Station Returns With Another Amazing Indie Melodic Rock Masterpiece

Station is something of a weird phenomenon. They walk the streets of New York City as a melodic rock band in the year 2020. They play the local club scene, drawing hundreds of hungry rock fans both young and old. Vocalist Pat Kearney has a voice suited for absolutely every hair metal band you've ever heard from the 1980's. His range and singing style are somewhere between Kip Winger, Paul Stanley and the late Jani Lane from Warrant. His soaring style immediately brings back a flood of memories. The days when bands tried to outdo themselves with spellbinding performances and hook laden melodies. Guitarist Chris Lane has graduated from the Jack Black school of rock, churning out original riffs that will move your feet while staying securely lodged in your cerebral cortex. The rhythm section is firmly held in place by Emi Asta (bass) and Tony Baptist (drums).

To say this band is a throwback, would not do it justice. While other new melodic rock bands boast of being old school with a modern flair, Station has no modern flair. This is traditional, guitar driven melodic rock the way it once was. And this reviewer is happy to go back in the DeLorean with them and make history by honoring the past.

Their new album, Stained Glass contains eleven dazzling tracks with zero throwaway moments. If I were an 80's record label, I'd be signing this band yesterday. Their knowledge and respect for bands like Van Halen, Foreigner, Kiss and Warrant is apparent from the first note of their should be radio bound hit "A Matter of Time". Good lord, these boys write guitar parts. Intros, ginormous hooks, intricate solos, and pounding drums. With Kearney leading the party with his "she looks too good" refrain, the band is off to the bar to gawk, stare and coax the young ladies into paying attention. It can't be understated how far apart a song like this is from the crap that dominates mainstream rock radio today. It is possible for one song to completely wear you out and drain your senses to what might happen next. Remember, ten more songs to go!

"Emily" is next and she's a bit more mid-tempo, but easy on the ears and the eyes. The harmony vocals and the guitar solo are again, akin to some missing ingredient we've all forgotten about thanks to the current age we live in. "Never Enough" is a song either Winger or Warrant should have written. A breathtaking intro which goes full big power ballad with Kearney climbing up to really stratospheric altitudes flexing his vocal cords like a man looking for a challenge. "I See You Everywhere" takes it's time setting up a groove between bass, drums and guitar. It's a little grittier and maybe a shade darker than the previous songs. The guitar solo is a note bending treat. "Angel" is a slow album rock power ballad which utilizes some terrific acoustic and electric guitar interplay. The song is almost seven minutes long and would have only worked on 80's mainstream rock stations. A shorter edited version would be perfect for the top 40 of the same time period. The guitar solo is a gift from the guitar gods. Just incredible.

"Nothin' But Love" cranks up the volume again with a relentless groove that captures the rock and holler big chorus era. You can feel Journey, Van Halen and Skid Row all mixed together. "Still Here" is an Extreme-style acoustic rocker perfectly suited for the early 90's. You can hear some Bon Jovi in this one as well. "Burning Out Fast" employs an instantly catch riff both in the main melody and the bridge. The song has hit single written all over it. The guitar work and the production value soars above anything and everything. The acoustic guitars make a return for "I Need You Red".  The vocal arrangements give this track a delicate sense of urgency while maintaining a perfect balance between anticipation and satisfaction.

"Stained Glass" is a Zebra-Zeppelinish acoustic guitar instrumental that stands on it's own musical merits. A truly delightful headphone excursion. This leads into the album's closing salvo, an upbeat, last call for alcohol. "All You Need Is A Heartbeat" finishes things as strong as they began.

If you were wondering where all the hooks went, they are mostly in New York City. This band has a truly remarkable sense of build up and payoff in the song. The guitar solos are complimentary and ear friendly. The singing is urgent and powerful. And there are no catches to it. This takes from the best of the past and melds it into an original sound that feels like it picked up right where the 80's left off. Station might be one of the few bands that can refute the claim that rock is dead.

