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MOTHER ROAD is the brainchild of Austin, TX (USA) based rock singer Keith Slack and Berlin (Germany) based guitarist Chris Lyne. Named after The Mother Road , another name for the US' legendary, historic Route 66 highway, this international Hard Blues Rock band is impressively transferring the vintage sounds and the trademarks of this genre into the new decade. Founded in 2011 and based on mutual musical influences, Slack & Lyne promptly felt the chemistry between them was right and the song-writing process soon accelerated. In the meantime, the line-up was completed with keyboard player Alessandro DelVecchio, drummer Zacky Tsoukas and bassist Frank Binke. Guitarist Chris Lyne is well known for his astonishing work with his previous group Soul Doctor. His main influences include some of the greatest British guitar players such as Gary Moore, Jimmy Page, Paul Kossoff and John Sykes. American singer Keith Slack acted as frontman of the bands Steelhouse Lane and Michael Schenker Group (MSG), and also his own blues-influenced Hard Rock band Mudpie. Slack s influences include a whole variety of styles and music from bands including Paul Rodgers, Led Zeppelin, The Black Crowes, King s X and The Cult.
Kaufempfehlung für Freunde von (ich sag's nicht gerne, weil's fast abgedroschen klingt) Deep Purple, noch typischer Whitesnake oder Demons's Eye bzw. Voodoo Circle.
Gerne mehr davon.
Natürlich ist das alles retro, und es gibt eine ganze Welle der Classic-Rock-Verehrer. Mother Road gehören aber definitiv zu den besseren Vertretern dieses Genres. Wer mit solcher Leidenschaft den blues-angehauchten Hardrock zelebriert, den kann man als Fan solcher Musik nicht schlecht finden. Die bluesigen Whitesnake leben, nur heißen sie heute Voodoo Circle oder Mother Road.
You know how you'll think of an old song or hear it on the radio out of the blue, and it just has that special something that has lasted the test of time and still gives you goosebumps? The songs on DRIVE are so good—musically, lyrically, and in their delivery—that they come off like instant classics. They'll remind you at times of some of your favorite bands, singers, and songs, but as soon as you think you've nailed which one, they switch it up. Their performance is authentic, though, and the more I listened, I felt that the songs were simply and honestly the result of playing what naturally came out. I believe that DRIVE is an album that can stand alongside the classics in its own merit. The whole album, while evoking an era past, has such a fresh and lively feel to it. The production and mix, which they handled themselves, are very well done—I couldn't pick out anything that I would personally change.
Chris Lyne (SOUL DOCTOR, HEARTLYNE, LIZZY RELOADED) has the sort of electrifying sparkle in his playing and his tone that I've always loved about guys like Gary Moore, Ronnie Montrose, John Sykes, and the list goes on. He is the sole guitarist in the band, and he rises to the challenge. But he makes it seem effortless; to me it sounds like he is just reveling in the joy of playing with such emotion, attitude, and versatility. (I'm going to have to check out all of his other stuff now...!)
Keith Slack (MUDPIE, MSG, STEELHOUSE LANE) has, in my opinion, the quintessential golden voice of true Rock & Roll today. I've read that he started out in music playing the drums. Well, whoever talked the man into picking up a microphone should be commended. His voice, smoky, soulful and powerful, is smooth deep in the low ranges and had just the right amount of growl and rasp when he gets up there in the scale. The man sounds so much like classic David Coverdale at times, he's liable to find Tawny Kitaen slithering across the hood of his car! And I would not be surprised.
It sounds like the spirit of Jon Lord has graced Alessandro Del Vecchio (EDGE OF FOREVER, EDEN'S CURSE, HARDLINE, SILENT FORCE), who seems to channel him easily at times. Alessandro's work in the aforementioned bands is impressive, but I don't think we'd heard the best of him until now. I dare you to listen to him play that B3 like a boss or tickle the ivories with a Calloway flair and not get goosebumps. This is what's been missing in great rock music for a long, long time.
Any time I've seen Zacky Tsoukas (SOUL DOCTOR, ERRORHEAD) play is every bit as fascinating as listening to him. He's all over that set of drums with a wonderfully energetic skill, style, and precision, dazzling the casual fans and the impressionable hopefuls. Guys like Ian Paice and John Bonham were some of his favorites growing up, and I've no doubt he could hold his own with them.
Frank Binke (KINGDOM COME, SOUL DOCTOR) has a warm, smooth, vintage sound with some funky rock grooves, perfectly holding down the bottom end with finesse. His bass playing is the perfect complement to his bandmates and the music they've created.
