We’ve played this as much as any album we’ve reviewed, and he’s certainly a guy with talent, blending The Darkness with the Isley Brothers, and Queen with Humble Pie. Early on, it seems a bit all over the place, one minute a tight rock tune the next more soulful, but you soon get into the vibe.
Opener When It Stops is proper seventies rock with a tight riff and long guitar solo. King Harvest and The Weight is really Halifax-born musician Ben Adey, and his voice is a little on the light side, but good — in places it reminded us of Martin Grech, the teen prodigy who had a hit with Open Heart Zoo; elsewhere he delivers the falsetto of Justin David Hawkins (Unstuck sounds very Darkness).
This Town is booming seventies southern boogie with a twin guitar sound while Roads is gentle and more melodic.
After we got over the changes in style, the album started to grow; it’s an album to sink into and it reminded us being young and buying albums you’d devour for weeks on end — Adey cites the very albums we did this too in his Press release, Thin Lizzy’s Jailbreak or Zep’s Physical Graffiti. Morning Light has much of the quality of one of Phil Lynott’s more romantic numbers.
The laidback Roads is a standout but the opener is good. Fans of classic seventies rock should check it out. No less a person than Danny Dolan, of The VirginMarys, agrees with us: “Killer tunes, man!” he’s quoted as saying on the PR (though he didn’t know until we told him).