Album rating 9.7

Black Swan Makes A Big Splash On Their Debut Album

Black Swan is a modern day super group featuring a fine array of great rock musicians from days gone by. Singer Robin McAuley, guitarist Reb Beach, bassist Jeff Pilson and drummer Matt Starr. Each player has a remarkable pedigree and brings strong, confident musicianship to this project which will be released via Frontiers Music on February 14th. McAuley has spent time in Vegas employed as part of Raiding The Rock Vault. He also did a brief stint with the band Survivor a few years back. Robin's voice is remarkably in tact for a guy who recently turned 67. My personal favorite moment for Robin was his performance on the MSG power ballad "Anytime". A song that has been absent from mainstream rock stations for decades now.

Shake The World delivers 11 classic hard rocking tracks that tap the influences of all the musicians involved. This is hard rock that showcases the abilities of each member. Reb Beach scorches his guitar from the opening notes of the album's title track "Shake The World" as McAuley hits the high notes. Next is "Big Disaster", a melodic hard rocker with swagger. By comparison, these boys have certainly tapped into the sound of bands like Rainbow, Deep Purple, Dio and early Dokken. After a few spins these tunes sound familiar as if they've always been there. Jeff Pilson and Matt Starr are a powerful rhythm section, creating a solid foundation for Beach and McAuley. You can hear this on the one track that reminds me of Beach's band Winger. It's called "Johnny Came Marching". The guitar break is lengthy and filled with some excellent twists and turns.

"Immortal Souls" clocks in at over 6 minutes and has a more subdued late night, dark road driving feel. It's almost something Ozzy would record. "Make It There" would make for a perfect top 40 ballad if it were 1988. A great melody coupled with some excellent heartfelt lyrics and singing. McAuley's voice has aged well. "She's On To Us" gets back to that slightly funky hard rock groove that these boys seem to enjoy laying down. Gritty, greasy, glammy. For fans of real rock, there appears to be no filler at all on this record. "The Rock That Rolled Away" is another molten slab of blazing guitars and punishing drums. There's even some big choruses that will recall the production style of the late Bruce Fairburn.

Reb Beach shreds the opening to "Long Road To Nowhere" which eventually settles into a very Dio-esque song with a high octane driving melody and beat. "Sacred Place" has Beach imitating the great Neal Schon on the song's intro followed by some plucky melodic syncopation with McAuley's convincing vocals. The lyrics and melody really channel the Scorpions in a good way, and you'd expect Robin McAuley to do that more often than not.

"Unless We Change" plays coy with an orchestral beginning which transitions to another melodic uptempo rocker again showcasing McAuley's boundless vocal energy. "Divided" is the last song on Shake The World. It's piano music bed eventually gives way to searing guitars and and big vocals. A song that could have been a straight up power ballad, but the band threw a nice curve ball in about halfway through.

A perfect way to finish off one of the better start to finish rock albums in recent memory. Robin McAuley's voice is something to behold. The production on this album will give real rock fans hope. The attention to detail and quality songwriting are only eclipsed by the superb playing of everyone involved. This super group is truly super. This might end up being your favorite hard rock album of 2020.

Album rating 9.4

Ole Borud Goes Outside The Limits With Latest Offering

It's just bizarre to think of Norway as a place that is now part of the west coast music renaissance. Sweden as well. Ole Borud is an artist who's dabbled in hard rock and other styles. But it's his smooth offerings that earn him respect around the globe. His latest album is "Outside The Limit" and it truly goes where no Ole Borud record has gone before.

The lead track, "Put My Money" is a funky Steely Dan-ish number that might revive a few of your old dance moves. The arrangement is so educated and historic. It respects the past and pushes the envelope forward just enough. "Always Love You" is a more direct melody that straddles 70's and 80's pop grooves. "Come and Rescue Us" establishes a great funky riff from the get go. It then settles into some fluent lyrical lines aided by some funky keys, guitars and intermittent horns.

