Billy F Gibbons – Hardware (Concord Records) [Paul Hutchings]
Solo album number 3 from the bearded legend and once more it oozes class and charm. Whilst the previous two releases, The Big Bad Blues and Perfectamundo contained several cover versions, Hardware features a solitary recreation of the Texas Tornados Hey Baby, Que Paso. Recorded in the desert, where Gibbons holed up for a few weeks with a plethora of A list musicians, the album’s title is a tribute to legendary recording engineer Joe Hardy who worked with Gibbons and ZZ Top in the mid-1980s. All tracks apart from Hey Bay, Que Paso were co-written by Gibbons with drummer Matt Sorum, Mike Fiorentino and Chad Slosser. It may have taken Gibbons until the age of 66 to release the Latin-tinged Pefectamundo, but with ZZ Top’s last album now close to a decade ago, clearly Gibbons has the recording bug. Hardware is sticky, dirty and rocking. The lyrics remain at times as close to the bone as they were on some of those ZZ classics, and you can feel the desert heat permeating through the songs. Most tracks are short, sharp, and full of that bluesy groove, of which Gibbons is genuinely the master.
The Numbers opens the piece on an incredibly strong note. “Is this saddle comfortable? Do these reins feel tight enough? Will you gallop when you’re kicked, or throw the rider off?” runs one line in a motif that compares the public to horses and uses its galloping rhythm and cathartic chorus to summon images of the Black Lives Matter and Extinction Rebellion that has gripped the west in the past year. It’s a fantastic opening number that spares no dynamism in its determination to make an impression on the listener. Not as fast but still as strong I Sudden Urge– beginning on guttural, industrial-tinged riff before spilling over into a fiery chorus, the anthem summons that feeling of grinding your way through life, only to be consumed with rage as the inequalities which make up society are laid bare. This idea of the disenfranchised is the central theme of the album as a whole, and the central concept of the triumphant feeling title track.
Solo album number 3 from the bearded legend and once more it oozes class and charm. Whilst the previous two releases, The Big Bad Blues and Perfectamundo contained several cover versions, Hardware features a solitary recreation of the Texas Tornados Hey Baby, Que Paso. Recorded in the desert, where Gibbons holed up for a few weeks with a plethora of A list musicians, the album’s title is a tribute to legendary recording engineer Joe Hardy who worked with Gibbons and ZZ Top in the mid-1980s. All tracks apart from Hey Bay, Que Paso were co-written by Gibbons with drummer Matt Sorum, Mike Fiorentino and Chad Slosser. It may have taken Gibbons until the age of 66 to release the Latin-tinged Pefectamundo, but with ZZ Top’s last album now close to a decade ago, clearly Gibbons has the recording bug. Hardware is sticky, dirty and rocking. The lyrics remain at times as close to the bone as they were on some of those ZZ classics, and you can feel the desert heat permeating through the songs. Most tracks are short, sharp, and full of that bluesy groove, of which Gibbons is genuinely the master.
From the addictive swing of Shuffle, Step & Slide, which features some delightful picking, to the opening rage of My Lucky Card, this is rockier than Gibbons has been for some time.
He can slow the tempo with ease, and Vagabond Man, with its rich Hammond tones cools the heat, reaches deep to the emotions, a gentle, ambling song that teases out another fantastic solo. The swing of West Coast Junkie ups the pace and groove, whilst Stackin’ Bones sees Larkin Poe join in the fun. Desert High which closes the album perfectly, sees Gibbons narrate over a chilling, spine tingling soundtrack. Hardware sees the Rev Willie G in fine form and clearly enjoying this solo lark. At 71 years of age, the man is speeding up instead of slowing down and if he continues to produce music of such quality, long may it continue, for this is probably his best work so far. 9/10
He can slow the tempo with ease, and Vagabond Man, with its rich Hammond tones cools the heat, reaches deep to the emotions, a gentle, ambling song that teases out another fantastic solo. The swing of West Coast Junkie ups the pace and groove, whilst Stackin’ Bones sees Larkin Poe join in the fun. Desert High which closes the album perfectly, sees Gibbons narrate over a chilling, spine tingling soundtrack. Hardware sees the Rev Willie G in fine form and clearly enjoying this solo lark. At 71 years of age, the man is speeding up instead of slowing down and if he continues to produce music of such quality, long may it continue, for this is probably his best work so far. 9/10
Rise Against – Nowhere Generation (Spinefarm Records) [Alex Swift]
Some acts lose appeal with you over time the more your music taste grows and the more you mature as a person – that’s perfectly natural and not at all to be scared of. I can count plenty that I liked who I either no longer listen to, or still respect while seeing differently. Counter to that, the opposite is true – many types of music would have alienated me as an adolescent, which I now found exciting and relatable. Even some of the pop which I immaturely lambasted as mainstream back in my “rock is the only worthy genre” days finds a new meaning with me today as I re-evaluate what those artists meant to the music scene they helped shape. Through all of this, however, one of the constants in my music taste has been Rise Against.