Already in the brief time I've written for Metal Shock Finland, it seems I've developed a little habit of sounding like that old commercial: “If you like that, you'll LOVE this!” If I'm introducing a new band that you might not have yet heard, though, I want to entice you to give them a listen too. Being an audiophile, this is the simplest way for me to do so. Sometimes the comparisons are inevitable—and that's not at all intended as a bad thing. I mean it as the highest compliment, because if a band can get me this excited about music now, I can hardly wait to hear what they will put together in the future. This assembly of talented musicians really hit the mother lode with MOTHER ROAD, for here is where the radiance of their individual and collective artistry really shows.
“The Sun Shines Again” begins with some real knockout acoustic guitar, and I think my ears are tricking me. Did somebody discover some old lost tapes of Led Zeppelin recordings never before released? Not sure—the production is too crisp and clear on this. Before I can really figure it out though, the song powerfully kicks in and Plant (Slack) suddenly morphs into some kind of Gillan-Coverdale rock beast, his voice suddenly more soulful with a rich smooth vibrato that makes me grip my seat as the pedal goes to the floor. Lord, have mercy! We're in for a wild ride!
“Feather In Your Hat” reminds me of Grand Funk Railroad, and why I had such a wild crush on Mark Farner when I was in Kindergarten. (Hey, I was no fool...) So yeah, I'm rather fond of it. This is a catchy tune with some funky grooves, interesting variation in the percussion and timings, and great flashy licks on a Les Paul with a sweet bite. (I could be wrong, but I think I hear a Gretsch in there somewhere and maybe in a few other songs too...and that's always a good thing to me.)
“Drive Me Crazy” is hot stuff. It makes me envision Ian Gillan and Mick Ralphs hanging out for a jam session. If there were a sequel of sorts for Bad Company's “Feel Like Makin' Love”, this one would pick up where that one left off and things would heat up from there. I adore the way Chris Lyne's little bluesy fills hit those high notes that just pull at my soul as they talk back with some sass to Slack's vocals, teasing and creating vivid imagery of the dance of anticipation and passion. This is probably my favorite on the album.
Under the spell of love, lust, and desire, “Out Of My Mind” is the classic 'hurts so bad, but it feels so good' tale that makes for a great rock song.
“These Shoes” reflects the perspective of one who might be afraid of falling too hard, getting in too deep, and losing who he really is. But the pull is so strong, even beyond the physical plane. It's a solid, smooth, and steady rocker that might have easily fit among the tracks on Whitesnake's Slide It In.
Del Vecchio's Leslied-B3 intros “Dangerous Highway”, warming up the feeling and the power for this terrific driving tune. He and Lyne take turns front and center on “Poor Boy (Long Way Out)”, a tune that might remind you a little of some royalty from down Louisiana way...
“Dirty Little Secret” is a slower, sultry, moth-to-the-flame tale with a bit of a darker feel and some lively fretwork from Lyne.
A nice southern rock feel, easy tempo, and soaring guitar solo make “Blue Eyes” an instantly memorable ballad, remembering vividly and poignantly the one that got away.
I'm not sure who to call Boss on “Still Rainin'”--it has a terrific classic R&B feel to it. Chris' guitar stands up to Alessandro's piano and B3 which are featured for the main lead break of the song. Nice way to spice it up and variate. I like Frank's bass lines and chords and the wall of soulful background vocals that really add to the feel and the appeal of the song.
“On My Way” seems to wind down the adventure just as it began with some more Led Zep flavor for the first verse and chorus. The middle of the song gives us one more kick into passing gear with Lyne displaying another facet of his impressive versatility on the slide guitar for a nice southern feel, before finishing the album off on a great note.
The only thing I didn't like about the album was when it was over. So I played it again. And again.
DRIVE is an impressive introduction to the band MOTHER ROAD. I'm so glad that they are carrying the torch for the timeless music our generation will continue to enjoy and share with the next. And so begins the journey again.
I highly recommend that you go out and buy your own copy, put it in your stereo, roll down the windows, and enjoy it for yourself.
Flawless. Utterly delicious.
Rock mit geilen Grooves, wie in den guten alten Zeiten. Ich schätze mal, das der Sänger auch gern Whitesnake gehört hat.
Am besten finde ich allerdings den Drummer.........alter Schwede, was für ein Grieche.
Die Band insgesamt ist sehr gut! Mehr davon.
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