"Talk To My Lawyer" is a humor driven lyric sung to a minimalist smooth jazz soundscape. For some reason I could hear Michael Jackson singing this on "Off The Wall". The album's title track oozes 80's funky pop again and would make a great 12 inch single. Mr. Borud has tapped into something that has been absent for about 35 years. "Blaming Game" is a plea for peace between humans. A more lite west coast melody that gathers steam as it runs along. There is plenty of ear candy on this album, and smart subtle instrumentation. "Good Time" turns up the funk with fat keyboard sounds and Borud's clean, clear vocals. Another song that could be remixed for maximum dance floor usage. "Can't Pretend" is melodically more linear and aligns more with early 80's west coast music. The guitars and vocals all mesh so seamlessly, creating a rich, lush soundscape.
There's even a terrific jazzy keyboard solo.

"Waiting For The Rain" does more funky jazz straddling with bursts of horns and that ever persistent funky guitar coming out of your right speaker. The production is so delightful. "Fast Enough" closes out this near flawless collection of well thought out music with more upbeat fun.

Ole Borud has created probably the best west coast dance record of 2019. These songs have massive crossover appeal to the dance floor and to smooth jazz radio where the format is more upbeat in it's approach. Lyrically the songs are good enough to make the music even more palatable. These are professionally done grooves for anyone with headphones or a good pair of dancing shoes. Highly recommended and a lot of fun!

Lindsey Webster's Breathtaking New "Feels Like Forever"

Lindsey Webster's work has been absolutely stunning from the very beginning. Her smokey, sultry, late night jazzy vocal, coupled with arrangements and melodies others can only dream about, are what makes her work stand out. Her latest single, "Feels Like Forever" is the next phase in her evolution as an artist. The singer she's most compared to is Sade. But there is something straight forward and more accessible in the way this comes off. How this isn't on the radio instead of the moronic electronic drivel is maddening. This woman's catalog is a how-to manual on how to create jazzy west-coast pop. And to hear actual musical instruments playing these melodious couplets is pleasantly counter cultural. The vocals alone on this track will restore your faith in the world. She has such an elusive gift. We wait patiently for a new album which should drop soon.

DeCarlo Is The Next Chapter In The Boston Legacy

With the band Boston on indefinite hiatus, it makes sense that lead singer Tommy DeCarlo would pick up the torch and run forward with classic new material. Decarlo's "Lightning Strikes Twice" is the best thing I've heard in recent months. 12 tracks, no filler and radio ready even for the states. Do I think American radio will embrace this album? Let's just say that if they don't accept this music then there is no hope for the music industry.

Single #1...first track, "A Better Day". This song alternates between electric and acoustic guitars DeCarlo's modern day Brad Delp delivery. Hooks and melody lines are everywhere. Tommy DeCarlo Jr.'s guitar solo is precise and buoyant without being flashy and pretentious.

Single #2...second track, "You Are The Fire", rocks a little harder but still delivers terrific singable lyrics coupled with some fuzzy clean guitar work. The Boston template is joyfully in place. The music is clean and easy to listen to. And all those great harmonies you remember are back and seem more alive and even more impactful.

Single #3...third track, "Give Love A Try", is a bit more esoteric in relation to Boston, as it borrows from Foreigner and Toto. The lyrics are a message we all need right now. This is followed by the atmospheric instrumental, "Into The Storm", which acts much like a power ballad as it introduces the next single...

Single #4...Fifth track..."Lightning Strikes Twice". A stop-start-up-down lost Boston sounding hook. All with thunderous sound effects and lyrics lifted from what could have been a 1977 songwriting seminar.

Single #5...Sixth track..."Still In Love". A genuine, heart felt, piano based power ballad that eventually evolves into a more mid-tempo acoustic song. Again, the songwriting and melodic prowess here is pretty exciting since there ain't much new stuff being written to this caliber.

Single #6...Seventh track..."Rock and Soul". An amazing mix of west coast AOR and 70's rock complete with saxophones and abundant harmonies. There's also a dash of 80's Bad Company (think Fame and Fortune album).

