Taking its name from a South African beer hall where a very young Virgil McMahon first heard the music of his calling, 'The Radium' by Virgil & The Accelerators is the most impressive debut album by a young band that I've heard in years. It's so rare for any band to work up the kind of intensity levels that make this album such a fire cracker. The licks, the grooves, the songs and a lively but classy mix allied with Virgil's tough vocal are all that you could ever want from an album like this. And while the lyrics are for the most part the old retro rock school of hand me down clichés about 'bad girls' etc, it simply doesn't matter because Virgil McMahon's guitar playing is right up there with the best of them.
Better still, his impossibly young band - brother Gabriel on drums is barely 17 - back him to the hilt and the result is 5 star cracker that must rank as one of the most impressive debut albums in recent times.
Virgil's come a long way since being discovered in Wales by Otis Grand at the tender age of 12. Encouraged by Kim Wilson, mentored by Joe Bonamassa and after touring with Joanne Shaw Taylor, he's ready to make his mark. Together with his road tested power trio, it was never a question of if, but rather when, though there was the outstanding little concern about the band song writing ability.
'The Radium' answers all the questions and more as the album is quite simply a triumph because it captures all the good things about an up and coming band who are seemingly oblivious to their studio surroundings let alone their fans fast growing expectations.

Sure there are derivative moments with echoes of Bonamassa's gnawing riffs on 'Cold Hearted Woman', some exuberant Philip Sayce style guitar mangling on 'Fell To the Floor' and plenty of Stoney Curtis style intense riffery on both 'Bad Girls' and on the wah wah inflected, psychedelic tinged 'The Storm'.There's even room for some post-Zeppelin, Black Country Communion style dirge on 'Fell To The Floor' and touches of ZZ Top on 'Cold Hearted Woman'. Hell, in his most vivacious moments Virgil almost exhumes the ghost of Alvin Lee but with more restraint and with an emphasis on tone rather than speed.

And yet having absorbed all these influences and thrown everything into the mix, it's still Virgil's own signature tone that sings out loud and clear and VATA's inimitable bustling style, with Gabriel's effervescent cymbal splashes and Jack Timmis's rock solid bass lines that define their own sound. There's a lovely balance to the album from the way it flows from the beginning to the end with the fluent bristling solos to the consistent unwavering sonic quality and the refreshing way in which the band sound like they've waited all their young lives for this moment.

'The Radium' is shot through with unbridled creativity, unfettered power and a locker full of riffs. And just when you think you've got the measure of ten tracks of jet powered rock, Virgil rips up the script on the closing 'Silver Giver' and leans into a cool, cool slow blues groove adding the perfect elements of touch, tone, feel before slowly building an explosive instrumental climax to the album His tone is awesome, his technique intuitive, and his use sustain breathtaking. It's spine tingling stuff played with ability that so many strive for but so few achieve. If you only played the opening 'Working Man' and the closing instrumental 'Silver Giver' you'd have the perfect summation of what this band is all about. But that would be to miss so much good stuff.

In between times the band squeezes every imaginable dynamic from their material. Virgil blazes his way through riff driven rockaboogie on 'Refuse To Believe', drops in some metal riffs on 'Backstabber', works up a deep groove on '88' and delivers a killer chorus on 'Dancing With Life' before adding a touch of psychedelia on 'The Storm'. It all leads to the most wonderful finish to a great album as Virgil makes his guitar cry on the closing 'Silver Giver'. People! It's rare to come across a record that can excite you like this. This is a band that is burning, nay exploding with energy, passion, and rocks as hard as a studio allows them to. Producer Steve Rispin is to be congratulated for capturing the band's essential spark and spontaneity as well as generating a top class sound quality that allows the excitement to transfer into the tracks.

