Joe Bonamassa – Time Clocks (Provogue/J&R Adventures)
The hardest working man in music returns with another album, his 16th offering sees him yet again adapt like the musical chameleon he is. Whereas his 2020 release Royal Tea was very much inspired by the British Blues Explosion, Time Clocks is Bonamassa writing with no boundaries, drawing from years of experience and perseverance to the blues rock cause to make his most mature and cinematic album yet. Once again produced by Kevin Shirley, this time the album was mixed by Bob Clearmountain for a fluidity to the record, allowing each track to transition into the other seamlessly as if describing the passing of time or our journey through life.
This is reflected in the lyrical content, the album opening up with the driving Notches, the chorus declaring numerous times that Joe has “miles under my wheels, notches in my walking cane”, this been there done that, would do it all again attitude is present across the entire album as the tracks move between classic blues, arena ready rockers as well as adding soul, gospel, folk and anything else they can get in there. There’s a sense of occasion to this record, it’s an album with a scope that suits the man who is probably the biggest blues rock artist in the world, consistently creating not just for himself but as a producer/writer and more recently label owner.
Locked down in New York, he rediscovered that vitality and hunger that powered one of his early game changing albums Blues Deluxe which was recorded in New York while he was still in the struggling artist phase of his career. So now 20 years later Time Clocks is him reflecting on those intervening years and again taking inspiration from the city to make his ‘New York Record’. Joey Bones is at his best when he’s slinging one of the guitars taken from his extensive collection and howling at the moon with that distinctive vocal style. Notches is belting opener for this record, full of Zeppelin-isms but with a traditional blues heart. Curtain Call has this kind of rock monster sound favoured by Zeppelin, Purple et al. Notches is followed by the strutting groove of The Heart That Never Waits, giving you the other side of Bonamassa’s psych as rock god gives way to bluesman. This track also has those brilliant soulful backing vocals from Mahalia Barnes, Juanita Tippins, and Prinnie Stevens, as we get in the pocket laid down by bassist Steve Mackey and long time collaborator Anton Fig on drums.
Coming from that ‘New York Record’ influence we are taken into the incredible title track which could have been ripped from a Broadway cast recording, it would especially powerful in Dolby Atmos, the format which this album was mixed for. Along with Fig and Mackey, the record also features Lachy Doley on piano/organs, who ramps up those Hammond for the ballad stirring elemental Mind’s Eye. Bobby Summerfield takes the percussion on the funky Hanging On A Loser and Bunna Lawrie who adds that most rock n roll of instruments the didgeridoo. Time Clocks is Bonamassa showing that he won’t be relinquishing that blues rock titan moniker any time soon, expressive, poignant and driven by his passion for creating music, this is the voice (and guitar) of experience shining through. 9/10
Lucifer – IV (Century Media)On their fourth full length album, Stockholm-based occult proto-metal masters, leave no doubt in your mind where their allegiances lay. The album cover depicts frontwoman Johanna tied to a cross in a crucifixion scene with dark red light engulfing this image that may raise a few eyebrows in the Catholic Church. But then when the band name is Lucifer, this sort of blasphemy should be expected, as you’d guess, or would know had you heard albums I-III. Lucifer play the devil’s music, occult tinged 70’s proto-metal stemming from Black Sabbath, Pentagram and Blue Oyster Cult, just listen for those Buck Dharmaisms on Crucifix (I Burn For You).
Sammy Berell – Beyond The Veil (Dark Force Records)
Before we start I have to say that I understand when a newer/unknown artist is trying to break through, I try not to be too critical but believe me when I say that Beyond The Veil is probably one of the worst recorded albums I’ve heard this year. The production and mix is attempting to be ‘retro’ sounding like those Malmsteen records in the 80’s but it comes off as a little insipid and at times almost like the record is warped. A shame as Swedish guitarist Sammy Berell is obviously obsessed with playing the guitar and creating neo-classical music like his classical heroes such as Bach along with artists such as fellow countryman Yngwie.