Single #7...Eighth track..."There She Goes". A close to perfect rock single for any format. Harmonies, melody lines, that persistent Boston style Hammond B-3 in the background. Tommy sounds totally in charge on this and the band has struck radio gold for sure if radio cooperates.

Single #8...Ninth track..."Stand Up (Play Ball) was likely written for sports stadiums as a way to rile up fans. Works well with John Fogerty's "Centerfield".

Single #9...Tenth track..."The One" is another old fashioned power ballad with Tommy's voice taking a gentler approach. Maybe too soft for old Boston fans, but for those who loved "Amanda", this is a fine sequel.

Single #10...Eleventh track..."Gotta Go" goes great with Boston's "Party". A working class, blow off some steam weekend anthem. The music continues to be radio friendly at every turn.

Single #11...Twelfth track..."I Think I Fell In Love With You"...wraps up this melodic masterpiece with the entire Boston template in tact. More mid tempo rocking but with clarity and easy to sing lyrics.

Some will complain that this record isn't as heavy as some of Boston's material. It's weighs a little lighter but it carries the same substance. More importantly, it fills the great melodic rock void with something truly on par with excellent music from long ago. DeCarlo proves that apart from Tom Sholtz, he can create the next chapter in the Boston legacy. And here's hoping that we don't have to wait as long for DeCarlo music compared to the enormous gaps between Boston records. This is a must have for fans of Boston and RTZ.

Lightning Strikes Twice is being released on January 24th, 2020 via Frontiers Records....Order Here

Album rating 9.8

State Cows Return With The Brilliant "Challenges"

Donald Fagen and Walter Becker were the core of Steely Dan. Two extraordinarily talented human beings who put out some of the most sophisticated jazz tinged rock ever. In the country of Sweden, they have Daniel Andersson and Stefan Olofsson, who are making music that honors the tradition started by Becker and Fagen. Their band, State Cows, (an anagram for the term "west coast") is the most authentic attempt, in the year 2019, to replicate Steely Dan, Toto, Sneaker, Far Cry or any number of bands that are now considered "Yacht Rock".

These two gentlemen understand and worship at the altar of the past. But they create their own original variations. The Cows have been at this since 2010, and this is their third full length album. Fans would obviously like more output. But the band refuses to rush their musical greatness to the world. Their new album "Challenges" is their most consistent effort to date. The boys have mastered their ability to create original compositions, with entertaining and thought provoking lyrics.

The album's lead track, "Borrowed Time", is their most catchy track to date. Lyrically the tune seems to hint in a subtle way that mother earth's days are numbered. Guest guitarist Michael Landau lays down a solo that only elevates the song further, giving it real headphone gravitas. There is humor to follow on "Darwin Awards", celebrating some of the more "challenged" folks among us. These guys write songs with Becker and Fagen in their rear view. The song itself has an Aja-Gaucho feel to it with a little more bounce. "All Over" keeps the pace friendly and mid-tempo mirroring an early 80's Al Jarreau feel. So far so good. In fact there is more musical substance at this point than on most complete albums. The harmonies are rich and dreamy and the guitar work is simply stellar.

"Deportee" is another humorous lyric with some creative nautical references and persistently smoking lead guitar parts. "Waiting For Love" has a wonderful keyboard and vocal intro that bounces joyously along with tons of west coast mojo. "I Got The Message" is more Toto with a driving opening, followed by big riffs and choruses and sizzling guitars. These guys are visiting all the right west coast landmarks. "Human Ladders" feels like another Steely Dan outtake with a piano riff that shouts jazz, followed by some sweet vocal lines. The tune is instantly memorable and very funky, especially during the keyboard solo. "Cease To Ever Have Been" returns to Aja and includes some tasty saxophone. This track could have gone seven minutes and I would have been celebrating even more. "Wildfire" is the upbeat closer. As if Michael McDonald has taken over on keyboards. Certainly a bit more Minute By Minute or One Step Closer. Andersson's guitar playing and Olofsson's keyboards co-mingle magically to the very last note.

