Southern/hard rock from USA, latest full-length album released in 2018.
Southern rockers Black Stone Cherry employ a fiery mix of rootsy hard rock and hard-hitting post-grunge/heavy metal that invokes names like Stone Sour, Theory of a Deadman, Buckcherry, and Shinedown. According to the bandmembers, none of whom were born before 1983, the lack of anything to do in their hometown, coupled with a rich musical background in their community and families, led them to start playing music. Lead vocalist and guitarist Chris Robertson met drummer John Fred Young (the son of Kentucky Headhunters' Richard Young) in school, and the two played music together throughout high school. In June of 2001, Black Stone Cherry officially formed with guitarist Ben Wells and bassist Jon Lawhon. They began holding shows at clubs in the area, and after a short while they gained a large all-ages following.
The band recorded its first album for In de Goot/Roadrunner Records, and after returning from the recording session, Black Stone Cherry held a homecoming concert at the local high school. Their self-titled debut album was released in July of 2006, followed by Folklore and Superstition in 2008. It performed well on the charts, both in America and across Europe. The band's third album, 2011's Between the Devil & the Deep Blue Sea, was recorded in Los Angeles with producer Howard Benson (Daughtry, Three Days Grace). It peaked inside the Top 40 of the album charts in their home country, and hit the top spot in Great Britain. The band toured the globe in support and won fans as far away as Japan.
In 2013, the country duo Florida Georgia Line covered the band's "Stay" and hit the number one spot on the country chart. Later that year, the band re-entered the studio with producer Joe Barresi. In April of 2014, Black Stone Cherry issued a preview single, "Me and Mary Jane," which entered the chart at number 29 before their fourth album, Magic Mountain, was released in May. After American and U.K. tours, the band took a break in early 2015. They played the summer festival circuit and returned to Barrick Recording Studio, where their eponymously titled debut album had been cut. Thank You, Live, a DVD from their Magic Mountain tour, was released in October. In December of 2015, the new single "The Way of the Future" was released, and "In Our Dreams" arrived in January the following year. The self-produced album Kentucky, which Black Stone Cherry called a back-to-the-roots affair, was released in April of 2016. The album placed at number 40 on the Top 200 and peaked at number one on the Hard Rock Albums chart. After a nine-month tour of the U.S. and Europe, Black Stone Cherry jumped right back into the studio. The band selected six of their favorite tunes by Howlin' Wolf, Muddy Waters, Freddie King, and Albert King, reimagined them with the meaty moxie of their own sound, and cut a six-track EP entitled Black to Blues. It was issued in the fall of 2017. In February 2018, the band issued the single "Burnin'" in anticipation of the release of their sixth studio long-player, Family Tree, which arrived later that May.
1. Bad Habit
2. Burnin
3. New Kinda Feelin
4. Carry Me On Down The Road
5. My Last Breath
6. Southern Fried Friday Night
7. Dancin’ In The Rain (featuring Warren Haynes)
8. Ain’t Nobody
9. James Brown
10. You Got The Blues
11. I Need A Woman
12. Get Me Over You
13. Family Tree
Label: Mascot
Kentucky flamethrowers Black Stone Cherry release their sixth full-length collection Family Tree on April 20th through Mascot Records on the Mascot Label Group. I’ve got just two words for ya–brace yourself.
Black Stone Cherry doesn’t just “perform” on this record, they testify. This self-produced wonder will remind anyone of a certain vintage of everything they miss about hard-hitting Southern rock and it’ll make the more fresh-faced listeners among us finally understand what they’ve been missing in today’s metronome EDM and by-the-numbers pop. In a less compartmentalized era, this album might likely turn into a generational touchstone from that “Best Summer Ever” in 2018.
The collection opens with the blistering, “Bad Habit.” Give ‘em the hook with big dual guitars played by Ben Wells and Chris Robertson and a few subtle sonic surprises, then halfway through, yank the whole tempo and groove 90 degrees to the left so that any lightweights who can’t hang, just slide off into oblivion. This short and sweet (only 3:15 min) album opener is swaggering and unapologetic, in all the right ways. Next up “Burnin” also advances the Black Stone Cherry agenda, which is, as always–kick some rock/roll ass.
“New Kinda Feeling” continues with a razor sharp ZZ Top vibe that compliments Robertson’s vocals, which here especially, sound as good as Robert Palmer at his best. The drums and bass of John Fred Young and Jon Lawhon, also rock solid throughout, lock in especially tight on “Carry Me On Down The Road,” which immediately jumps to near the top of any playlist of classic (or classic-to-be) Southern Rock “ramblin’” songs.
Black Stone Cherry widens the sonic pallet on “My Last Breath” while hewing closer and closer to the band’s core truths. Easing into this album standout with naked vocals and ethereal organ tones, this ode to home and family will crack your heart open before they even get to the male/female background call-and-response. Another winner, just waiting to become a classic.
On “Southern Fried Friday Night” some of the band’s modern tendencies and techniques manage to compliment the absolutely classic “let’s raise some hell after a long week” themes on this dialed-in party anthem for the people. Not that they need any help, but next up, Gov’t Mule’s Warren Haynes adds some additional guitar scorch on “Dancing in The Rain.” The fit of Haynes and BSC is that seamless. I didn’t think it was possible, but they find yet more balls-out swagger on “Ain’t Nobody.” At this point in the album, you’ll find yourself thinking, “This isn’t a band, it’s a juggernaut.”
…And then they throw you another couple of curveballs.
“James Brown” is pure swampy funk rock with plenty of good stank on it. From the “oh-hoo” back-up vocals between sections to the searing wah-wah guitar break, you can’t help but shake what God gave ya. I don’t think the Godfather of Soul would disapprove. The funk groove gets harder edged and uncompromising on “You Got The Blues.” As the lyrics say, “The only thing I wanna do is satisfy your soul.” Between those lyrics, the dueling guitars and the brick-cracking beat, all I can say is–mission accomplished.
By the time “I Need a Woman” and “Get Me Over You” unspool in your earbuds, you’re believing every note from the band, every syllable from Chris Robertson, and you’re wondering why you’ve ever let yourself buy a car with fewer than eight cylinders. The breakdown bridge in the middle of “Get Me Over You” gives you the slightest of breathers–your first in several songs–but you better breathe fast because they’re pumped back up to eleven before most bands could find the distortion box again.
The album closer is also the title track. By sticking close to BSC’s deepest themes: home, family and connection, “Family Tree” is the perfect song to send you back into a world that you now know desperately needs more outstanding rock and roll.
It used to be that one of the main perks of being a record reviewer was that you got to keep, a whole lot of great CDs and albums after you reviewed them. But now, in this vaporous world of digital files, we don’t get that little bonus. Most of the time I download an album, listen for a few days or weeks, write the review then just delete the tracks – even for records I like ALOT. When I finish this review, I’ll be dragging “Family Tree” into my “keepers” folder. It is, seriously, that impressive.
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/ XBTT (1) by Dejavu