Some acts lose appeal with you over time the more your music taste grows and the more you mature as a person – that’s perfectly natural and not at all to be scared of. I can count plenty that I liked who I either no longer listen to, or still respect while seeing differently. Counter to that, the opposite is true – many types of music would have alienated me as an adolescent, which I now found exciting and relatable. Even some of the pop which I immaturely lambasted as mainstream back in my “rock is the only worthy genre” days finds a new meaning with me today as I re-evaluate what those artists meant to the music scene they helped shape. Through all of this, however, one of the constants in my music taste has been Rise Against.
I brought Appeal To Reason and Endgame when they came out and you know what? Those albums have lost none of their poignancy, resonance, or power. Even their older records like Siren Song Of The Counter Culture and The Sufferer And The Witness have aged brilliantly in comparison with some of their contemporaries. They're a band from the Bush-era of American post-hardcore whose music is still as commanding today as it was when it first broke onto the scene. That leads me to the third act in the career of Rise Against. For what it’s worth I still hold up The Black Market as a far more intriguing album than many people gave it credit for at the time, and while Wolves wasn’t all that memorable it was still a solid offering. The challenge Rise Against encounter now is not becoming a pastiche of themselves to the extent that their writing is no longer interesting. Thankfully, this is a challenge they surmount on Nowhere Generation– the full-length has a distinctly huge sounding aesthetic, making for a thrilling listen that still has all the hallmarks of an album by Tim Mcilrath and co. but manages to excel despite those familiar elements.
The Numbers opens the piece on an incredibly strong note. “Is this saddle comfortable? Do these reins feel tight enough? Will you gallop when you’re kicked, or throw the rider off?” runs one line in a motif that compares the public to horses and uses its galloping rhythm and cathartic chorus to summon images of the Black Lives Matter and Extinction Rebellion that has gripped the west in the past year. It’s a fantastic opening number that spares no dynamism in its determination to make an impression on the listener. Not as fast but still as strong I Sudden Urge– beginning on guttural, industrial-tinged riff before spilling over into a fiery chorus, the anthem summons that feeling of grinding your way through life, only to be consumed with rage as the inequalities which make up society are laid bare. This idea of the disenfranchised is the central theme of the album as a whole, and the central concept of the triumphant feeling title track.
Musically, the song is triumphant, yet the lyrics paint a different story of generations forced to “climb burning ladders” and having their hometowns sold out from under us. The piece is a brilliant example of the depth of imagery this band employs to make their stories both relatable and empowering. Talking To Ourselves for instance is a great case study in just how well these musicians combine the personal and the political in a way that makes their songs resound with people regardless of their situation in life – a strong reason why, regardless of when you become a fan of Rise Against, they don’t lose their ability to inspire. Equally, lines like “I have seen what you call progress, every warning sign ignored there’s a muffled voice of reason but we can’t make out the words” on the incredible Broken Dreams Inc. could just as easily be sung from the perspective of someone whose city has lost its culture and sense of community, as someone who has lost their job due to cuts. It’s that balance between vague and specific which makes for an explosive listening experience.
Just as intriguing is much of the instrumentation on this album – it’s cutting and impressionistic yet strangely detailed when you scratch beneath the surface. The layers upon layers of guitar interplay between Blair and Mcilrath is frequently rich and vivid, while the rhythm section courtesy of Barnes and Principe accommodates excellently for the altering rhythms and frantic tempo changes. Forfeit brings the instrumentation to the forefront for a sombre and heartfelt ballad, comprised of ethereal harmonies and haunting acoustics. By contrast, Monarch and Sounds Like are visceral pieces composed of layers of noise and distortion. Both lament words without actions, so the chaos of the compositions fused with the fuzz and rawer of the instrumentation excellently convey that message of the only result of “empty words” being more grief and turmoil. On a more melodic note, Sooner Or Later exudes an apocalyptic sense of urgency, the chorus being one of the most arresting on the entire record, and the scream of “Our precious time is running out!” striking that galvanising terror into the heart and mind of the listener.