In any other time-space continuum where the music scene hadn't gone all dark and computerized, this album would go down as one of the best for 2019. Few Americans will know or even care about State Cows. Many will dismiss this as merely homage. But what the music world needs more of is homage. In addition, these guys write intros and outros and guitar solos. They structure vocal parts and harmonies that are full and complimentary. These songs are all very well thought out. The musical ideas aren't fragmented. They are complete thoughts. And this is another reason why the Cows have come home, yet again, with another masterful work.

RJ Howson Is Florida Blues Rock Royalty

First of all RJ Howson is friends with Duane Betts. So it's guilt by association. Guitar guilt. Howson plays a bluesy, soulful guitar in the Allman Brothers tradition. He has been working the live scene in Florida and beyond for many years. You can often find this extraordinary musician toiling in bars where the music often takes a backseat to the food or the view from the outdoor patio. But it's places like this that hone the craft. Modern day music has abandoned this type of dues paying.

About a year or so ago, RJ released his album "Set It Free". It contains 10 very strong blues rockers that are heavily influenced by the Florida blues rock scene and the southern rock tradition. It's a soulful blend that requires head bobbing and toe tapping. These songs turn into jam band gems when performed live. 10 original tracks performed by Howson, Pat McDonald on drums and Chuck Riley on bass. The entire album is playable and very high quality. Super standout tracks include "Sweet Soul Sister", "Carry Me Mama", "I Got Mud" and "Prove This Love Is True".

This is music that connects with the listener on a cosmic level. It's not just old school, it's school's in session. This is how you play blues and classic rock.

Howson and his band are a well oiled machine. These songs were recorded live in the studio and required just one take for the most part. That shows the confidence level and the commitment to making music the old fashioned way. This is one artist that deserves national attention. For now you can enjoy this band on the west coast of Florida where they can be usually found on any given weekend, perfecting their craft and earning new fans.

New Songs By England Dan and John Ford Coley???

If you like this amazing duo you may have missed these singles from the "Warner Archives". The intro on "Keep Your Smile" sounds scarily similar to Joey Scarbury's "Believe It Or Not", the theme from The Greatest American Hero TV show. After that the song settles into it's own groove and time travels us back to the cutting room floor circa 1978. If this is the cutting room floor, methinks we need to be crawling on our hands and knees scouring the place. Radio of course had no interest in this 40 something year old piece of nostalgia. Both men here are in their prime delivering a should-have-been radio hit. The tune recalls a time when the world was truly more on it's axis.

The record label wasn't finished though. For some strange reason they are releasing more music. Next is another, maybe even better radio ready tune called "Why Is It Me". A soothing blend of acoustic guitars, keyboards and perfect pitch vocals. You can almost see a sunset reflecting off the Gulf of Mexico as this one plays. Are these two songs a teaser? Is there an entire album of lost material ready to be foisted upon us? Decades after radio stations would even consider playing great music like this? I guess only time will tell. For now we have two great new lost tracks from two of the best singer songwriters of the late 1970's. We also have to honor the amazing Dan Seals who died from cancer at the age of 61 back in 2009. His lead vocal is the driving force in this duo, much like what Daryl Hall does for Hall and Oates. His contributions to these new songs are amazing. Let's hope the Warner Archives have more nuggets like these.

Blade Cisco Is An Italian Melodic Rock Juggernaut!

The Italian band Blade Cisco has released their debut full length album entitled "Edge of The Blade". Musically speaking, this is a large overflowing boiling mixture of sounds and licks from days gone by. My guess is that English is not the band's first language. Lyrically they keep it simple. But they manage to harmonize and vocalize on these words in a way few if any new bands do.

"Memories" is a big pompous opener with gargantuan harmonies and guitar lines stolen from Neal Schon. The production is crisp. There is no noise or compression. Plenty of well choreographed vocal overdubs. "Anything (Without Your Music)" immediately feels like something Orion The Hunter would have conjured up. Andrea Zanini and Valario Franchi share vocal duties. Both have clear, powerful range. "Foolin' Myself" arrives with a locomotive like zing with the guitar train chugging at full speed while the band finds fertile, big melody lines. The vocals are strong, but not needlessly overpowering. Check out the amazing keyboard solo. Guitars follow.

