Zach Williams And The Reformation - A Southern Offering

Zach Williams And The Reformation - A Southern Offering
2011, Zach Williams And The Reformation

Zach Williams And The Reformation proves that growth is a good thing on their impressive sophomore album, A Southern Offering.  The band's previous effort, Electric Revival, was written solely by Williams.  This time out, Williams brings lyrics and his soulful rock voice and the rest of the band crafts the music.  The result is a stunning ode to the history of southern rock n roll, displaying the influence of bands such as Lynyrd Skynyrd, The Allman Brothers, Molly Hatchet and the Black Crowes.  In the process, Zach Williams And The Reformation has created a vibrant and modern album.  Producer Kevin Beamish (REO Speedwagon, Stevie Wonder, Elton John) helps capture the dynamic sound of ZWR with a live energy and a sense of polish that brings out the rough beauty of the music.

A Southern Offering opens with the vibrant southern friend rock n roll of "Gravy Train", a joyous number full of all the panache of bands like Lynyrd Skynyrd and .38 Special.  "Mason Jar" is a solid piece of songwriting with a mildly soulful vocal from Williams.  "Fool's Moon" plays like it could be a Bob Seger outtake, and has a melody that will stay with you.  "Picture Perfect" is a mellow rock ballad that makes the most of Williams' soulful voice against a blues backdrop that does the title justice.  "The Fix" opens with a guitar riff that sounds like something cooked up by ZZ Top, and blows up into a full rock sound on the chorus that's infectious.

"Motels And Highways" is a world-weary lament of a man who makes his living on the road.  ZWR picks up steam on "Rock N Roll Me", a blues rocker that sounds like a southern fried Zeppelin tune if David Coverdale were sitting in for Robert Plant.  There's real energy in this tune, which is among the best on the album.  "PO Box And A Postcard" is a speculative number building off the ideas in "Motels And Highways".  ZWR sounds a lot like the Black Crowes here, as Williams ruminates on love lost.  "Wishing Well" and “Sky Full Of Treasure” close things out in consistent yet unsurprising style.

Zach Williams And The Reformation impress on A Southern Offering.  With a sound steeped in classic southern rock yet updated with a modern edge, ZWR stands to capture the attention of several generations of classic and southern rock fans.

Rating: 4 Stars (Out of 5)

Learn more about Zach Williams And The Reformation at www.zwrnation.com or www.myspace.com/zwreformation.  A Southern Offering is available digitally from Amazon.com and iTunes.

Mike McCarroll – Honky Tonk Dreams

Mike McCarroll – Honky Tonk Dreams
2010, Mike McCarroll Productions

Mike McCarroll was indoctrinated into music at an early age, dancing around the kitchen with his mom to Elvis Presley’s “Hound Dog” and “All Shook Up” as a toddler.  It wasn’t until enlisting in the army during the Vietnam War that McCarroll picked up a guitar and began to have a sense he could create music.  In the 1960’s and 1970’s it was rock n roll that lit McCarroll’s lamp.  By the late 1970’s McCarroll had made the jump to southern rock, and in the 1980’s was reborn of country music.  The birth of the alternative country movement awoke something in McCarroll that had been there all along.  He began to write country/rock tunes for his own enjoyment, and by 2008 he had released his debut album, the critically acclaimed At The Crossroads.  McCarroll returned in 2010 with Honky Tonk Dreams, refining his outlaw country sound and putting appealing distance between himself and the commercial country pack.

Honky Tonk Dreams opens with “Cash Crop”, a low key southern country-rock tune that explores the difficulties faced by small time farmers and the lengths they must at times go through to survive.  The farm’s new lifeblood grows in line between the rows of corn.  McCarroll sounds like a cross between Paul Gross (Due South, Men With Brooms) and Garth Brooks on “The Devil In The Mirror” while exploring the dark, unknown side of human nature.  “Honky Tonk Dream” finds McCarroll channeling the spirit of Jerry Reed in a good-time tune that looks forward to the weekend as a way to get through the week.  “I Had It All” is a song of heartbreak, lamenting a love lost and the fact that he let her slip away. 