In a world of so much hyped promise and so little true class, 'The Radium' delivers the most exciting and relevant rock/blues album since Joe Bonamassa announced his candidacy. Make no mistake Virgil & The Accelerators are a real band who can still get better on the back of their relentless work schedule. But 'The Radium' is a great start and sends out a message of the band's intent to rekindle the lost soul of rock/blues
Pete Feenstra  Get Ready to Rock

I've seen Virgil and The Accelerators 2 or 3 times now, and interviewed Virgil twice for the Blues Show. (The title of this piece is a quote from an interview I did with Virgil in March, talking about this album. You can hear that interview here.) The last time I saw them, just a few months ago at Hartlepool, they were right in the middle of recording this album. They previewed some of the songs from their recording sessions at that gig, and it was obvious to me that this was going to be an album which would make people sit up and take notice of this young trio - their new, self-penned songs were showing a maturity which, despite their youth, simply reflected the depth of their experience.
From the resonating introduction to "Working Man" to the delicate closing notes of the final, instrumental, "Silver Giver" this is an album which pushes hard at the rock end of the blues-rock spectrum, but which references the blues throughout; in its songwriting, its ensemble & individual playing and particularly in Virgil's maturing voice - his roots add a pleasing accent to his deep tenor voice which is well suited to these songs.
As mentioned, "Working Man" opens the CD - a very confident opener; the sound is very "big", here and throughout the album, with brother Gabriel and Jack Timmis driving this track along. Virgil tells us he is just a working man "working to get free" after some heartbreak. The track is also our introduction to Virgil's impressive guitar skills - building on all he has heard, all he has learned, his solos are in his own voice, combining melodic bluesy runs with split second rock solid riffing.
"Refuse to Believe" is an up tempo rocker, betraying some older rock influences, which wouldn't sound out of place on one of the many rock video channels on satellite TV.
In under 3 minutes "Backstabber", with its dropped tuning and even more solid riffs, paints a precise picture of the song's subject, a "backstabbing bitch" with that "evil eye twitch"; and apparently "she steals money where she gets her honey". Now, who hasn't heard that tale in many blues songs?
With its blues-influenced guitar intro, the slower "88" tells us that Virgil is looking for a way to get back to "88", away from his current situation - "I can't go on much longer, living day by day". This moody piece features 2 excellent solos from Virgil, as well as the rock solid rhythm section of Gabriel and Jack.
This whole album sounds as if it is just that - a coherent collection of songs captured at a specific place and time, reflecting the growing confidence of this band not only in their playing but in their songwriting. Manager Martin Lewis tells me: "They wrote this album with frightening ease, it just fell out of them".
Atmospheric instrumental interlude "The Storm" propels us into "Low Down and Dirty"; with Virgil telling us that is how he feels - "being made to believe ain't nothing good enough for me". There's more of the tasty guitar work that I've now become accustomed to hearing, and cracking support from Gabriel and Jack.
Virgil tells us exactly what kind of girl he likes in "Bad Girl" - "she's my type" with a "dirty reputation all over town". There's mention in this riffing rock song of Las Vegas - I know the band had a vacation there earlier this year. If this album gets the exposure it deserves, they'll soon be going back to Vegas, and beyond, to play some serious gigs.
A slow rock ballad, "Fell To The Floor", gives Virgil the chance to let us see that his voice is versatile enough to handle different song styles - his heartbreak here is palpable. The guitar solo in this song is, for me, one of the best on the album, starting with bluesy emotion and moving towards a wah wah workout before finishing with more melodic playing.
"Cold Hearted Woman" tells me that Virgil is either a red-blooded young man, or just has a great imagination when it comes to writing stories of unrequited love and broken hearts. Maybe it is both! The solo here moves towards shredding territory which should see this whole album accepted by not only by open minded blues fans but also rock fans who have got their ears wide open.
Instrumental "Silver Giver" ends the album perfectly - after the previous 40 minutes of driving riffs, solos and heart rending stories, we are given the chance to relax, and to wonder not only at the sensitivity of Virgil's playing on this gentle tune, accompanied by some tasty Hammond from bass player Jack Timmis; but also to wonder at what we have just heard - a very confident debut album which sounds huge, 11 original songs pushing the boundaries of blues rock, great playing from all 3 musicians, and an album which sounds like it was made by a 10 year veteran of the blues rock scene - not a debut album from a power trio whose combined age is still much less than mine!
I've listened to this album 5 times in the 24 hours since I've had it - and I'm off to listen to it again. I urge you to do the same when the album is released on Mystic Records.
(I'll be featuring this CD as Album Of The Week on the Blues Show on BishopFM.com 6-8pm UK time, July 24th.)
Gary Grainger Bishop FM