"Rain Over Me" intros with atmospheric keyboards and big fat Survivor guitar grooves. It settles in as a mid-tempo rocker that oozes melodic goodness. The guitar subtleties bob and weave between soft and harder edged rock. And it all works seamlessly. "Life Is A Lottery" feels extra 80's with a new wave keyboard line that joins with some large harmony based mid-tempo rock. By now you've reached the conclusion that these guys understand what it is to write fresh new hooks with great vocal parts.

The title track is more bare boned with it's affinity for straight up rock but still contains enough vocal and keyboard mischief to color outside the lines. "Hungry For Love" feels like either Night Ranger or Guiffria. It guitars along but has some finely crafted keyboard parts. And those soaring vocals, they are literally everywhere on this record. "Grey" starts with a Journey keyboard workout followed by some explosive guitar work that settles into a memorable softer melody. The vocal harmonies tickle the inner ear and stay there even after the song is over.

"Invisible To Me" combines all of the aforementioned ingredients for another chugging, rocking, rollicking, rhythm guitar rocker. "We Are Still Standing" starts quietly but then builds into a melodic rocker that borrows heavily from Survivor. The guitar work on this album is very impressive. The solos are all very melodious and fluent.

The boys grab some acoustic guitars for "My Way", combining elements of Boston, Extreme and Mr. Big. This entire album is bursting with vocal arrangements and melodies that glisten. If Blade Cisco were a planet in the solar system, they would be either Mars or Jupiter. They glow with shiny goodness and can be seen even from here in America. Best of luck and well wishes for this Italian juggernaut.

Super Vintage's Destiny Is A Wild Ride Through The World of 70's Hard Rock

Stravos Papadopoulos is not a name that rolls of the tongue. But in his homeland of Greece, he's a bit of a rock god. He plays guitar like a great ax slinger from the 1970's. In fact the 70's are all over his band Super Vintage. Those two words absolutely describe what this band is all about. They have released four albums to date, all on the amazing Grooveyard Records label.

Destiny is their fourth album and it is unapologetic in it's bluesy guitar based splendor. Stravos sings like he's just guzzled a half pint of whiskey right before heading over to the mic. This lethal combination of greasy vocals, blazing guitars and jackhammer drums, make this album totally unique in today's music world. The lead track, "Rock and Roll Saviors" comes off as a bit autobiographical. The build up to the body of the song is AC/DC-like in it's level of anticipation. The hooks are not as obvious but are still very effective.

Bands to reference: The Black Crowes, Led Zeppelin, Bad Company, Thin Lizzy, The Outlaws and Moxy. There are bits and pieces of everything you've heard from this era, but Super Vintage retains their own strain. "Brotherhood of Blues" is slightly more mid-tempo, but still blisters along. Panagiotis Zabourlis adds another layer of guitars along with Stravos. Bass is handled by Jim Moralis and the drum assault is taken care of by Lazaros Simitsis. For a music fan like myself, I am always thankful when a band does minimalist production. Each instrument is clear and loud with hardly any effects. This is 100 Proof rock and roll.

There are no throwaway songs on this record. "Everything You Wanted" unleashes a guitar groove that punches you right in the gut! "Southern Train" is slightly more southern rock than some of the other songs, but still retains the Super Vintage sound. The mini-guitar jams on this record almost have you wishing this band did jam-band versions of these songs.

Other standouts include the lengthy "Naked Tree" and the acoustic title track. The latter being an homage to early Led Zeppelin. The silky clean audio is perfect for a good set of headphones. Like most quality albums, this is a grower and not a show-er. In other words, the more you listen to this record, the more it will get stuck in your subconscious. The members of Super Vintage are clearly worshippers of a dying American art form. And the end result is a very satisfying motorcycle ride through some rough and tumble classic rock.

