Beyond Imagination Is Authentic West Coast Magic

In recent years, producer, arranger, guitarist, and west coast icon Jay Graydon has lent his talents out to a growing number of Swedish quality rock bands that have parroted the music once made here in the states. The latest band to catch Graydon's ears is a Malmo based band called Beyond Imagination. Graydon lends his guitar work to an incredible slice of 1981 called "Say Is This Love". The tune also features some robust saxophone and Viktor Johansson's smooth vocals.

"Traces of Laughter" is a tad more muscular but alternates between pure AOR and West Coast. What's very apparent is B.I. can write and arrange songs with powerful, captivating hooks. They use effective keyboard flourishes to augment some already very convincing music. "I Can't Find Enough Reasons" is perfect for those rainy nights both musically and lyrically. Andreas Baro plays the sax with smooth jazz bravado. Emanuel Nyman mans the drum kit and is an anchor to the rhythm and overall feel of this album. He and Baro do double time as players and producers.

"Inside Your Eyes" is reminiscent of a Chicago (the band) power ballad, with a bigger drum beat and romantic lyrics about true love. Tim Carlstedt lays down a note perfect guitar solo. The band shifts gears for "Driving Along The Coast". The guitar tone is rocked up, and the band strays mercilessly into old fashioned AOR. "Change The Way" has a gigantic guitar hook intro, followed by a more jazzy vocal arrangement. The horns are used effectively throughout this collection. You just know the band was influenced by the aforementioned Chicago and maybe Earth Wind and Fire.

 "I Want To Be Love" begins with more memorable power chords and then ascends to a loftier melody and harmony vocals. The chorus is strong and is filled with 80's top 40 enzymes. The synth based "Courage At Heart" hints at new wave pop bands from 35 years ago. Think Naked Eyes, A-ha and Cutting Crew. B.I. has still managed to keep things original though. There is no blatant plagiarism, just nods to style.

"Love of My Youth" is a slow, smoke filled room number that takes a light stab at Michael Franks or even Tony Bennett. This diversity is what makes this debut album a real joy to listen to. "Stay With Me Tonight" sounds like a lost Al Jarreau track with a tropical vibe. The concluding "Spirit of Freedom" is an instrumental track that echoes the best of smooth jazz from the likes of Fattburger or Spyro Gyra. What's a little different is the overall structure of the song which is much in the pop vein of things.

Beyond Imagination's debut record is clearly a tribute to the world's once great melodic past. All done with an incredible attention to detail. The Swedes continue to be pioneers in this format that was once only reserved for the experts in southern California. This is one big fat treat for your ears. Slap on the some headphones and use your imagination!

Will Jacobs and Marcos Coll Are Making Some Sweet Noise

Taking Our Time is a brand new album by blues rock duo Will Jacobs and Marcos Coll. Coll plays the harmonica. Jacobs plays guitar and sings. Like many American born and bred musicians, they set off to make a living in Europe. Their new album will make fans of traditional Chicago blues very happy. But this music should also appeal to the rock traditionalist as well.

The highlights include the funky opener, "It Ain't Safe". Jacobs makes his guitar talk in different tones throughout this project. "Goin' To Berlin" is a more traditional number with Coll's harmonica blaring alongside a thumping, familiar guitar riff. But guitar fans will enjoy the instrumental jam that ensues. "What You Doin'" returns to the funkiness of the opening track.

Vocally, Jacobs is a cross between Robert Cray and Lenny Kravitz. The simplicity of the arrangements and the live music feel make these songs very memorable. The band rocks out a busy instrumental called "C.J.'s Bounce". "Stranded" returns to some hardcore Chicago style with some stellar harmonica. Jacobs brings the funk back on "Hey Baby", which is really one of the more fun and memorable tracks on this collection. "Blues Cazorla Boogie" is a Chicago blues and swing hybrid. The dance floor is open and these two blues masters do not disappoint.