“If The Devil Brought You Roses” is a stellar mix of country, rock and blues.  McCarroll, in character as a less-than-ideal man, asks for another chance, or at least one more roll in the hay.  This mid-tempo creation is as catchy as anything you’ll hear on country radio, but the level of personality and commitment in the performance offered here is striking.  This song will stick with you.  “It’s All About You” is a kiss off, country style.  The title takes on a double meaning in a tongue-in-cheek turns that’s highly entertaining and fun.  “Merle Haggard Jack Daniels & Me” is all about drinking, classic country music and the sort of brotherly commiseration that can only occur at your neighborhood bar.

McCarroll stands up for Indie artists everywhere on “Pop-Style Cookie-Cutter Formula”, informing pop/country music executives what they can do with the songs they want him to play.  The honky-tonk arrangement is laced with the rebellious feel of early rock n roll.  “Southern Pride” is an ode to southern rock and some of its greatest purveyors.  McCarroll takes another shot at the music industry here, lamenting labels’ determination to essentially ignore a market for which there is still significant interest.  Along the way McCarroll references some of his own influences, including The Allman Brothers, Lynyrd Skynyrd, the Charlie Daniels Band, the Atlantic Rhythm Section and the Charlie Daniels Band.  “Waitin’” is a bit of light-heard, mid-tempo country fun.  “Waitin’ On The Whiskey To Work” takes a slightly darker turn about drowning your sorrows.  This isn’t a light drinking tune; it’s a serious, all hands on deck get drunk and forget song.  “What You Gonna Do” finds McCarroll back in the honky-tonk, leaning dangerously close to early rock n roll with a musical blend with elements of Garth Brooks, Hank Jr. and Jerry Lee Lewis.  This is a potential country hit, being the most commercial tune on the album without the air of trying to be.

Mike McCarroll takes a lifetime of musical influences and channels it through his own quintessence to create a sound that is simultaneously modern and classic.  Picking up the mantle from gentlemen such as Hank Williams Jr. and Garth Brooks, Mike McCarroll does his own thing, his way.  McCarroll has a way of blending intelligent lyrics, the irreverent spirit of rock and roll and first class musicianship into songs that are eminently listenable and call you back again and again.  McCarroll’s attitude toward the pop/country ways of Nashville virtually assures that Honky Tonk Dreams probably won’t get the airplay or national attention it deserves, but is a fine example of the sort of great music that happens on the fringes of Nashville once the bills have been paid.  Honky Tonk Dreams is one of the finest country albums to surface in 2010.

Rating: 5 Stars (Out of 5) 

Learn more about Mike McCarroll at www.mikemccarroll.com.  Honky Tonk Dreams is available as a Honky Tonk Dreams or Honky Tonk Dreams from Amazon.com.  Digital versions are also available via iTunes.

Review: Johnny Neel And The Criminal Element - Volume 2

Johnny Neel And The Criminal Element - Volume 2
2009, Silverwolf Records

Johnny Neel has it all, really. A top-level session player in Nashville, Neel has a Grammy nomination under his belt and has written songs recorded by The Allman Brothers, John Mayall, Joe Louis Walker, The Oak Ridge Boys, Marie Osmond and Travis Tritt. Neel is also well-respected as a performer, with a small but significant following mostly on the East Coast of the US. Neel’s sixth solo album, Johnny Neel And The Criminal Element Volume 2, was released earlier this year; A mix of Rock and Blues pervades the disc.

Volume 2 opens with Go, a great mid-tempo Blues/Rock hybrid with some intriguing minor-key vocal harmonies in the chorus. The song is strong overall, but the chorus adds that "gotcha" that draws listeners in and convinces them to stay for a while. Pass Out is a funky Rock jam that turns psychedelic before slamming back into the funk. Thing P-Funk meets Pink Floyd. Thunder is an impressive track, combining a pure Classic/Southern Rock sound with elements of Jazz, Funk and Soul. You'll want to get moving when this song is one. Smackin' Pepper goes for the ten-minute instrumental jam thing and ends up sounding a bit like album filler, although the Moog work in particular is impressive. Hot Beer Emergency mixes Styx-style keyboards with Southern Rock guitar for the most intriguing composition on the disc. Here Right Now is a fun and catchy Classic Rock paean that turns into an extended jam. Neel closes out with Playin' On The Tracks, a decent tune but probably not the best choice as a closer to the album.