‘Diamonds in the Dirt’ is the complete package from blues rock guitarist Joanne Shaw Taylor. JST made a big impression with last year’s ‘White Sugar’ which tapped her potential sufficiently well enough to suggest that she could still improve on that fine effort, and ‘Diamonds in the Dirt’ doesn’t disappoint, as it delivers on all fronts. It’s a superbly produced work that showcases her abilities in the best way possible. ‘DITD’ sounds like a real band playing superbly arranged well written material in a blues genre. Above ‘Diamonds’ effectively traces her relocation to the States, but unlike so many contemporary American blues albums these ten tracks are full of vitality, burning licks and smouldering grooves.
There’s an autobiographical feel to her lyrics, bolstered by trade mark muscular solos, and a husky voice, but there are also some catchy hooks, colourful rhythm patters and a handful of songs that could conceivable find their way on to what’s left of contemporary radio.
‘Cant Keep Living Like This’ is an acoustic/electric crossover opener. It’s a slow burning intense barn buster of a song that fades all too quickly into the ether. But it makes a sufficient impact to work as a statement of the self confidence and inherent quality of an excellent album.
JST has also apparently worked on her vocals and the material is subtly arranged to suit her world weary voice and this is especially so on the outstanding title track.  The album is the perfect showcase for all her abilities, especially her burning solos, as on the outro of 'Can’t Keep On Living Like This’ and on the quiet/loud dynamics and Texas feel and searing chorus of ‘Dead And Gone’. It’s a style she revisits later on the tough stomp ‘Let it Burn’, which works its way to a searing chorus in an impressive updated version of the Arc Angels. Jim Gaines's production looms large on much of the album, making good use of a potent rhythm track and sharp dynamics. This is even more evident on the beautiful rhythmic tonal colouration of ‘Same As It Never Was’ over which Joanne impressively phrases in her own inimitable way. There’s a lovely lilting feel to the rhythm track and some smoking vocals, along with a radio friendly hook which is topped by a restrained lead line. There’s also an exaggerated stop-time break that gives the cut an extra dynamic, before Joanne’s note clusters and expressive solo concludes the piece. It’s quite simply a great track.
‘Diamonds in the Dirt’ sounds as if it’s the result of meticulous pre planning and a de facto conceptualisation of a new direction. And it is that approach that pushes it towards potential radio output.
This is a mature crossover blues album that will surely appeal to a wider audience, but there’s still room for some fiery solo’s and real intense playing as on ‘World On Fire’. Crammed full of good songs, meaningful lyrics, great playing and an intuitive production, all ten tracks are bound together by an inherent flow that gives the album its coherence.
Joanne finishes on the meditative ‘The World and its Ways’, which is just about her most accomplished outing so far and a fine example of the quality of an album that any of her contemporaries will do well to emulate.
Pete Feenstra - www.getreadytorock.com 
 

As the title track suggests 'Voracious Love' is a passionate album written, co- produced, driven and articulated by Erja Lyytinen, the mesmerising Finnish slide guitar player who is never content to rest in her comfort zone.
All 13 songs are infused with the nature of love and personal relationships in general. But what gives 'Voracious Love' its raison d'etre is the nature of Erja's stories, her raw emotional input and lyrical honesty. She covers everything from tough decisions on 'Can't Fall In Love', contentment on 'One Thing I Won't Change', commitment on 'Don't Let the Good Woman Down' and a love gone cold on the duet 'Bed Of Roses'.

There's also the exploration of a complex lingering emotional grip on 'Bird' - co written with her producer Davide Floreno - and even a historical leap back in time on Blind Willie Johnson's 'Soul of Man' - a song that fits perfectly with her new material and features Erja on her old Supremo 1952.

"Instead of the three basic blues chords we added some major scale chord changes", explains Erja. There is also an impressive co write 'Crows At Your Door' with veteran blues song writer Jon Tiven (Buddy Guy Robert Cray etc).But rather than gather together 13 tracks in a one dimensions blues concept album, Erja has placed her lyrical meaning at the forefront of the songs to stand alongside lashing of her favoured slide guitar. She then cleverly uses her locker full of licks to express a variety of emotions.

