Robert Jon & The Wreck – Red Moon Rising
California southern roots and roll rockers Robert Jon & The Wreck have already established themselves as both a great live act and purveyors of some very good studio albums (recent offerings Shine a Light On Me Brother and Ride Into The Light are two such cases in point).
But Red Moon Rising, released via Joe Bonamassa’s Journeyman Records and produced by Kevin Shirley, is a step up again, to the degree that it sounds like the next chapter in the rootsy rise to fame of Robert Jon Burrison (lead vocals, guitar) & The Wreck, who comprise the talents of Andrew Espantman (drums, backing vocals), Henry James Schneekluth (lead guitar, backing vocals), Warren Murrel (bass) and Jake Abernathie (keys).
Opener 'Stone Cold Killer' is a likeable, hooky slice of bluesy rock with a call and response chorus that will assuredly be a crowd pleaser.
In terms of southern roots 'n' roll it’s nothing you haven’t heard before, but with the inclusion of some piano and slide guitar soloing this sounds like the Stones meeting The Faces at their shambolic best.
The mid-tempo 'Trouble' carries a swaggering, funkier edge, and a good sense of dynamics.
There’s a dose of Southern rawk in the guitar solo, while the interjected twin-guitar parts, along with the use of Hammond, further increase the southern blues nostalgic feel.
'Ballad of a Broken Hearted Man' has the shadow of both Skynyrd and even Bon Jovi (in Cowboy/ western mode) hanging over it.
However, it is extremely well delivered and features another strong chorus. A great vocal from Robert Jon, more Hammond and piano, and judicious use of slide guitar (which comes to the fore on the solo) ensures that fans of the southern ballad will lap this up – with no small justification.
The title track (the beliefs and myths surrounding a red moon symbolize rebirth and change, which reflects "the next chapter" comment earlier) is a catchy funk-blues with a musical accompaniment that is inventive and complementary to an insistent melody in the verse (which fits the mood of the song perfectly).
The spacy chorus and instrumental section elevates the number even further, and shows some real imagination (a word here too for Kevin Shirley's production, which is shown in its best light in this song).
But Red Moon Rising, released via Joe Bonamassa’s Journeyman Records and produced by Kevin Shirley, is a step up again, to the degree that it sounds like the next chapter in the rootsy rise to fame of Robert Jon Burrison (lead vocals, guitar) & The Wreck, who comprise the talents of Andrew Espantman (drums, backing vocals), Henry James Schneekluth (lead guitar, backing vocals), Warren Murrel (bass) and Jake Abernathie (keys).
Opener 'Stone Cold Killer' is a likeable, hooky slice of bluesy rock with a call and response chorus that will assuredly be a crowd pleaser.
In terms of southern roots 'n' roll it’s nothing you haven’t heard before, but with the inclusion of some piano and slide guitar soloing this sounds like the Stones meeting The Faces at their shambolic best.
The mid-tempo 'Trouble' carries a swaggering, funkier edge, and a good sense of dynamics.
There’s a dose of Southern rawk in the guitar solo, while the interjected twin-guitar parts, along with the use of Hammond, further increase the southern blues nostalgic feel.
'Ballad of a Broken Hearted Man' has the shadow of both Skynyrd and even Bon Jovi (in Cowboy/ western mode) hanging over it.
However, it is extremely well delivered and features another strong chorus. A great vocal from Robert Jon, more Hammond and piano, and judicious use of slide guitar (which comes to the fore on the solo) ensures that fans of the southern ballad will lap this up – with no small justification.
The title track (the beliefs and myths surrounding a red moon symbolize rebirth and change, which reflects "the next chapter" comment earlier) is a catchy funk-blues with a musical accompaniment that is inventive and complementary to an insistent melody in the verse (which fits the mood of the song perfectly).
The spacy chorus and instrumental section elevates the number even further, and shows some real imagination (a word here too for Kevin Shirley's production, which is shown in its best light in this song).
'Dragging Me Down' plays on a combination of muscular riffing and the use of more dynamics.