"One Too Many Times" is another classic blues riff and a familiar tale of being kicked to the curb. The boys then swarm in with their respective instruments and make a decent ruckus. "Goin' To Berlin" (recorded live) is the album's closing track. It's more of a front porch burner and it shows that these gentleman can bring it live. All and all a tasty little collection of catchy blues nuggets and certainly a worthy addition to your collection of blues staples.

Age of Reflection's "A New Dawn" is Old School 80's Melodic Rock With A Modern Twist

Age of Reflection is another Swedish band with it's roots firmly planted in the 1980's. Lead vocalist Lars Nygren's vocals add a layer of emotion to a very solid and polished sound. Nygren has something unique in his vocal delivery that separates him from other singers. Maybe it's a touch of Paul Stanley in his prime mixed with the late Jani Lane from Warrant. Guitarist Jonas Nordqvist has been influenced by Neal Schon, Josh Ramos and Steve Vai. On "A New Dawn", the band picks up right where they finished on 2017's "In The Heat of The Night".

If you are a fan of big dramatic arrangements, scorching guitar solos and soaring emotive vocals, this is the band for you. "Aurora" is a melodic shredding instrumental intro that leads into the album's centerpiece, "A New Dawn". This one-two punch could be the perfect night driving FM radio staple. "Stay With Me" is a mid-tempo rocker, well written and guitar driven. Lars singing style is very lyrical. His voice seems to body surf over the melody, being whisked along on each little twist and turn.

"Here I Stand" faces down negative consequences and regret and pleads with it's audience. It's backdrop is a melodic current that will sweep you away. "Until Death Do Us Part" is a rocking marriage song, declarative and bold. The band rides these lyrical themes with waves of sonic power. Nygren's voice and the harmonies of his band mates keep your ears in the game. "What if I Break" is a surprising acoustic power ballad contemplating the ups and downs of a confused relationship. The band's vocal prowess is on full display here.

One of the most surprising moments on the album is the band's remake of the Cutting Crew's "I Just Died In Your Arms". The band rocks it up a bit but it's actually very faithful to the original. Other highlights on this record include "Go" and "Write It On The Wall".

What I like about this band is that they write songs that have staying power. There are a few sonic curve balls. And the musicianship is top notch. The difficulty for this band is the struggle to get airplay and to be noticed. Radio is not user friendly right now and bands like Age of Reflection can get lost in the shuffle. But overall another stellar offering by this band from Stockholm. Look for the album to drop September 27th via AOR Heaven Records.

Goodbye Eddie

I was a wet behind the ears music director programming the music for the number one radio station on Cape Cod. I think it was 1988. The traffic director (who is basically like a receptionist, greeter, task assigner, all of the above person) called the production studio to tell me that Eddie Money was on the phone and needed to speak to me. My response to her was, "yeah sure". She said, "he says he's Eddie Money". I said, "fine, patch him though". The voice on the line says, "Davey, this is Eddie, the money man!"

Immediately I knew it was really him. We talked about Richie Zito, who produced his latest album Nothing To Lose. He mentioned that he needed a vacation and was planning to spend time with his wife and his kids. He thanked me profusely for helping the song The Love In Your Eyes climb to #1 on the mainstream rock charts. Admittedly, it's not Eddie's best track, but was a radio staple for us for several weeks. He was as affable and funny as he is on TV and in interviews. He told me he would eventually make it to the Cape for a visit, that it would be a perfect place for his family to spend some time on the beach. He was a working class Joe from New York who was destined to be a cop but he quit and followed his dreams to California. 

They don't make them like Eddie Money anymore. He loved R&B music, rock and the blues. He ended up being a constant presence on the radio until the grunge scene killed his radio career. Like all good blue collar workers, he hit the road hard and was there right up until the doctors pulled him off. I'm sitting here cranking all of these Money tunes that meant so much to me then. Today they mean even more to me than they did then. 

Rest in peace Edward Joseph Mahoney. You will be missed but thankfully you gave us a lifetime's worth of unforgettable music.