Young Gun Silver Fox - Simply The Best Modern Era California West Coast Duo

I've been meaning to write about these boys for quite some time now. Their 2016 debut West End Coast was a near perfect mix of bands like Pages, Steely Dan and Kenny Loggins. You can also hear influences like the Doobie Brothers, The Eagles and 10CC. The duo makes their home in London these days. They are one part California and one part UK.

Their unyielding devotion to this art form reached an apex on their sophomore effort entitled AM Waves. "Midnight In Richmond" is not only a perfect audio artifact, it's also as catchy as hell.

Think of the kind of haunting yet pleasant pop masterpieces Al Stewart churned out. The rich organic instrumentation highlighted by what could be Michael McDonald singing a bevy of tracked background vocals, makes this song one of the finest records in my recent memory. Shawn Lee is the silver fox of the duo and his experience with west coast music is truly encyclopedic. Young Gun Andy Platt brings a bit of Brit-pop to the template, think early Style Council or Spandau Ballet. Shawn handles quite a few instruments and invents incredible, original melodies that are outfitted with Platt's late 70's style lyrical input.

"Lenny" channels Kenny Loggins, who's last name first initial stuck on his first name would be the title of the song. Coincidence? I think NOT! (Laugh out loud) These guys can both sing in real falsettos and their vocal arrangements are rife with David Foster and Gary Katz tendencies. "Take It Or Leave It" is another superb mid-tempo number with a delicate but satisfying hook. There are two other fairly unknown west coast bands that again come to mind. Far Cry and the highly underrated Larson Feiten Band. It's as if someone took a snow globe of lost west coast music then shook it up and what settled is YGSF.

"Underdog" continues the perfect streak of sonic delight. Another sunny, mid-tempo melody with more thoughtful vocal arrangements and perky horn charts that actually could be a keyboard playing their part. Either way it doesn't matter. There is more musical substance on this one track than on entire albums. "Mojo Rising" marries an early 80's Hall & Oates vocal arrangement with Richard Page atmospherics. This is top down late night city driving soundtrack music.

"Just A Man" recalls Bobby Caldwell or Lee Ritenour (Eric Tagg) and is a silky sweet slice of jazzy goodness. "Love Guarantee" is another track that could be considered "best of show" on this record with all of the aforementioned subtleties in play. Just when you thought the influences were in check, "Caroline" emulates the Beach Boys and the Beatles while maintaining it's wonderful soul pop underpinnings. "Kingston Boogie" skirts the edge of disco but does so without complete immersion. And I say "so what?" The steel drum effects and the silky dance floor vibe are addictively infectious. "Lolita" is the last of 10 absolutely flawless tracks. Slightly more on the Loggins and Messina side of the coast with a heavy dose of Isley Brothers style guitar work on the solo. And bursts of sunshiny production and vocal improvisation.

It can't be overdone about how good this record is. There are too many hooks. Too many fresh vocal parts, too many interesting stories being told. It's completely authentic, original and fresh sounding. This is a complete ear candy store that could send you into some kind of musical diabetic shock.

Young Gun Silver Fox is the best new west coast band in the world right now.

Studebaker John & The Hawks Burn Clean on Eternity's Descent

Original blues is a hard thing to come by. The format is dominated by lots of imitators, imitating the great blues legends from the past.  Eternity's Descent is Studebaker John's 18th disc. He's been around for ages, and made some waves on the Blind Pig record label back in the 90's. To explain his career in this article would require another article. For music fans, this record is frustrating. It's hard to find. It's not on Spotify or YouTube, so you have to find it the old fashioned way, you have to buy it!

Buy From Amazon Here!

There are two bands that come to mind while listening to Studebaker John. Canned Heat and Treat Her Right. You can also feel the spirit of  Peter Green, Hound Dog Taylor and even Jimmy Page. All of that gets poured into a pot of Chicago style goodness with a dash of psychedelic jam band rock. This album is 13 songs deep. The lead track "Same As Mine" is loaded with guitar work that smolders, burns and shreds. The sound is slightly raw, reminiscent of a live-in-studio recording.