Put simply, 'Voracious Love' breaks new ground as a blues guitar album that can satisfy fans on a number of different levels ranging from the meaning of the songs to Erja trademark sizzling solos and twinkle in the eye humorous lyrics.
 'Voracious Love' effortlessly fulfils Erja's goals as a song writer. She's still queen of the slide guitar blues of course, but on this album she's set out her aims, focused on the songs and come out the other side as a mature recording artist. Listen and enjoy.
Pete Feenstra - Get Ready to Rock

The title tack says it all really. Brighton's blues artist Dani Wilde has come on in quantum leaps since her debut album. And together with esteemed blues producer Mike Vernon and bunch of top UK session players, she's stripped of her usual tour band (save for 2 tracks) and given the opportunity to 'shine' (pun intended) in her own right. And she makes the most of the opportunity, bringing both feel and some splendid phrasing to the groove laden title track and exploring her full vocal range alongside her brother Will's wailing harp on 'Some Kinda Crazy', as well as adding a tough solo to suggest she's been working on her two core strengths. Dani is the kind of singer who looks for the emotion in a song and then wraps her tonsils round the lyrics to imbue them with maximum meaning. Her regular tour band guitarist Ben Poole also chips in with a stinging solo as the band stretch out on an impressive outing.

If you had to put your finger on what Mike Vernon brings to a record - aside from a characteristic power drum track, a tidy coherence and an ability to get people to relax - it is fully evident on the following cover of the Stones 'Miss You, which was apparently his suggestion.

'Shine' answers a lot of questions, from Dani's improved singing, deft phrasing, and versatile pitch to her fast maturing song writing. Her brother Will has also improved immeasurably on harp and Mike Vernon wraps the whole thing with a professional sheen. And if this is beginning to sound like school report, it's probably because this is an appraisal of a young blues artist who is on the cusp of becoming a very significant name on the blues circuit.
 Pete Feenstra - Get Ready to Rock

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Here’s a great album from four-piece London band, 24Pesos – 11 tracks that straddle many genres – a heady mix of blues, funk and soul, with a touch of hip-hop thrown in – all-in-all a very modern blues album, with some ‘old school’ influences on board, and all self-penned by Julian Burdock, who features on vocals, guitar and harmonica. The rest of the band comprise of Silas Maitland (bass) – who produced the album – with Moz Gamble (organ and backing vocals) and Mike Connolly (drums), together they draw on the funk and soul influences of Al Green, Larry Graham and Sly Stone, the blues of the likes of Freddie King, with the modern flavours of Beck, The Fun Loving Criminals and G Love & Special Sauce!
.... one of the best British albums I’ve heard this year!
Grahame Rhodes - Blues in the Northwest

If you like your blues deep down, dirty and electric, then "Busted Broken And Blue" is probably something you should take a good listen to. Hailing from London and having formed only just over two years ago, 24 Pesos have wasted no time earning themselves a blistering rep for their live performances and now have an album that captures that spirit so well, you can almost smell the sawdust. It's got a raw edge that cuts away at you flesh as it tries to stick it to you soul. Yet they can switch to almost gospel like innocence in the space of a dime.
Fatea Online Magazine

Great stuff – big, rollicking Blues and just a touch of Mexicali magic - 24 Pesos are on the rise and this album demonstrates why. It also makes a big statement about the quality of the Blues in Britain today – healthy, very.
All the songs on this album are originals but there is a history lesson in just about every track. They touch on so many influences – no surprises for acknowledging Freddie King and Howlin Wolf as influences but not too many can get the funk feel of the Meters or the dirty raunch and nastiness of James Brown into their sound without outright copying and these guys really can – hell, they even get some Louis Jourdan swing in on the title number.
Underpinning the guitars and some gorgeous Dobro slide is what sounds like a genuine Hammond B3 and those rolling chords give the sound a fat and rich tone that most bands don’t get near to.

You can hear the live sound of the band and I would hazard a guess that they are a brilliant live act but the production is very tasty and it avoids squashing the life out of the band.
Favorite tracks are probably the opener, ‘Maxwell Street’; ‘In The Summertime’, a rap over a slide and harmonica groove-tune; the closer ‘Neckbone And Gumbo’ with a real N’Orleans Meters/Allen Toussaint funk to it and the title track – a real piece of rock ‘n’ roll sass.