- Davey

The Defiants Defy Convention By Going Back To What's Great About Rock

The Defiants are the offspring Danger Danger who were a casualty of the grunge rock scene. One of many steeped in a melodic rock tradition that peaked right around 1989. Glam rockers were adding strains of funk and blues to their singable anthems. Times were good. And then came Kurt Cobain and the party ground to a halt. Here and there with fits and starts, this music has continued to find a home, mostly in Europe. American fans have largely been shut out of the party since terrestrial radio went dark.

The Defiants pick up where the party ended. Their new album, called Zokusho (which is a Japanese word meaning sequel) makes for some rather impressive ear stimulation. "Love Is The Killer", a song Bon Jovi would reject today, but a song his fans will embrace opens side one. The big choruses, the cacophony of keyboard sounds, and those lyrics, ripped right from the pages of a late 80's Soap Opera Digest - this is what the New Jersey faithful have been waiting for.

Guitarist Rob Marcello tricks out his guitar for all the needed effects along with piercing, precise solos. Singer Paul Laine is amazingly well equipped to ride these notes high into  places older bands fear to tread. Steve West assaults his drum kit with high octane accuracy. "Hollywood In The Headlights" is the PERFECT southern California summertime anthem. These days good songwriting is hard to find, but not on this album. An instant hit single for a world corrected for lousy tastes. There are rich harmonies, complete musical ideas and guitar solos to ice the cake with.

"Fallin' For You" is a tad more muscular but still manages to be catchy as hell. The apple doesn't fall far from the Danger Danger tree.  There are a few modern touches, but nothing to disrupt the musical synergy. "Hold On Tonight" is a lush mid-tempo radio ready half-ballad employing every great 80's cliche with unabashed love for the genre. "Allnighter" has a more modern approach, much like something W.E.T. might record. The big hooks and choruses immerse the ears in what could be a great live in concert track."U X'D My Heart" invokes Mr. Big's "Just Take My Heart" via a sparse guitar intro followed by big bold and decisive hooks. Again the subject matter is about women breaking hearts and the like. It's as if the band has joyfully chosen not to delve into any topics that would bum people out in 2019.

"It Goes Fast" adds a nice pop sheen to an uptempo drum pounder. The melodies here are all advanced songwriting honors class. "Stay", "Alive" and the bar closer, "Drink Up!" all rock out in style without slowing down. No power ballads here, just glam oriented pop metal with zero filler. This record should be loved by fans of Poison, Kiss, Danger Danger, Ratt, Firehouse, Mr. Big, Def Leppard, Bon Jovi and Van Halen. There are a few bands making this kind of music, but none of them are writing and arranging songs of this caliber. "Zokusho" is the best melodic rock album of 2019 thus far.

Jimmy Carpenter Is The Soul Doctor

First, a big thanks to Gulf Coast Records for the advance preview of this much anticipated release. This record label is going to be a go-to place for many of us looking for real music in a world increasingly hostile to it. Admittedly I come to this review a little wet behind the ears. I know that Jimmy Carpenter has spent the last 30 plus years in the blues music business in various bands, most recently touring with Mike Zito. The partnership between Carpenter and Zito is likely the reason we have "Soul Doctor". And Zito is committed to bringing a new level of quality to this music and his new record label.

For those of you nostalgic for the music of the 1950's, 60's and early 70's, these grooves will supply you with a healthy dose of just what the doctor ordered. At the forefront, is Carpenter, playing his saxophone and singing like a legend from an era gone by.

This is first and foremost a fun blues-rock album, drenched in horns and sung with true soul. The production is airy and clear, with an emphasis on making music that can be duplicated in a live show. Press play for track one and "Soul Doctor" fills your ears with soothing medicine. The interaction between guitars, bass, drums and horns is the way it ought to be. Nick Schnebelen guests on guitar and plays his butt off.