John sings somewhere between Kim Wilson (Fab T-Birds) and Stevie Ray Vaughn. Vocally he is perfect for the blues. Studebaker John typically has a harmonica taped to a mic next to his vocal mic. He alternates between slide guitar, harp, and vocals. He does it seamlessly. "Up and Down The Line Again" is a dizzy harmonica workout. The way the harmonica is recorded gives the track a super swampy feel. "Not To Be Like You" has a ringing guitar intro which transcends into a persistent jabbing lead. The guitar playing squeezes all of the dark grungy tones out of each note. "Hold Me Down" begins with a long enjoyable guitar intro, which resurfaces, and is piercing and spontaneous.

John is a relaxed singer with swagger and confidence. He sells these songs with his delivery. Bob Halaj (bass) and Earl Howell (drums) are a fine compliment to Studebaker as he goes off on the harmonica again. "My Life" feels like it's echoing from the corner of a smokey blues bar at midnight. The guitar tone is a wall of psychedelic acid, which competes nicely with the harp solos which compete at the same level as John's guitar. The lyrics for this song provide the perfect story for these instruments.

"Ready To Rock" says fasten your seat belt, this is going to be a wild ride! An 8 minute excursion inside the crazy world of Studebaker John with all of the aforementioned musical ingredients. And the addition of more scorching guitar interludes within the context of an already jamming tune. "I Feel Like Rockin'" is less swamp and more Stones and Chuck Berry. The tones are cleaner, the vocals more straight ahead. A nice change of pace and style. "I Still Won" is a melodic cacophony of nylon strings, electric guitar, harmonica and some potent drumming. The production on this album is very front loaded, meaning the rhythm section is more window dressing than window. It creates a darker feeling even on the brighter tracks.

"Search This Life" is another snarling Keith Richards influenced rocker with more searing leads and another acid soaked harp solo. "Passed and Gone" might be what happens after "When The Levee Breaks". A bit derivative but certainly at the very least a worthy sequel, and without question the most radio friendly song of the bunch. Wait til you hear the harmonica solo! "Rock and Roll Before I Die" strays some from the smoldering blues for something with larger riffs and big drums. Definitely another great song. "Humanity" is a slow straight forward dirge where all the instruments come together to create a perfect soundtrack for a murder mystery or maybe Hallow's Eve.

"Eternity's Descent" is the final track on this deep collection. It's a trippy, jazzy instrumental ending that only underscores the creative mojo of Studebaker John and his high flying Hawks. These songs don't glisten with shiny production or gimmicks. They are down and dirty late night headphone binges. John's musical chops are tied to his experience and influences. This is blues rock that is off the beaten track. It will surprise you with it's depth, flavor and originality. This under appreciated band deserves a hearing. Studebaker John is most certainly a legend and his work here and on much of his older catalog proves it.

Kin Faux Captures The Best In Country, Rock and Roots Music

As I continue to storm the hills of West Texas, I continue to find amazing music that was well off my radar screen. First of all, I want to congratulate the large cottage industry that was born thanks to Nashville becoming the home of sissy boy, auto-tuned, click track country flavored pop. Much like the idea of beer flavored water (i.e. some really watered down light beer), the industry thought we'd all bundle (like the TV add for Verizon) but they miscalculated. Highly trained ears can hear the lifeless robotics and meaningless drivel in the lyrics.

Texas has it's own top 100 chart. And it's loaded up like an overstuffed taco with some amazing unknown musicians. You can add the cleverly named Kin Faux to that growing list. Their latest single, "Teardrops On The Rocks" is a swing dancer with lyrics that steal a page from some of the best country standards.

The band is loose yet polished at the same time. With three singers and a knack for great songwriting, the big Texas sky is the limit. The band has a few other standout tracks that have recently been uploaded to Spotify and your usual platforms. Make Kin Faux part of your music to listen to family.