Taking its name from their home state, ‘Kentucky’ finds southern rock’s reigning champions return with a hard-hitting fifth album that finds them going back to their roots in every sense. Dropping anchor in the studio where they recorded their debut a decade ago, the quartet have emerged with a record that feels like the natural follow up to that and their sophomore masterpiece, ‘Folklore And Superstition’.
Although very different albums, Black Stone Cherry’s last two efforts - ‘Between The Devil And The Deep Blue Sea’ and ‘Magic Mountain’ - both veered away from the sound they’d forged early in their career. We’re talking metal-edged, grunge-tinted swamp rock, informed by the swaggering good ol’ boy groove of Lynyrd Skynyrd and boasting a level of songwriting proficiency that saw them slide diverse stylistic nuances and chest-beating hooks into an uncompromising anthemic mix.
Although not a play-by-play rerun of their first two records, ‘Kentucky’ resides in the same sonic ball park, boasting ear-shattering production that captures blood and thunder gain without sacrificing high end slice.
Songs like Shakin’ My Cage, meanwhile, revisit the Gothic, deep south imagery they spooked us with on Reverend Wrinkle and Ghost Of Floyd Collins.
The big difference is the sheer monolithic heaviness of this record. Propelled by brute force riffs, The Way Of The Future is a politically-charged, parliament-flattening protest bomb and Rescue Me’s gospel beginnings swiftly lead to a throttling salvo of rhythmic rage. It’s an impressive onslaught, but unfortunately the hooks don’t always match the music’s potency.
In My Dreams, for example, starts like a belligerent neck-snapper and possesses a frenetically fierce bridge, only to be undercut be a decidedly moribund chorus, while Hangman and Darkest Secret trudge through similarly sluggish refrains.
The record’s best hooks belong to songs that are more dynamic and fuelled by their southern heritage, with Soul Machine and Cheaper To Drink Alone shining lights. The former has a brassy swagger that oozes bravado, while the latter’s ZZ Top honky-tonk is steeped in classic blues sentiments – the high maintenance lady who devours every last dollar.
‘Kentucky’ is a seemingly bleak album about the dark days we live in, with a full-blooded cover of Edwin Starr’sMotown classic War as relevant as ever. The band respond to adversity in defiantly positive fashion, with the stirring Born To Die sure to bench press your pride and Long Ride a passionate dedication to those who help us traverse life’s booby-trapped highway.
Chris Robertson’s grizzled, soulful vocals remain the band’s trump card, his commanding and heartfelt delivery imbuing an accessible edge many heavier bands lack. That’s certainly to the fore on The Rambler, an unplugged lament about missing major milestones in his young daughter’s life while touring. It’s one of the finest country songs you’ll hear this year and suggests that, in their later years, one hell of an acoustic album beckons.
Overall, this is the sound of a band who’ve rediscovered their identity. A few more winning hooks wouldn’t have gone amiss and it doesn’t hit the consistent heights of ‘Folklore...’, but the musicianship and energy are jacked to breaking point. There’s an uplifting factor that belies the downbeat topics and a handful of tracks will be nailed on concert favourites for years to come. Who says you can’t go home?
NOTE FROM THE EDITOR
We don't run any advertising! Our editorial content is solely funded by lovely people like yourself using Stereoboard's listings when buying tickets for live events. To keep supporting us, next time you're looking for concert, festival, sport or theatre tickets, please search for "Stereoboard". It costs you nothing, you may find a better price than the usual outlets, and save yourself from waiting in an endless queue on Friday mornings as we list ALL available sellers!
.jpg)
.jpg)
.jpg)