"When I Met You" is a classic mid-tempo horn infused 60's soul number. Jimmy's voice rings out clear, seasoned and confident. "Wild Streak" follows and tells a tale of a woman who has a self discipline problem. You might get taken in by the story line as the band puts forth some convincing soul oriented blues with a shade or two of roots and country. "Love It So Much" takes the party to the next level. This is the kind of music that just makes you feel good. The singing, playing and quality of material is all first rate. The horns hit you from all directions. You won't just hear this album, you'll feel it.

"Need Your Love So Bad" is a slow burning soul ballad showcasing the multi-talented Carpenter who croons convincingly, followed by a terrific jazzy saxophone solo. The more you listen to this album, the more you feel like you've time traveled to a better place. "Wanna Be Right" picks it back up featuring a very funky guitar and some tasty Hammond B-3 with blasts of horns and backing vocals. This would be the song I'd release to the masses as evidence that real music is still being made. Today's music is completely devoid of anything that even remotely resembles this homage to everything good and decent about music. But it might be a great ice breaker if you've got open minded co-workers. Who knows.

"One Mint Julep", the old Coasters tune, is modernized and handled with care, as Jimmy saxes his way into your heart. The extended jam on this is particularly satisfying. "Wrong Turn" is a departure in style, going instead to a harder blues rock direction featuring Trevor Johnson on slide guitar and Al Ek on a rather aggressive harmonica solo. This might be the song you take to rock stations who'd like to program some talent rather than the garbage they foist upon the masses.

"LoFi" is a bluesy instrumental that synthesizes all of the other great moments on this record into one song. "Yeah Man" closes the album with Carpenter telling a story we can all relate to. There is hope and optimism in these final moments. Soul Doctor is a celebration of great, perfectly executed rock and blues. It's a beacon of light on a mostly dark and dreary musical landscape. It will restore your faith in decent, honest music, played by dedicated, talented musicians. The Soul Doctor has got the cure for your musical maladies.

Head Honchos "Bring It On Home" Brings It Home and Back

What are the Head Honchos? Well besides a great name for a band they are a father-son guitar wrecking crew playing blues based rock and roll that might be described as a blitzkrieg of sound. If you were raised on the blues, southern rock or mid-western bar band boogie, this is all of the above. In fact it's darn near impossible to categorize.

Their latest effort, "Bring It On Home", blows the doors off of conventional descriptions or hip adjectives. This stuff will melt the wax out of your ears. The dual guitar assault of Rocco Calipari Sr. and his son Rocco Jr. harkens back to a time when the philosophy of more guitars the better was fashionable. Nowadays we're fortunate in a band if there is one person who can play moderately well.

"Not For Me" opens the set with ruthless intensity, with drummer Will Wyatt leading the charge. There's almost a native American thing going on, and of course the blues and southern rock. The guitar solo pierces and comes at you from both speakers, like a two pronged attack. "Old and Tired" calms things slightly combining rock and soul. Vocals are handled by Rocco Sr. and drummer Wyatt. "Soul Thing" is next and it truly is a soul thing, the band reeling off some great instrumentation between players while progressing into kind of a jam band rocker toward the middle part of the song. This is next level guitar playing so don't try this at home.

"Work" is a blue collar anthem probably written for the band's fan base; working class folks who are likely shakin' their heads around. Bassist Mike Boyle does a nice little solo and then the boys Rocco create more decibel madness toward the end of the song. "Come Strong" might be the most commercially viable song on the record, but it's one of many stand-out tracks. "Next To You" is another smooth blues rocker with some great slide guitar parts. There is so much great sound for your ears to devour on this 13 song journey.

"Mean Old World" is an impassioned blues-rocker that sounds a tad like Lenny Kravitz minus the production gimmickry and with far better guitar work. "Fire On The Bayou" is an apt song title for something that actually seems to have been birthed somewhere in a Louisiana forest. Another bold combination of blues, soul and swampy southern rock. "Lucky's Train" mixes a funky guitar riff with some blues harmonica, played by drummer Wyatt. This is a big, bold expression of the all of the above presentation. The guitars end up fighting their way into the meaty part of the song even though there is so much other ear candy going on.