Johnny Neel rips it up with his guitar, playing some of the hottest Rock and Blues guitar out there. The songwriting and composition here ranges from above average to excellent, although the extended jams do end up sounding like filler at times. Neel's band is as sharp as a tack, and no matter your inclination you'll find something here to enjoy. Johnny Neel And The Criminal Element, Volume 2 is definitely worth checking out.

Rating: 3 Stats (Out of 5)

You can learn more about Johnny Neel And The Criminal Element at http://www.johnnyneel.com/, www.myspace.com/johnnyneel, or www.myspace.com/thecriminalelement. You can purchase a copy of Johnny Neel And The Criminal Element Vol. 2 in Neel’s online CD Shop. You can download Volume 2 from iTunes.

Review: Jefferson Ross - Azalea

Jefferson Ross - Azalea
2008, Deep Fried Discs

Jefferson Ross has traveled the world extensively playing his music, but his heart has always been in the south. With family connections in the music business, Ross used to sit in with The Allman Brothers’ warm-up band at the tender age of 13, when he’d play the Les Paul owned by Dwayne Allman that now resides in the Rock N Roll Hall Of Fame. Ross later toured and recorded with Jimmy Swaggart, and spent ten years on the road with Grand Ol’ Opry member Terri Clark. Over time, Jefferson Ross has shared the stage with stars like Reba McEntire, George Strait, Brooks and Dunn and Toby Keith, to name a few. In 2005, Jefferson Ross dedicated himself to songwriting; the fruition of which is his first solo album, Azalea.

Azalea opens with Hornet Hawkins, a musical tale about a bootlegger who got his start to keep the bank from foreclosing on his home. Hawkins becomes something of a local hero as he dodges the Feds while spreading good spirits all around. The country arrangement here is a classic. Change is a decent tune that talks about the human need for change, and uses it to justify all sorts of life decisions, both good and bad. The Prophet Elijah is a powerful story song about the wisdom of our elders, as seen through the eyes and ears of someone who befriends an elderly neighbor with something important to say. This is an amazing tune and is worth picking up the disc on its own. Azalea is a decent if somewhat typical country love song.

Flippin' That Hog is an epicurean adventure set a fantastic honky-tonk style arrangement. The song might be a bit blunt for some, and certainly won't be dinner music at any PETA functions in the near future, but is a great tune nonetheless. Hard To Be So Easy is an outstanding duet with Lisa McCallum about taking the easy way out in relationships (which generally isn't out at all). Reality tackles the Grand Illusion of life, reminding listeners that they control their own destinies ("If I believe in being free, then that's reality"). Lucky Now & Then is the best song on the disc. A man whose life has been full of hard luck finally gets a good break with the right woman. This song is a wow moment. Ross closes out with The Last Song, a decent tune but the subject matter has been covered so many times its hard to not hear it as cliché.

Jefferson Ross has a distinctive voice that is radio-friendly and likely to gain him some attention in the commercial realm. Azalea is a strong offering in the Country Singer/Songwriter tradition. Ross has an ability to tell stories in vibrant terms in song, and wraps them up in melodies and arrangements that stick with the listener well after the CD has stopped spinning. I highly recommend Azalea to our readers. It's not perfect, but it's a fine album.

Rating: 4 Stars (Out of 5)

You can learn more about Jefferson Ross at http://www.jeffersonross.com/ or www.myspace.com/jeffrossmusic. You can purchase a copy of Azalea at CDBaby.com.

Review: Diana Catherine & The Thrusty Tweeters - The Spirit Ranch Sessions

Diana Catherine & The Thrusty Tweeters - The Spirit Ranch Sessions
2009, Diana DiGiovanni

Toronto's Diana Catherine & The Thrusty Tweeters want to take you on a trip. Rock, Blues and Country will be meted out in the appropriate portions as you travel down the dusty trail of Catherine's muse on the band's debut album, The Spirit Ranch Sessions. Musical gypsies; delightful enablers of the terpsichorean muse; whatever you wish to call them, Diana Catherine & The Thrusty Tweeters will delight you eleven songs full of toughness, vulnerability and panache.

