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Non-Prog CD Reviews

Pinnick Gales Pridgen

Pinnick Gales Pridgen

Review by Gary Hill

I had assumed based on this being on Magna Carta that it would be progressive rock. I wouldn’t really call it “prog,” though. I would call it great. Of course, when you are talking about the three guys that make up this band, that makes sense. The Pinnick is, of course dUg Pinnick of King’s X fame. Eric Gales is best known for his own band, but he’s played with lots of other people. Thomas Pridgen was formerly in Mars Volta. Overall, I’d consider this to really be a modern power trio. It has elements of The Jimi Hendrix Experience, Cream and Rush. Add in some King’s X and the sound is pretty well laid out here. It’s all awesome, though. This comes highly recommended as fresh and fun. In short, it rocks!

This review is available in book format (hardcover and paperback) in Music Street Journal: 2013  Volume 2 at lulu.com/strangesound.

Track by Track Review
Collateral Damage

The introduction on this feels a bit like fusion meets Rush. It powers out from there into a more hard rocking jam, though. The song structure, once the vocals join, calls to mind King’s X quite a bit. In fact, that’s probably the closest reference here.  I really love the guitar soloing on this thing.

Angels and Aliens
There are some hints of Middle Eastern music here. Still, to me, this feels kind of like Jimi Hendrix meets Tool. It’s catchy and yet meaty and has some space rock in the mix. This is a deceptively complex tune and it seriously rocks. The melodic vocal section later in the tune really has some psychedelia built into it. Somehow a lot of the other vocal sections make me think a bit of Kiss. There’s also a killer psychedelic jam at the end.
For Jasmine

Here we get a classically tinged guitar solo.

Hang On, Big Brother

Drums open this and they launch out into a smoking hot fast paced jam from there. This cut feels like Jimi Hendrix updated to me.

Wishing Well

A little darker and less crazed, this cut is more like a space rock kind of thing. Comparisons to Tool are again rather appropriate. There are a number of changes and different sections to this and it is another killer tune with a lot going for it.

Hate Crime

There’s a real chunky groove to this cut. This thing is like blues-based classic rock turned up to eleven.

Lascivious

Uber heavy, this thing pounds out with a lot of energy and style. It’s almost metal, but more ramped up classic rock, on the introduction. They drop it way down to a bluesy rock section for the verses. I love how the guitar accents each line of vocals. Somehow parts of the guitar solo section later makes me think of Thin Lizzy a bit.

Black Jeans

There is definitely more of that Middle Eastern hinted at on the very first part of this cut. It works out from there with the guitar weaving a bluesy rock sound that somehow seems a cross between Tony Iommi and Ritchie Blackmore to me. The vocals come over this stripped back arrangement, feeling a bit like Joe Bonnamassa. Then it powers out from there in a smoking hot jam that’s still pretty slow and rather psychedelic. The verses continue to be delivered in a more stripped back sound while the choruses rock out. The spirit of Jimi Hendrix is all over an instrumental section later, but with a major updated element.

Sunshine of Your Love

And here the modern power trio plays tribute to the original power trio. There are no big surprises here, but this is just so tasty. It really rocks.

Been So High (The Only Place to Go Is Down)

Imagine a more powered up and metallic Robin Trower doing a killer ten-plus minute blues rocker. You’ll be pretty close to what you’ve got here. It reminds me of something from Bridge of Sighs, but with a lot more “oomph.”

Me and You

Here’s a more King’s X styled rocker. It’s pretty cool. It’s more modern in texture than anything else here and feels a lot like an alternative rock tune. For my money, it’s also the weakest track on show. It’s just not overly special. The little jam at the end is kind of cool.

The Greatest Love

Imagine combining Robert Cray with King’s X and you’ll be pretty close to this cut. It’s got a great groove. It’s quite different from a lot of the set, but really rocks. Multiple layers of vocals are a nice touch on a lot of the disc, but they really manage to shine here.

Frightening

Here’s a cool jam. It’s got the same modern take on bluesy rock as much of the album. It’s not breaking any really new ground, but when it’s this good, that doesn’t really matter.

 
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