"Whiskey Devil" is yet another style. A fast funky shuffle with horns and a cool vocal arrangement. The guitar solos are intense and fluent. If I were a radio programmer I'd pick this song as a single since it's like an all you can eat blues rock buffet. "That Drivin' Beat" retains the horn section and delivers a rockin' dance floor anthem. This far into the album you are probably rather astonished at how diverse things have been thus far. To say there are a few twists and turns would be an understatement. Team Rocco is killing it on every song, and the band is making about as much noise as humanly possible.

"99 1/2 Won't Do" is a plea for 100 percent devotion from a woman who doesn't understand the nature of what the Honchos need. A great horn chart and funky grooves on guitar, followed by another monumental solo. This album just won't quit! The band covers "Going Down" (the old blues standard) except they light it on fire and throw guitar gasoline on it. "Soul Free" is the cool down after all the partying and guitar fireworks. There are acoustic guitars! This is much like the cherry on the sundae of an incredible collection of blues based soul rockers. All driven by an amazing group of musicians obviously dedicated to making music the old fashioned way in an era where people lack the understanding to truly appreciate it.

The Head Honchos are some mighty fine musician Honchos indeed. Go out and find a copy of this and Bring It On Home!

J.P. Soars Hits New Heights On "Let Go Of The Reigns"

J.P. Soars has a huge advantage over everyone else. His voice is custom made for the blues. The swampy drawl is somewhere in the neighborhood of the late Dr. John or Dennis Locorriere from the 70's band Dr. Hook. The blues is far more believable if it's delivered by a voice like this.

On "Let Go Of The Reins", Mr. Soars has decided to put his homemade cigar box guitars to good use, employing some new twists and turns into his grizzled, contemporary blues rock sound. "Been Down So Long" is a made for jam band opener with lots of Hammond B and a lyric that sets the tone for the rest of the album. Soars covers the Ozark Mountain Daredevils' classic "If You Want To Want To Get To Heaven" with a swamped up reading delivered with fuzzy guitar tones and a blistering melodic solo.

"Freddy King Thing" is a homage that picks up where the first two tracks left off. The great Tab Benoit helped produce this album and the New Orleans vibe is wrapped into each groove. "Let Go of The Reins" has a darker rock feel but retains a funkiness that is present for the entire album. "Crows Nest" is a fun instrumental jam that highlights Soars ability to weave his guitar into all kinds of sonic shapes."Lonely Fire" takes a left turn with some well done acoustic guitar and a slight touch of Latin Jazz. A really nice surprise.

"Have Mercy On My Soul" returns us back to the swamp and features J.P.'s guitar speaking to us in classic familiar tones. "Let It Ride" takes another left turn with a nod to country and roots music but still compatible with the theme of this record. "Minor Blues" is another jazzy flavored instrumental with Soars painting a soothing picture with his band of blues renegades. "Time To Be Done" brings the party back into focus even though it's last call as it's theme. Definitely one of the more accessible tracks for radio formats who should be playing this Grammy contender.

The album concludes with "Old Silver Bridge", a song which showcases Soars' guitar work. Roots rock, blues and soul. This album is another higher step on J.P.'s climb on the musical ladder. For fans of a genre that is helping keep real music alive, this is a must have collection.

Stan Bush - The 80's "Single"

You really have to hand it to Stan Bush. He's been around since the 1980's and he's one of those artists who just missed main stream success. If you are a fan of The Transformers movie, you might remember The Touch, a tune that has been a cult favorite for years. Bush is one of those guys who understands the era and has never strayed from making music that revisits a better time for humanity.

The 80's is the latest offering from Stan. It borrows heavily from Def Leppard's Animal and at times feels like it should have been on a Survivor record. The keyboard parts all sound like they've been pillaged and plundered from Journey or Starship. Long live the 80's and thanks to Stan Bush we can be bold in our worship.

Moonshine Society's Sweet Thing Is Classic Soul In The Best Way

A blues band with groove. A blues band with a diva. A blues band with a guitar god. A blues band with a funky rhythm section. A blues band that has memorable melodies. A blues band that kicks it live. Welcome to the Moonshine Society. Four accomplished souls who've purposed to bring real music back to the world.

