The Mayfield Four
Fallout

The Mayfield Four were an interesting rock band formed in Spokane, Washington, in 1996.

On vocals debuted a young Myles Kennedy, whom many of you know today as the singer of Alter Bridge (formerly Creed) after Scott Stapp’s departure (who frankly was quite a pain as well as an exceptionally flashy character... And whose only good deed was 'My Own Prison,' posing as Eddie Vedder and sparking claims of vocal plagiarism, but they caught you, didn't they, Scott!?).

The good Myles was accompanied on guitar by Craig Johnson, with a rhythm section handled by Zia Uddin, an excellent drummer, and Marty Meisner on bass. The four served up a Live EP (Motion) in 1997, this excellent 'Fallout' (1998), and it seemed that things were looking up for Myles and company, but after the second and disappointing 'Second Skin' (2001), the circus folded, and the four found themselves on their own.

Kennedy got lucky because Stapp was fired by his friends, and he took a stable position, thanks to having opened for Creed on the 'Fallout' tour, and the three remembered this charming and slender voice that contributed to what I believe to be the best album by Creed (That is, Alter Bridge’s...); the other musicians also found, for better or worse, a place for themselves (International Heroes, Annie O'Neil, Jim Boyd Band). Noteworthy is the presence in the band of Alessandro Cortini on guitar during the Second Skin period, who, after the band split, went on to lend his services to the Nine Inch Nails.

This, in every respect, remains the best album produced by the four from Spokane, with rock fusillades, melodic pieces, tempo changes, intelligent guitar work, open chords, muted strumming, arpeggios, a few but decent solos, a very good rhythm section, and especially excellent work by Uddin who caresses, brushes, and strikes the skins appropriately depending on the flow of the piece. Let’s be honest, Kennedy is a megalomaniac who wants to stand out, (and heck, with such a voice..) everything is built around his voice that can recall different ones, depending on the song he interprets; although, in this album, the ghost of Jeff Buckley appears several times, especially in the splendid "12/31," with a crescendo that recalls Jeff's compositions and highlights all of Myles's vocal properties.

Worth mentioning at the opening is the beautiful "Shuddershell," which, from the first subdued notes combined with the singing, for a moment reminds me of Keenan and his A Perfect Circle, only to forget them immediately when the piece takes off with a measured, powerful drum, aptly followed by the bass, with open guitar rhythms and Kennedy delivering an outstanding performance. The pace picks up with "Suckerpunch," but the rhythm is cleverly halted halfway through the song only to go full throttle a moment later. After a big ballad "Forfeit," composed for our Myles and his voice, the tempo picks up again with the lovely "Always," released as a single, where bass and drums hammer out nicely, the guitar outlines excellent patterns, and the tempo frequently changes, as does the voice that bursts in full extension at the end. Perhaps the best of the entire work.

Also very valid is the piece that gives the album its name, "Fallout," where Uddin proves to be truly a drummer of note with excellent tom passages, and equally does an excellent job with the hi-hat, bass drum, and snare in "Realign" in which the guitar also offers very interesting riffs. The second single released from the album, "Don't Walk Away," is a ballad where Kennedy's abilities stand out more than anyone else's and here Jeff's spirit peeks out once again... Worthy of note and praise is the final track "Inner City Blues (Make Me Wanna Holler)" in which the four showcase, in my opinion, all the talent they possess, and Kennedy truly reaches monstrous levels.

Excellent album for a band that unfortunately did not have much luck, although the musicians' technique is truly remarkable. If you happen to spot it, surely dusty and at a bargain price, among the shelves of any record store, give it a chance.