Just as intriguing is much of the instrumentation on this album – it’s cutting and impressionistic yet strangely detailed when you scratch beneath the surface. The layers upon layers of guitar interplay between Blair and Mcilrath is frequently rich and vivid, while the rhythm section courtesy of Barnes and Principe accommodates excellently for the altering rhythms and frantic tempo changes. Forfeit brings the instrumentation to the forefront for a sombre and heartfelt ballad, comprised of ethereal harmonies and haunting acoustics. By contrast, Monarch and Sounds Like are visceral pieces composed of layers of noise and distortion. Both lament words without actions, so the chaos of the compositions fused with the fuzz and rawer of the instrumentation excellently convey that message of the only result of “empty words” being more grief and turmoil. On a more melodic note, Sooner Or Later exudes an apocalyptic sense of urgency, the chorus being one of the most arresting on the entire record, and the scream of “Our precious time is running out!” striking that galvanising terror into the heart and mind of the listener.
Middle Of A Dream sees the band once more bringing that sense of grandiosity that defined their mid-era output. Carefully penned, the piece explores being caught between the politics and the personal, being a spokesman and a father, taking the listener into the depths of anxiety that comes from that division through the swirling crescendoing and gigantic sound palate of the track. This is made yet more exciting through the addition of the closer – Rules Of Play see our narrator stepping back from the role of instigator into a far more vulnerable position, which is fraught with a passion and a willingness to do right in the world, yet also an admittance that he does not know how to personally achieve any of the changes he commands his audience to stand up for.
It’s an admittance that the issues which plague the Nowhere Generation– anxiety, personal crises, environmental destruction – are all worries that the musicians in Rise Against are pray to. In that sense, the line ‘we are the nowhere generation’ makes more sense. It’s a cry not just for the young to take up arms but demand for togetherness in that face of seemingly insurmountable challenges. In that sense, through a delicate balance of bittersweet songwriting, intricate musicianship and astute storytelling, Rise Against have crafted another excellent record, which addresses the challenges of the post-Covid world, while also being brave enough to grasp a sense of fallibility in the face of them. 9/10
Charlie Benante – Silver Linings (Proper Music) [Paul Hutchings]
If you’ve followed the Anthrax drummer during the past 15 months or so, you’ll have seen him spend much of the pandemic collaborating virtually with fellow musicians from the world of rock and metal to provide some stellar cover versions of tracks both obscure and old favourites on his ‘Quarantine Jam Sessions’. It seemed obvious that an album could be the result of these endeavours and Silver Linings is exactly that. Benante is at pains to point out that this isn’t a solo album. "This is a record of my favourite songs done with some of my friends during a very dark time. We found a shining light, and this is the result of that light. I was really happy that my musician friends came on board and helped make this record what it is. I appreciate all of them, and they all did such a fantastic job. Despite all of the darkness we've experienced this past year, there are 'silver linings,' that's why I chose that title for the album."
Quinn Sullivan – Wide Awake (Provogue Records) [Alex Swift]
For an artist whose solo music has gone fairly overlooked, Quinn Sullivan made his career from being in the public eye – in his home country of America mainly. He appeared on several talk shows from the age of six, released his first album at 12, and has performed with artists like Buddy Keeping and B.B King. In line with those influences, his music is deeply blues and country-inspired. Listening through his past few releases, they mainly demonstrated his impressive skill as a guitarist – interestingly though, Wide Awake takes a different approach. Touches from his stylistic idols are still all over this project, but there’s an evident development in songwriting at the heart of the record which makes for a more gratifying and emotional experience overall. I think the best way to think of this piece is that if albums one to three were Sullivan the child-star turned musician, this one sees him honing his craft and carving out a place for himself as a serious artist. The result is a pleasurable and considered anthem.
“I’m not the man I was yesterday” our frontman sings against a background of gentle guitar musings – the opener soon breaks into a joyous chorus which proves heartfelt not joyous. Notably, while the guitar work is detailed and intriguing, it’s not as much of a focus as summoning a feel and using the instrument to aid in conveying that. In many ways, Quinn Sullivan has learned to play the song and not the instrument. Take She’s So Irresistible where the rhythm section drives the song, aiding in creating that strutting feel so that when the song does explode into a guitar solo it's impressive and not simply a feature of the album. How Many Tears? Is an excellent show of sentimentality the notes rising like wind and falling like rain in time with the romantic lamentations in the lyricism. At the same time, horns and keys help in fostering that outpouring of sympathy to the person being addressed in the song.