Their second musical gift is called "Sweet Thing". A perfect description of enigmatic lead vocalist Black Betty. The title song to this collection is a combination of swamp and pop blues with Betty laying claim to some big sista shoes as she elevates the art of teasy and greasy. Immediately you are in some fresh musical terrain. The sweet thing might be the production on this record, which is clean and bold and rather in your face. "Shake" follows as an almost surf-soul stomp with maybe a nod to Motown or the Stax catalog. At this point there might be a party already in progress as a full blown sax wails out from your woofers.

"Mama He Treats Your Daughter Mean" might be the funnest song about a dead beat loser. Betty's convictions are felt and not just crooned. A  honky-tonk piano and some big choruses only add to the party that is well under way. "Come On Home" is a slow burner very similar to Tedeschi Trucks. It's pure soul of the highest order with some compelling horns and sweet guitar licks from Joe Poppen. Joe's playing on this record is smooth, stealth and close to perfection. "Southern Road" is blues with a southern rock vibe, lots of harmonica and Betty belting out some tough love. The instrumental break on this tune could have gone on for 20 minutes and I wouldn't have gotten tired of it. "Biscuits, Bacon and The Blues" has a great gospel oriented intro followed by a coy frolic through a number of blues tinged styles. Poppen's guitar rattles off some ear pleasing notes while Betty opines about those three essentials.

The band tackles "Use Me" an underappreciated soul masterpiece from the 70's. Betty brings some strong sass to this track as Chris Brown answers the high calling on bass. Drummer Rodney Dunton is a force on the kit and makes a special contribution here. The song transitions to "Walk On Gilded Splinters", retaining the same structure but with new lyrics. The band seamlessly covers "I'd Rather Go Blind", again relying on Betty's authentic soul to drive the point home...and she does. "Deal The Devil Made" is a backroom torch number that moves toward late night jazz but still retains the Moonshine vibe.

"The One Who Got Away" is a larger than life blues and soul power ballad. A fine way to end this 10-track soul drenched masterwork. The Moonshine Society has a big, bright and long future ahead of them. The tangibles and the chemistry are there and Black Betty can sing with the best of them. In a different world with radio support, this would be an overnight sensation. An incredible album for fans of blues, rock and soul.

Rock And Blues Muse Is Not A Site I Can Recommend

I have seen a lot of strange things since beginning my musical journey. But never have I encountered anyone who didn't want free publicity. I had a list of hyperlinks to articles written by Rock and Blues Muse on the sidebar of this website. I was told by the owner of said site that this was illegal. Interesting because these are links and not the articles themselves. I was trying to direct traffic to their site because I liked the content and thought my fans might enjoy it as well. This person came at me with all kinds of legal arguments that made no sense at all. I was an honest broker, just directing music lovers to where they could find other great sources of information. I would be flattered if someone put links to my YouTube channel or my blog on their page. I was not trying to publish the content from their page as my own. I can't even believe I am saying this or having to explain this to people. I may even do a video on the topic. Maybe someone can set me straight. RSS feeds are designed so people can find links to articles faster and easier. Needless to say I've removed this content. I was thrown out of a Facebook Group I really enjoyed and even blocked on Twitter by this person. All for directing traffic to their site. Apparently the road to promoting good new blues rock is paved with suspicious intentions.

Shaw Davis - Tales From The West - Redefines Hard Rockin' Blues

Shaw Davis and his power trio known as the Black Ties are something of a musical anomaly. Yes their music is rooted in the blues and you can even hear bits and pieces of other guitar players, especially Robin Trower and Jimi Hendrix. This band has been making the rounds in South Florida to unanimous approval. The band's latest album Tales From The West, pours gasoline on an already large inferno. The energy level is on par with early Rush or the first incarnation of the James Gang. But still you have to turn it up a notch from there. Bassist Patrick Stevenson is much higher in the mix and really adds to the melody and structure of each composition. The unrestrained energy begins on track one.

