Bullfrog’s forth opus Clearwater. Though the title hints at Credence Clearwater Revival, the album pulls heavily from the music of ZZ Top, James Gang, Free, Humble Pie and Grand Funk. Its eleven tracks were recorded and mixed at Opal Arts Studio in beautiful Verona, Italy where the exotic location was the perfect hotbed for creating big riffs and pounding rhythms with plenty of street grit. Producer Fabio Serra captures the band’s massive sonic energy while, himself adding guitars, vocals and keyboard. Flowing from the fingers of bassist Francesco Dalla Riva is the thumping album opener “No Salvation” which kicks into overdrive as drummer (and brother) Michele and guitarist Silvano Zago launch into a tsunami of amplified feedback. Amid the reverberation the lyrics “Feed my head”, “Clear my soul” and “No salvation” become the chanting call of a band connecting with universal power trios of yesteryear while still biting hard with the full scope of a modern production.

Bluesy Southern rock surges through the staccato riffing of “Slow Trucker” where the dueling vocals of Francesco and Nicolo Carozzi (Black Mama) create the dirtiest grinder since ZZ Top’s Rio Grande Mud. Slow burners “South of the Border”, the addictive “Lorraine Lorraine” and the album’s title track “Clearwater” follow suit with a set of blistering electric blues on par with Muddy Waters and Albert King. The chugging “Too Bad For Love” and the stadium rocker “Monster (Give Me Something Mean)” are born to be played live where, under the spotlights, they are sure to explode into seismic behemoths. Amidst all the guitar strutting is a heavy dose of Trapeze-like boogie. “Isolation” rolls in with hip-shaking swagger while “Long Time Boogie” lays down plenty of sexy slides into the mix. Where the band really stretches out, is in the seven-minute “Say Your Prayers” with shreds of melodic psychedelic reverb and the beautiful-crafted, acoustic-driven “Better Days”. If Clearwater were released in 1973, the movie Almost Famous would have been its celluloid counterpart.

Website: Bullfrog, Grooveyard Records

AMERICAN MAFIA
Rock N’ Roll Hit Machine
Grooveyard Records

American Mafia rose from the ashes of AOR outfit Holy Water, which first formed in 1982 and the brainchild of guitarist Tom Jude (Doro), bassist Freddy Villano (Quiet Riot, Widowmaker) and vocalist David Knight. Together they crafted an array of melodic rock akin to Bad Company, Foreigner and Whitesnake. In the years that followed, the band compiled their best material along with a few covers, and released them as The Collected Sessions (2009). The disc was originally intended as a “teaser” while the band worked on their debut album. With the unexpected passing of Knight in early 2014, the band was faced with the conundrum of disbanding, replacing the singer or forging ahead. Changing the project name to American Mafia, Jude and Villano, together with drummer Bobby Marks (Dokken), assembled an all-star cast of gifted musicians to bring new life to the Holy Water Collected Sessions. As a Swan song to original vocalist David Knight (RIP), the collection of 12-tracks was dusted off and given a facelift. The new recordings feature an impressive array of vocalists including John West (Badland, Royal Hunt), Jimmy Kunes (Cactus), Mike DiMeo (Riot, The Lizards) and Ed Terry (Terrarosa, Rondinelli).

The production value of Rock N’ Roll Hit Machine is top-notch, an extremely difficult task considering over 12 studios were used in the recording. Three tracks were resurrected from the original Collected Sessions including the radio-friendly “If I Knew” (featuring the stellar vocals of Ed Terry), the Stevie Wonder cover “Living For The City” and the soulful ballad “All I Need” (both with David Knight’s original vocals). Of the newer tracks “Obsession” jumps out with Mr. Big-like melodies, ripping guitar, thundering drums and swelling organ. Ed Terry makes the track his own nailing down the vocal with pure class. Cactus singer Jimmy Kunes is a standout with his vocal rendition of the riff-monster “Every Time” and Ted Nugent-esque “Man on the Flying Trapeze”. Where the songwriting takes a firm footing is in the grooves of “Friendly Fire” and the harmonica-laced “Death & Satisfaction”. Johnny West’s works vocal magic on “Your Good Lovin’ and “The Sky Is Falling” while Mike DiMeo does justice to “Let Me Go” adding both vocals and keyboards. Resurrecting the power, dynamic and earthy vibe of 70s rock, American Mafia knocks it out of the ballpark with Rock N’ Roll Hit Machine!

Website: Grooveyard Records

JOHNNY HUNKINS
Down In Flames
Grooveyard Records

Johnny Hunkins’ second studio output, Down In Flames, comes with a disclaimer. “I am not a professional musician, just a regular guy with a regular job,” he writes in the CD’s liner notes. Hunkins is dedicated to creating rock ‘n’ roll no matter what the cost. He recorded Down In Flames in his tiny loft apartment on a 32-track portastudio over a period of three years. He even made the bold move of ringing up vocalist Derek St. Holmes (Ted Nugent), bassist Tony Franklin (The Firm, Blue Murder), drummer Ryan Hoyle (Collective Soul) and renowned blues guitarists Chris Duarte and ‘Dirty’ Dave Osti to ask if they could lend a hand. Everyone showed up delivering stellar performance across all 12-tracks including a handful of mind-blowing scorchers. Hunkins resonates on the album’s title track “Down In Flames”. His husky voice and gritty guitar brings honest authenticity and genuine passion to his music. With a voice similarity to Steve Miller, Hunkins effortlessly captures the spirit of mid-Seventies arena rock from power chord anthems to emotionally charged ballads.