On a different note, In A World Without You commands with a danceable sense of tension, proving perhaps more dramatic and chorus-driven than anything Sullivan has yet written. I adore the frenetic percussive elements on this track and the way the melodic elements combine to create a funky and exciting aesthetic. She’s Gone (She Ain't Coming Back) takes the diversification even further through the addition of subtle electronics and acoustics, creating a graceful yet sombre feel. These may not be the absolute limits of blues-rock yet they show signs of a maturing artist harnessing an ability to make their audience feel. I should point out at this stage that for all of the progression on Wide Awake if you are just not a fan of this yearning, sanguine style of blues, you will likely not enjoy this record very much. Speaking as someone who tends to be quite forgiving of melodrama though, I found this to be quite an interesting listening experience. I will admit that some moments do tend to become derivative – mid-album cuts Baby Please, Real Thing and You’re The One are egregious examples of Quinn unsuccessfully trying to apply a formulaic framework to his already polished music.
That said, for the most part, while you can attribute the sound of this album to certain musical movements or artists, these songs are undoubtedly coming out of the mouth of someone passionate about the style, having devoted his entire life to learning how to play in such an accurate way. The title track for instance might not seem like anything special or unique but exudes a certain charm since it’s a great homage to the classics, albeit one with a modern flair, courtesy of the crisp and precise production. That said, if you need an example of this musician coming into their look at Strawberry Rain - I love the layered instrumentals of this track, as well as the way the swaggering verses build into a blissful pre-chorus, anticipating the exuberant hook which explodes in a myriad of texture and colour.
It’s an admittance that the issues which plague the Nowhere Generation– anxiety, personal crises, environmental destruction – are all worries that the musicians in Rise Against are pray to. In that sense, the line ‘we are the nowhere generation’ makes more sense. It’s a cry not just for the young to take up arms but demand for togetherness in that face of seemingly insurmountable challenges. In that sense, through a delicate balance of bittersweet songwriting, intricate musicianship and astute storytelling, Rise Against have crafted another excellent record, which addresses the challenges of the post-Covid world, while also being brave enough to grasp a sense of fallibility in the face of them. 9/10
Charlie Benante – Silver Linings (Proper Music) [Paul Hutchings]
If you’ve followed the Anthrax drummer during the past 15 months or so, you’ll have seen him spend much of the pandemic collaborating virtually with fellow musicians from the world of rock and metal to provide some stellar cover versions of tracks both obscure and old favourites on his ‘Quarantine Jam Sessions’. It seemed obvious that an album could be the result of these endeavours and Silver Linings is exactly that. Benante is at pains to point out that this isn’t a solo album. "This is a record of my favourite songs done with some of my friends during a very dark time. We found a shining light, and this is the result of that light. I was really happy that my musician friends came on board and helped make this record what it is. I appreciate all of them, and they all did such a fantastic job. Despite all of the darkness we've experienced this past year, there are 'silver linings,' that's why I chose that title for the album."
The track listing is eclectic to say the least, and metal fans could be disappointed that the heavy versions on Silver Linings are kept to a minimum. There’s even a cover of Billie Eilish's Bad Guy! But what it does show is that Benante is a music connoisseur. The list of stars who join Benante on this album is impressive, ranging from Death Angel’s Mark Osegueda who does a fine job on opener City Of Blinding Lights (U2) and Mother Love Bone’s Chloe Dancer/Crown Of Thorns, Testament’s Alex Skolnick, band mates Frank Bello and Jon Donais, former bandmate Rob Caggiano and Benante’s partner Carla Harvey of the Butcher Babes. There are plenty more, just Google or buy the album.
As well as drums, those who followed Anthrax in the 1990s will know that Benante is a mean guitarist and he takes the lead on a couple of songs, purely because he can. The attempt at Massive Attack’s beautiful Teardrop features Harvey, who does a sterling job replicating Elizabeth Fraser’s perfect delivery from 1998’s Mezzanine, is respectful and features Suicidal Tendencies Ra Diaz, who joins on several songs, including the Run DMC Medley. Clearly you can’t ignore the past.
As well as drums, those who followed Anthrax in the 1990s will know that Benante is a mean guitarist and he takes the lead on a couple of songs, purely because he can. The attempt at Massive Attack’s beautiful Teardrop features Harvey, who does a sterling job replicating Elizabeth Fraser’s perfect delivery from 1998’s Mezzanine, is respectful and features Suicidal Tendencies Ra Diaz, who joins on several songs, including the Run DMC Medley. Clearly you can’t ignore the past.