"Take My Hand" is a blistering song that nods at psychedelic rock and is the perfect vehicle for an extended live jam. "Willie The Pimp" might be an updated version of a similar title by Stevie Ray Vaughan. The tale is actually a sad one but it's perfect for the blues. Except Davis takes it somewhere else with the grizzled chorus of vocals and a totally spaced out guitar break. The guitars explode back into the song with fire and fury. Drummer Bobby Van Stone is there to carry the heaviness one step further. "Tales From The West" is a more sparse track that again explodes into a big chorus and guitar with the words "You Ain't Welcome No More".

Three tracks in and you are thinking to yourself that this isn't formulaic. This isn't standard blues-rock. Depending on where you join the song, you might think you've stumbled on an old grunge band that can actually play their instruments. The problem is the soloing is too good to be grunge. The melodies are more subtle and take some time to understand. Which makes this a great multiple listen album. You seem to hear something new upon each new spin. "Mama Told Me" seems to be a continuation of the prior song with it's intro perfectly complimenting it's predecessor. There's a good portion of Hendrix within the chord structure of these notes with some delightful twists and turns. Like getting in a roller coaster blind folded.

"Fire Inside" is another three pronged attack on your senses. Shaw growls out some poignant lyrics, "You Can't Drown Out The Power of Soul" as some Cream-like harmony vocals careen the audio landscape. Don't attempt the guitar solo at home. It's as if it was trying to break through into the body of the song prior to it's entry. The song has a rebellious theme and the music more than augments that. "Know Where You Been" might be slightly more blues rock traditional, but the band still manages to create a big ruckus. "Atomic Groove" adds a layer of funk to the acid rock blues and it's a magical moment on the album. Meanwhile Shaw's solos continue to eviscerate sub-woofers everywhere. "I Gotta Try You Girl" lurches back to the progressive and at times psychedelic sonic wilderness with carefree recklessness. The album wraps with "My Friend", a real nod to Robin Trower. In fact I could hear a nice medley with "Bridge of Sighs" coming live in concert. The track builds to a climactic crescendo that pins the LED meters and is a fitting conclusion to one of the best hard rockin' blues albums in recent memory. It can't be stressed enough about how powerful these three guys are when they work together. Good loud rock and roll is one thing, but good loud, complicated and mostly very original rock and roll is another. If you love rock and the blues or even progressive hard rock, this could become your favorite album.

Karen Lawrence - One of The Finest Female Voices You'll Ever Hear!

Through a series of lucky breaks I have recently become acquainted with a vocalist who will completely blow your mind. Her name is Karen Lawrence. Her name should roll off the tongue like say, Bonnie Raitt or Melissa Etheridge or even Janis Joplin. Her vocals are rich with the kind of soul that elevates any song and can compete with any of the well known singers of our time. Her story actually dates back to the late 1960's when in high school her psychedelic blues band covered "Stone Free" and the torch was lit.

Karen's name was constantly appearing on best-of lists for industry insiders. Her talents have been utilized by Jeff Beck, Aerosmith and Cheap Trick to name just a few. But her brilliance is realized on one of the best live albums I've ever heard. 1997's "Live At The Lake" with her band Blue By Nature is a time capsule of raw blues-rock energy. Karen and her band roar through 13 amazing performances that harness a power that might be spiritual in nature. The only way this set doesn't stir your soul is if you don't have a pulse.

That album has been culled down to 8 remastered tracks and given to us again under the title of "Best of Live" with Karen's name at the top. From my mainstream perspective, this is like finding an alternative universe of greatness that runs parallel to all the music you are familiar with. And because many on this planet aren't familiar with Karen, it feels like the music industry owes her some recognition. Many blues rockers deserve accolades that never materialize. And Karen might be near the top of that list.

If you purchase one off-the-beaten track album this year, make it this new best of live collection. Life is short and not hearing this music would be a big omission to your bucket list.
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