This isn’t saying anything that hasn’t been said before but they sound as though they are having a great time making the music they love and the end result is one of the best Saturday night albums of the year.
Music-News.com
 

The whirlwind start tells you everything you need to know about Oli Brown, guitar imitating vocal line, reverberating from the past (Robert Johnson) filtered through Eric Clapton but modernised, refurbished for an optimistic new dawn of first rate young blues musicians, many of whom just happen to be signed to Ruf Records. Indeed, I look forward immensely to seeing Oli play in the company of the equally talented Joanne Shaw Taylor on the New Generation Blues tour, more of which later. The ‘remake remodel’ of blues shifts effortlessly from ‘Evil Soul’ to ‘Makes Me Wonder’. Classic blues influences and references are littered throughout this recording but most of the compositions are original and the guitar soloing is stunning. The two covers, ‘Fever’ and ‘No Diggity’ work just fine. There is also a funk (‘Keeping My Options Open’ and the foot tapping Free like swagger of ‘I Can make Your Day’ ) and soul dimension to Oli’s music
(the excellent ‘Speechless’). Dave Lennox’s keyboards add a nice backdrop to the soulful ballad ‘Not A Word That I Say’ and are even better on the Booker T & The MG’s feel of ‘Real Good Time’. It’s always interesting listening to a blues player expanding into a space on a slow burning blues and there is one of them here called ‘Love’s Gone Cold’, all 7 minutes of it. Needless to say, Oli doesn’t disappoint on this one and produces an incendiary solo right on cue! Produced by Mike Vernon there is no doubt that already, only two albums in, Oli Brown has the voice and the licks to become a standard bearer of the new blues generation. The only room for improvement as far as I can hear is in the lyrics which tend to be almost exclusively about relationships- fair enough but broadening the subject matter might propel this young artist to even greater heights. ‘I feel on top of the world’
sings Oli in the final track.
Phil Jackson  Blues in the South

In recent years, blues has been getting cooler with people like John Mayer championing the music to the masses through his A-list celebrity and smooth pop sound. But what about on this side of the pond? Cue Mister Oli Brown.
When most people think of blues music, they either think of a band from yesteryear reiterating their old hits to a crowd of our parents or of the traditional Mississippi blues man sat by the delta wailing about when he woke up that morning his woman had left him.
At just 19, this good looking youngster from Norfolk is a professional, signed and touring musician who gains his education from music and the people he meets on the road. And at this tender age, Heads I Win, Tails You Lose is his second release to date, released on the legendary blues label Ruf Records.The album starts with an excitement you rarely hear much of these days with a track called ‘Evil Soul’, which is a country fuelled funky soul rant about the evil girl we all know. But this high energy does not dissipate an inch; in fact it only increases over the next few tracks getting groovier and pilling on the soul on tracks like ‘Keeping My Options Open’. Oli must be commended for his song-writing prowess; it would be easy for a young musician with talent such as his to pile on the guitar solos every ten seconds, but every track he has written here puts the song first with a strong sense of feel, groove and maturity far beyond his years.
The album includes two covers: ‘Fever’ by Etta James and ‘No Diggity’ by Blackstreet and Dr. Dre. These are genuinely original and ‘No Diggitys’ rise through the iTunes blues singles chart is testament to this. Over the albums’ 12 tracks, there is jazzy slow blues, upbeat shuffles, funk and soul with a blues edge. The lyrics of the last track on the album “I feel on top of the world…” speak for themselves.
This album was produced by Mike Vernon who has worked with the likes of Peter Green, Eric Clapton and The Blues Breakers in the past, and to understand why this blues legend was lured out of retirement to work with Oli, just take a listen to the record.  

Without studio trickery, Brown takes these songs to a new level and yes, his voice really is that good, and so is his guitar playing. This album is dangerous and exciting - just like the best art should be.
Christian Walsh   www.southsonic.co.uk

Still only 19, it is fair to say that Oli Brown is the great hope of English blues right now. His short career has thundered along picking up accolade after accolade with more widespread recognition surely set to arrive following this, his second album. Indeed anyone with the talent to bring legendary producer Mike Vernon out of retirement like an excitable school boy must have talent.
Believe the hype. Oli Brown is a cut above his contemporaries. Opener “Evil Soul” gives the album a swashbuckling introduction, its riff sounding like a faster, leaner version of Ian Parker’s “Where I Belong”. There are many highlights here – the late night blues of “Not A Word I Say”, the Peter Green-esque “Love’s Gone Cold” and the crisp funk of “Real Good Time”.
There’s also interesting choices of covers with “Fever” getting a Hammond drenched outing here and perhaps most intriguingly, Blackstreet’s “No Diggity” revealing itself to be the best blues song never written. Of course, in less capable hands, this would have been a mess but this is Oli Brown we are talking about. Let us not forget to mention Brown’s guitar playing either. There are some stinging guitar solos here, especially on “Evil Soul” and “I Can Make Your Day.”
If anyone can lead the long overdue Blues crossover into the mainstream, we need look no further than Oli Brown. His show at The Brook on 20th May will be a cracker!
Paul Lane   www.playitloud.com