The delicate and faithful reproduction of Fleetwood Mac’s Rhiannon sees Trans-Siberian Orchestra’s Jennifer Calla deliver the Stevie Nicks role, whilst NWOBHM fans will enjoy the rip-roaring delivery of Maiden’s Transylvania, which features David ‘Snake’ Sabo, Bello and Donais jamming along. Two rare cuts from KISS are amongst the standout tracks, with Mr Speed and All The Way great choices from the albums Rock N Roll Over and Hotter Than Hell respectively. Certainly, better than Love Gun or Lick It Up. Whilst it may be outside the remit of those diehard thrashers who still wear cut-offs and hi-tops, Silver Linings is a refreshing and enjoyable listen and well worth an hour of your time. 8/10
Quinn Sullivan – Wide Awake (Provogue Records) [Alex Swift]
For an artist whose solo music has gone fairly overlooked, Quinn Sullivan made his career from being in the public eye – in his home country of America mainly. He appeared on several talk shows from the age of six, released his first album at 12, and has performed with artists like Buddy Keeping and B.B King. In line with those influences, his music is deeply blues and country-inspired. Listening through his past few releases, they mainly demonstrated his impressive skill as a guitarist – interestingly though, Wide Awake takes a different approach. Touches from his stylistic idols are still all over this project, but there’s an evident development in songwriting at the heart of the record which makes for a more gratifying and emotional experience overall. I think the best way to think of this piece is that if albums one to three were Sullivan the child-star turned musician, this one sees him honing his craft and carving out a place for himself as a serious artist. The result is a pleasurable and considered anthem.
“I’m not the man I was yesterday” our frontman sings against a background of gentle guitar musings – the opener soon breaks into a joyous chorus which proves heartfelt not joyous. Notably, while the guitar work is detailed and intriguing, it’s not as much of a focus as summoning a feel and using the instrument to aid in conveying that. In many ways, Quinn Sullivan has learned to play the song and not the instrument. Take She’s So Irresistible where the rhythm section drives the song, aiding in creating that strutting feel so that when the song does explode into a guitar solo it's impressive and not simply a feature of the album. How Many Tears? Is an excellent show of sentimentality the notes rising like wind and falling like rain in time with the romantic lamentations in the lyricism. At the same time, horns and keys help in fostering that outpouring of sympathy to the person being addressed in the song.
On a different note, In A World Without You commands with a danceable sense of tension, proving perhaps more dramatic and chorus-driven than anything Sullivan has yet written. I adore the frenetic percussive elements on this track and the way the melodic elements combine to create a funky and exciting aesthetic. She’s Gone (She Ain't Coming Back) takes the diversification even further through the addition of subtle electronics and acoustics, creating a graceful yet sombre feel. These may not be the absolute limits of blues-rock yet they show signs of a maturing artist harnessing an ability to make their audience feel. I should point out at this stage that for all of the progression on Wide Awake if you are just not a fan of this yearning, sanguine style of blues, you will likely not enjoy this record very much. Speaking as someone who tends to be quite forgiving of melodrama though, I found this to be quite an interesting listening experience. I will admit that some moments do tend to become derivative – mid-album cuts Baby Please, Real Thing and You’re The One are egregious examples of Quinn unsuccessfully trying to apply a formulaic framework to his already polished music.
That said, for the most part, while you can attribute the sound of this album to certain musical movements or artists, these songs are undoubtedly coming out of the mouth of someone passionate about the style, having devoted his entire life to learning how to play in such an accurate way. The title track for instance might not seem like anything special or unique but exudes a certain charm since it’s a great homage to the classics, albeit one with a modern flair, courtesy of the crisp and precise production. That said, if you need an example of this musician coming into their look at Strawberry Rain - I love the layered instrumentals of this track, as well as the way the swaggering verses build into a blissful pre-chorus, anticipating the exuberant hook which explodes in a myriad of texture and colour.
By contrast, Jessica proves a gorgeous and sweet acoustic ballad - this piece is not only musically poignant in being a humble, scaled-back moment that stands on its own merits, but is lyrically reassuring to anyone who’s ever had any doubts about their appearance or ability. Given that this brings the album to such an expressive high point, the closer, Keep Up, rightfully feels like a solemn and thoughtful refrain. It’s a reflection, of sorts, on having expectations placed on you and constantly needing to be ‘awake’ to everything around you. Although this might be a song that Quinn Sullivan wrote at least partly for himself, it’s a message we can all relate to in a way. That’s what makes this album a marked improvement in his discography – it’s intensely personal, yet looks beyond itself to see how it can be relatable and memorable to a wider audience. Not everything here is successful in doing that but it’s certainly a noble effort. 7/10