The melodic “Rings Of Saturn” hosting Derek St. Holmes is a gorgeous, layered AOR standard. Chugging guitar, galloping bass and bombastic drums drives this cosmic fantasy. Duarte’s solos on the track are fierce and inspirational, not overblown, but elegantly instrumental. “Gonna Have A Party” is a boogie-train, funk machine, with singer Jarrod England (Rufus Huff / Black Mountain Prophet) delivering a righteous soul shaker while “River Is Risin” (also featuring England) is a modern, face-melting, riff-monster that screams classic heavy rock. The pop swing of “Thank You Baby” sees Hunkins’ top-40 side, catchy, rhythmic and fun. “Little Black Dress” has some Fly Like An Eagle moments with superb guitar playing that capitalizes on its retro beat. Slow burner “Summer Of ‘79” puts a stamp on the record’s timeline while the traditional blues “Rockin’ In The USA” hosts the best of Dave Osti’s incredible vocal and guitar talent. Hunkins is no slouch when it comes to big, beautiful ballads with the mid-tempo “She’s In Love”, Toto-like “You Give Love” and contemplative “Dresden Burning”. Final track, Gregorian chant “Omnia In Futurum” is dedicated to the artist’s father.

Website: Grooveyard Records

SOUL SHINE SOCIETY
Back Where You Belong
Grooveyard Records

Finnish rockers Soul Shine Society lock down a gritty Skynyrd-meets-Outlaws-meets-Humble Pie vibe on their second studio disc Back Where You Belong. The seven-piece consist of vocalist Jonne Sassi, guitarists Mikko Levonen and Matti Jokelainen, bassist Jukka Hollstrom, drummers Jaan Wessman and Tuomas Pelli and keyboardist Marko Karttunen. Together they recreate a broad range of retro Seventies southern rock groove that’s highly contagious. Amid the high-octane guitars and rhythmic strut is the subtle use of keyboards to layer and support the discs ten tracks. The rough and ready album opener “Break The Chain” hits with a strong left guitar hook, yet benefits tremendously from the organ solo break. The piano-laced title track “Back Where You Belong” and organ-infused “Burned Soul” are equally powerful as the ensemble build a wall of sound with dynamic impact. It’s that attention to song craft that proves the band are doing more than listening to a vintage record collection. They are dedicated to creating the mood and emotion of a classic era.

Shades of the Outlaws twin-guitar magic creeps into “Ain’t Gonna Tell You Twice” and the melodic “Reasons” while the sexy, bass-driven “Too Late” fuels its testosterone overload with a heaping helping of Humble Pie swagger. The boogie highlight “As I Make My Way” is a cocky Status Quo/Quireboys bar room strutter that oozes with all the right attitude. The ballad songs on the album are studies in blue-eyed soul. “Love Won’t Wait” is almost Beatle-esque in nature with its understated hook and vocal calisthenics, as opposed to the psychedelic, dreamy quality of “The Fire Within” gorgeously entwined by the mandolin. “Hell Train” is the dynamic crescendo of the entire opus - big and bold with a Zeppelin-like guitar/organ riff. The song beats its chest and howls as the chorus is carried into the stratosphere by Sassi’s whiskey-soaked voice. With Back Where You Belong, Soul Shine Society unapologetically pays tribute the best of ‘70s southern rock with a fresh face and verbose sound.

Website: Grooveyard Records

STONE MACHINE
Rock Ain’t Dead
Grooveyard Records

If there was ever an underground phenomenon, it’s Stone Machine. Hailing from West Virginia, this impressive power trio is full-throttle rock ‘n’ roll baptized in the holy water of rock royalty. The list of icons pumping through the heart of this band is endless. Pick your top three favorite classic rock records and some, if not all, can be heard in Stone Machine’s third record Rock Ain’t Dead. My pick is Montrose, Bachman Turner Overdrive and Bad Company, the staples of arena riff-rock. This incredible three piece is spearheaded by vocals/bassist Jason Mays whose Sammy Hagar/Brian Howe-like pipes are what legends are made of. The prolific riff-master Dirk Blevins knows all the right chords and blows them through his Marshal stack at full volume while drummer Jeremy Hall bashes away at the skins with the weight of John Bonham and the precise economy of Simon Kirke. With songs like “Southern Outlaw”, “Black Moon Creepin” and “Rock N’ Roll Star” these boys cowboy up and deliver the goods with balls of steel.

From the Foghat school of rock comes the bluesy “Got It Bad” with a rumbling Harley rhythm. The guitar sound is massive especially when the band rallies behind the chorus with a solo that totally rips. “Rock Ain’t Dead” falls into the same category, a nice slab of radio rock straight off the FM dial. Big anthems “Sugar Mama” and “Sky’s Gonna Cry” swing the hammer toward Zeppelin and Montrose respectively with a peacock strut, southern groove and neon flash. Slowing into a numbing blues grinder is personal favorite “Sad To Say” straight out of the Bachman Turner Overdrive songbook. Its mean riff and thundering drums are total boneshakers – and the line “I’ll see you on the way down” is perfect for a breakup song. Ballads are part of the trio’s lethal texture. The melodic “Lady Luck” tells the emotional tale of heartache while “Mr. Blues” is dedicated to the memory of Ronnie Van Zant “drinking whiskey just to ease the pain”. The disc closes with the epic seven-minute “Angels and Devils” a classic workout in blood, sweat and tears all because of a woman.

Website: Grooveyard Records