Just finished playing this magnificent beast of a CD. You want low, low
down bass - you got it. You want great vocals - it is here in spades
from Pinnick and Gales. You want some manic drumming - then Pridgen's
your man. His efforts on Creams - 'Sunshine of your love' is
brilliant. He just flays his kit and Pinnick and Gales put in some
killer vocals. On top of it all you have Gales ripping some down-right
vicious runs along the way. His 6 string attack on the track 'Me and
You' is a gem. Kudos to Mike Varney who has turned in a top quality
production. The sound is deep, thick, clean and precise. Just a 3
piece, but damn they can go some.
I love Eric and in this trio he
has finally got the quality support he deserves. Over the past 5 years
Eric has to be on top of the tree when looking at quality &
quantity production of music. He just keeps backing up CD after CD.
Keep up the great work Eric.
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Monday, February 18, 2013
Tuesday, February 12, 2013
But the groove really hits its stride on the fourth track, “Hang On, Big Brother.” This song comes out of the gate nasty and never lets up for its five-minute run. Gales and bassist Pinnick trade vocals, as they do on a few tracks. Their voices are very similar, with Gales being a little more subdued and Pinnick wailing away in his inimitable style. The chorus features some nice harmonies, and Gales and drummer Pridgen both get in their shots during the solo portion of the song. The funk gets kicked up another notch on “The Greatest Love,” which features perhaps my favorite riff on the album, a memorable little run that will most definitely get you moving when it comes blasting out of the speakers.
Gales, obviously, is heavily influenced by Hendrix, not to the point of imitation, but there are some definite nods. There are healthy doses of Robert Cray, Stevie Ray Vaughan and Eric Clapton, as well. When he gets to unwind, as on “Hate Crime,” his chops are impressive. “Been So High (The Only Place to Go is Down)” is the signature moment on the album for Gales as far as the blues is concerned. Topping the 10-minute mark, the song gives him plenty of room to stretch out as Pinnick’s bass provides the base.
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