More unison riffing again demonstrates this band is as tight as the proverbial, while the guitar solo employs a Univibe, adding a Hendrix influence to the mix. Great stuff.
'Hold On' is a straight-ahead, mid-tempo southern rocker delivered with passion and sporting yet another strong chorus (a RJ&TW trait); that it’s topped off by a great guitar solo makes it yet another winner.
'Down No More' is, by contrast, a jaunty, up-tempo major key number that betrays a country rock/ AOR Americana influence, thus tapping in to a genre that is currently very popular.
The piano-driven 'Help Yourself' is even more countrified, here with a Black Crowes/ Stones/ Faces/ Humble Pie vibe (the band revel in this looser feel).
The downtempo and acoustic guitar led 'Worried Mind,' featuring a high quality middle 8, provides even further track by track variety (many bands could learn from this album in terms of sequencing); the restrained playing of the band also show that they have a strong sense of "less is more."
Closing number 'Give Love' reintroduces the funk vibe but with a very laid back, spacey feel (more great production techniques allies with a great band performance).
Another superior guitar solo, segueing into a twin guitar part, remind you that The Allman Brothers are also an influence, while the multi-layered vocal outro is another highlight.
As a ten track album (Digital and Vinyl) Red Moon Rising stands strong, but the two bonus tracks on the CD edition are more than worthy of inclusion.
'Rager' sees the band rocking out with an insistent heavy riff which gives way to funky verses and spacey choruses. Another top notch guitar solo, and more Hammond, means there is the ghost of early Deep Purple in the mix as well.
'Hate to See You Go' wears that Allman Brothers influence proudly on its sleeve, but with the employed piano and guitar interjections there is a British influence (Free) as well.
Robert Jon & The Wreck are a band with many influences (a number of which are cited in this review), but the sum of all the parts is exceptionally pleasing and highly effective.
More importantly, Red Moon Rising is not just the best album the band have yet delivered, it’s a contender for (roots) rock album of the year.
Nelson McFarlane
FabricationsHQ
More unison riffing again demonstrates this band is as tight as the proverbial, while the guitar solo employs a Univibe, adding a Hendrix influence to the mix. Great stuff.
'Hold On' is a straight-ahead, mid-tempo southern rocker delivered with passion and sporting yet another strong chorus (a RJ&TW trait); that it’s topped off by a great guitar solo makes it yet another winner.
'Down No More' is, by contrast, a jaunty, up-tempo major key number that betrays a country rock/ AOR Americana influence, thus tapping in to a genre that is currently very popular.
The piano-driven 'Help Yourself' is even more countrified, here with a Black Crowes/ Stones/ Faces/ Humble Pie vibe (the band revel in this looser feel).
The downtempo and acoustic guitar led 'Worried Mind,' featuring a high quality middle 8, provides even further track by track variety (many bands could learn from this album in terms of sequencing); the restrained playing of the band also show that they have a strong sense of "less is more."
Closing number 'Give Love' reintroduces the funk vibe but with a very laid back, spacey feel (more great production techniques allies with a great band performance).
Another superior guitar solo, segueing into a twin guitar part, remind you that The Allman Brothers are also an influence, while the multi-layered vocal outro is another highlight.
As a ten track album (Digital and Vinyl) Red Moon Rising stands strong, but the two bonus tracks on the CD edition are more than worthy of inclusion.
'Rager' sees the band rocking out with an insistent heavy riff which gives way to funky verses and spacey choruses. Another top notch guitar solo, and more Hammond, means there is the ghost of early Deep Purple in the mix as well.
'Hate to See You Go' wears that Allman Brothers influence proudly on its sleeve, but with the employed piano and guitar interjections there is a British influence (Free) as well.
Robert Jon & The Wreck are a band with many influences (a number of which are cited in this review), but the sum of all the parts is exceptionally pleasing and highly effective.
More importantly, Red Moon Rising is not just the best album the band have yet delivered, it’s a contender for (roots) rock album of the year.
Nelson McFarlane
FabricationsHQ