Uncut Magazine

Bluesmatters Magazine

Maverick Magazine

This is Oli’s follow up to his critically acclaimed debut, Open Road, and legendary producer Mike Vernon has brought the best out of him again. Evil Soul is a hi-octane opener which is driven by the drums of Jamie Little. Brown’s voice has improved since my review of Open Road and two years of almost constant touring has helped that so much. His guitar work is still stunning on this snappy introduction. Makes Me Wonder is a fluid blues which is slightly jazzy in some of the passages. The piercing guitar is the focal point. The metronomic Keeping My Options Open is a grinding blues based rocker whereas Speechless turns to a softer rock with a sophisticated feel. Brown’s guitar needs no encouragement to come to the fore and he confirms his status as one of the UK’s premiere guitarists. His treatment of the classic Fever, by playing it in a 60s R&B style is a success. It’s always hard to do something unusual with such a well known song but he does add a different feel to it overall.
Not A Word I Say is the first slow song on the album. It is moody and smouldering with the guitar as the star again. It builds well from the middle onwards. I Can Make Your Day is another grinding blues but a bit on the heavier side this time. Oli lets it rip here on the type of song that Joe Bonamassa excels at. Real Good Time has punchy guitar with a soulful feel. The funky Take A Look Back has a slicing guitar and the funk continues with No Diggity. Oli switches effortlessly between styles but the one constant is his guitar. Love’s Gone Cold has to be a blues with a title like that. This is slow and dark before it explodes into life when Oli lets that guitar go. Unfortunately, the album has to finish sometime and On Top Of The World is a wonderful sing-along song to wrap things up with. Played with panache, it is a testament to Oli’s all round growth.
Oli Brown will help form the future of British blues.
David Blue. www.Bluesblues.com

Finally released today, is Heads I Win Tails You Lose, the second album from Oli Brown. I’ve already posted a couple of times about Oli but for fans of blues rock this is an essential purchase. When the likes of Joe Bonamassa, Robben Ford and Walter Trout are singing your praises and legendary producer, Mike Vernon, comes out of retirement specifically to work on the album, then you’ve got to be doing something right. Vernon, famous for the Clapton Beano album with John Mayall’s Blues Breakers (he also produced the follow up Mayall album with Clapton’s replacement being a young Peter Green) gives Oli much more muscle than on the debut. You get the sense, however, that the two years since that CD’s release, spent mostly on the road have also added to Oli’s art. He’s no longer just the new young guitar slinger on the block and this record struts with a confident air. Oli may not yet have the champions willing to deify him, as the precious and also very young Eric famously did during his Blues Breakers’ tenure, but he’s most definitely a guitar hero in the making. Like Eric back then he also has youth on his side. Who knows how far he’ll go?
Properganda Magazine

Oli Brown’s debut album 'Open Road’ was one of the best debuts from any British Blues guitarist for a long while and I have been looking forward to the follow up with bated breath.
In the event he has produced a real cracker of an album and shows real development from the early stuff.
He is writing good songs and sounding a lot older than his years would suggest. 'Evil Soul’ has a really wired sound and some fine guitar work from Oli while 'Speechless’, altogether more subtle and emotive, shows the way that his vocal style has developed as well as his songwriting.
He is perfectly happy covering classic numbers in his own way too. 'Fever’ sounds waaay different to the old Brenda Lee classic and his version of 'No Diggity’ is funkier and more sassy than should be allowed for a young Brit.
When he slows it down and moves into classic territory as on 'Love’s Gone Cold’ – albeit one he wrote himself - he shows again how much his playing and his singing have grown as he lays down a spare and soulful Blues with a superb chiming solo in the middle.
The production is by Mike Vernon and it is a symbol of the regard that Brown is held in that one of the great British Blues producers came out of retirement for this album but the result is a really fine album that does not just sound like a clone of the Yardbirds or Manfreds.
Oli Brown is a real talent in the making and on the evidence of this album he ain’t far away from the complete article.
www.music-news.com

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