The Spirit Ranch Sessions were recorded at the aptly named Spirit Ranch in Florida in 2008; produced by Bud Snyder (The Allman Brothers) and Matt Blackie (also the drummer). The album has a little bit of everything. Diana Catherine plays guitar and harmonica in addition to singing duties, and is joined by Kevin Robinson on guitar, Nic DiSanto on bass in addition to Blackie. The Spirit Ranch Sessions opens with Walk; part honky-tonk and Americana and a real pleasure to start things off. The arrangement is reserved enough to allow Catherine room to roam on the vocal line and she makes a great first impression. Sober (Is Too Hard To Stay) will give you an idea of what might happen if Kirsty MacColl ever embraced country music. Travelin' Man is one of those songs that is so familiar the first time you hear it you'll swear it's a cover, but it's not. There are some turns in the chorus that are reminiscent of Neil Young however, but the song is very well written and well performed.

Long Road breaks out some Lynyrd Skynyrd southern rock but sticks to an understated ethic ala Cowboy Junkies. Things slow down a bit on the second half of the disc. Train Song stands out as the beacon of the second half of the disc and is probably the best song on the whole disc. Lucinda was a pleasant listen, but songs like Last Dance, 4 Leaf Clover and Drifting just felt a bit bland after the first half of The Spirit Ranch Sessions.

Diana Catherine & The Thrusty Tweeters have embraced a sound that mixes the genteel side of Americana with Southern Rock; when they're on they're really on. The first half of The Spirit Ranch Sessions is very strong, but the disc gets a bit bland as it progresses, leaving a brilliant 5 or 6 song EP stretched out to an above average but slipping at the end full-length LP. Diana Catherine has a unique blend of toughness and vulnerability to her voice that will guarantee listeners and the band is quite good instrumentally, so I suspect this is not the last we'll be hearing from them. Put Diana Catherine & The Thrusty Tweeters on your "to-listen" list.

Rating: 3 Stars (Out of 5)

You can learn more about Diana Catherine & The Thrusty Tweeters at www.myspace.com/dianassound or http://www.dianacatherine.com/. You can purchase a copy of The Spirit Ranch Sessions at House Of Bands

Review: David Grissom - 10,000 Feet

David Grissom - 10,000 Feet
2009, Wide Lode Records

David Grissom is something of a legend within the music industry, but the casual music fan won't know his name in spite of hearing him play many times over. As a session and touring guitarist, Grissom has worked with the likes of The Dixie Chicks, John Mellencamp, Joe Ely, Buddy Guy, Storyville and The Allman Brothers. His songs have been recorded by Tricia Yearwood, John Mayall, Montgomery Gentry, Webb Wilder and more. We reviewed Grissom's debut album, Loud Music last year. Now he's back with 10,000 Feet, mixing Stevie Ray Vaughan style blues and AOR rock with good old fashioned Texas songwriting for one of the most accomplished classic rock albums of the year, thus far.

10,000 Feet opens with Keep A-Rollin' On, with Grissom channeling Gary Richrath on guitar in an energetic guitar rocker. 10,000 Feet is a classic song; strong vocals highlight this highly melodic song. Take Me Back To Texas is a love song for that state, and Butterbean Friday is a tribute to the sort of Blues Stevie Ray Vaughan made famous. Good Day For The Blues is bound to be a concert favorite, complete with Bic or iPhone lighting scheme. Three songs in particular stand out from the rest as exceptional. True Love Don't Work That Way is the strongest entry, a driving blues/rock hybrid that you won't be able to get out of your head. Jet Trails In The Sky may be the deepest track here; an allegory for unrequited love that is poetic and reverential. My other favorite is Sqwawk. Built on Blues riffs, Sqwawk is set against a 1970's anti-punk arrangement that is intriguing. This is what it might sound like if Kim Mitchell ever jammed with Eric Clapton.

Grissom is a more than capable vocalist, but his guitar playing is the true standout on 10,000 Feet. This is a highly enjoyable album that just doesn't quit. Grissom hits you with great song after great song without sounding formulaic or tired. 10,000 Feet is a must-hear CD.

Rating: 4 Stars (Out of 5)

You can learn more about David Grissom at www.myspace.com/davidgrissommusic. You can purchase a copy of 10,000 Feet at www.cdbaby.com/cd/davidgrissom2.