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Rating: The robust sound is the first thing that the Californian quintet highlights, starting with "Self Made Man", an arpeggio à la Led Zeppelin at the opening, then moving to a more straightforward hard rock just as the dirigible loved to do. Ethan, the author of all the lyrics, immediately shouts how we should behave: you have to make it on your own! Like him, who, transitioning from experimenting with Comets On Fire, arrives at the more passionate and "simple" seventies rock. The chorus works (first hint from the production), then transitions to a very delicate almost funky bridge, certainly captivating, before starting again. Built on this play, the song continues, becoming an "Overture" for the rest of the album.
"Phantom In The Valley" continues the homage to the seventies, now walking on the edge of the abyss, always very seductive the bearded singer, with an increasingly roaring accompaniment, even a vintage Hammond comes into play (John Lord is enjoying this ride from above as only he knew how to do) to accompany us to Carlos Santana's court. A tempo change and the piece seems played by mariachi with a trumpet solo finale.
At the fair of memories, the Stax with all its rhythm'n'blues baggage could not be missing. "Can't Satisfy Me Now" in six minutes condenses all the Memphis sound, now the plan is to relax. Again, the production makes its mark, enriching the structure, while Ethan tries to let go with so much passion worthy of the late Otis Redding. Out of the usual patterns, then, a wonderful solo at the end!
"Cherokee Werewolf" starts very sad with these guitar scratches, but the despair of humanity lost for this werewolf, flooded by the sweetness of the melody, contrasts with the search for redemption, and love is eventually found, only to be devoured by worms. Ironic, isn't it?
"Strange Thunder" deceives you: almost a prayer, the longest track on the album transforms into another ride that nails you. Very unplugged at the beginning, very progressive at the end. Not a great track, perhaps a bit stretched, but live will make a memorable impression.
A little teaser "Plex Reception" introduces another gem of the album: "Dark Side". Here, the shadow of the Stax peeks out again, along with Green (or Rubin), with delicious phrases between guitar and organ, very accurate changes, and the solos always introduce heartfelt singing, and of remarkable talent, I might add. Here too, a final tempo change but now they sound like the early E-Street Band, with a different frontman, of course, but equally fun.
"Beneath Wild Wing" shifts the atmosphere, bringing us closer to the Velvet Underground, with that carefree air typical of a "Sunday Morning".
"Collage", cover of the James Gang, written by Patrick Cullie and Joe Walsh. Very similar to the original, it further clarifies the influences of Howlin Rain, an example of their musical roots.
We arrive at the "ending credits": "Walking Through Stone" closes the circle with "Self Made Man", again the Led Zeppelin structure but with all the melodic rhythm'n'blues embroidery.
Actually, there is still a piece on the CD "...Still Walking, Still Stone". A strange piece, the only instrumental, more jazz: constantly off-beat drums, syncopated passages, more prominent organ conversing with an acid guitar. Then the title's callback to the previous track creates the right tail for the entire album.
In conclusion, I am very attracted to this album. I continue to play it for friends to see if it is genuinely good or if it simply touches all the right chords of my tastes. Rick Rubin's role should not be underestimated, but even listening to previous works, Howlin Rain or simply their leader have talent and that raw air, to be considered honest rock workers.
Tracklist
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