Change is afoot as heavy blues, funk rock and punk mix with ballads.

BLUES OF STEEL

Inspired by some of the amazing guitarists that can play an instrumental on their lonesome, I thought it would be something new, challenging and fun to try out. I set myself the task of composing music that allowed me to play simple melodies while still leaning on the chords as I went. The acoustic recorded so wonderfully that I didn't even need my trusty reverb, which was a pleasant surprise! So, there you have it, a double tracked acoustic guitar, simple riffs and some harmonies, with nothing else to hide behind.

NEW ROADS

Some almost tribal drums kick off this blues rock song. There's a really solid, stomping groove in the verses, and a funky chorus melody that is played in unison with the bass. This one gives the first hint of my new softer lead guitar sound. I was keen that a large majority of the album would be a departure from the aggressive guitar tone used on my rockier releases. Backing the gain off really allowed for a different kind of expression and feel to come through, which at times was very revealing. As for the solo, well I won't give that away! The title pretty much sums up this album, and ‘New Roads’ was very close to becoming the title track.

NO WORRIES

It was important to allow this song to take its time; unravelling slowly and patiently into each verse. A hard-hitting drum sound provides an interesting but somehow appropriate contrast to the steady nature of the composition. The bass takes on the very important task of providing the nuances that the song couldn't do without, and it worked a treat in the end. The lead sound in the chorus was a balancing act between too soft and too aggressive, I hope I got the judgement right. I felt the solo might benefit from a calmer approach, and the drums have a lot to do keeping things in control.

THE MAXIM LIST

I watch and listen to a lot of interviews with very clever and deep musicians, and every now and again a word catches my attention that I've never heard before. In this case, the word ‘maxims’ popped up. I looked it up and eventually made a fairly catchy song name, which ended up stealing title track status from 'New Roads.' It took a while to get the rhythm guitar tone right but a mixture of imagination and some special tricks got me there in the end. Those in the know might think I'm using a Strat or Telecaster but actually it was neither, so I'll leave you guessing! This one has a very big, atmospheric chorus and the lead guitar sound is more reminiscent of my older style tone, especially in the wah wah solo.

STRANGE DAYS

Very thick sounding wah wah starts things off, but it's used in a different way to the brash solo sound of the previous track. Once the song gets into its stride things get deep, hopeful and maybe slightly dark all at the same time. This is another track with a Strat style twang, and I couldn't have asked for a more idyllic sound to compliment the composition. Returning to the softer signature sound of the album means that more subtleties and dynamics are apparent, which can only enhance the feel a song like ‘Strange Days.’

RISK AND REWARD

Written as a jarring contrast to the laid-back tracks, this one is pure reckless, obnoxious fun! Okay, the verse may sound a bit stern, but the wacky chorus and hyperactive breakdown remind you that this is not a song to be taken seriously; it's a head banging, bouncy three and a half minutes of light relief. It was nice to throw away my self-imposed new rules for a couple of days, crank up the gain and just let go. There is no solo on ‘Risk and Reward;’ this gives space for the breakdown riff to make a second appearance at the end of the song.

OUT OF NOWHERE

This is a song of three different concepts; a written acoustic solo, distorted electric improvisation, and a harmonised chorus riff. Luckily it turned out nicely and it was interesting to play with a new kind of song structure. since this album is predominately calm, I felt the need to play with the format a bit to keep the variation, and it is probably thanks to the pacing of those three sections that the song doesn't feel four and a half minutes long. At least not to me anyway! The acoustic sounds really interesting on its little solo spot, at times almost like a mandolin on the really high notes.

MOMENTUM

Next, we head in more of a funk rock direction. This is another song without the need for a designated solo; since the verses are fairly long improvisations a solo would have been far less effective than usual. Although that is true for this particular song, it's certainly not a rule, since every composition has its own individual path to follow. the structure is pretty straight forward this time, the only twist being halfway through the verses where it almost sounds like a false ending, which I thought would be an interesting touch. The chorus itself is a heavy, energetic riff that may be the most powerful sounding on the album.

INTENSITY

The penultimate track earns its name for two reasons; the deep, melancholy verses and choruses, and the hard rock breakdown and solo. The ballad sections have a really deep, delicate touch to them, which is something I'm especially pleased about. The heavier parts however take a rather different route, including an undisciplined solo with a touch of whammy lunacy. This provides a contrast that works surprisingly well in its own way. Thanks to Beta Monkey Music I found drum parts that achieve the happy medium this song requires; in fact, they can take the credit for every drum track on the album; I just chose and arranged the loops.

MY MIND'S EYE

The final track takes advantage of a combination of a great acoustic sound, a wonderful smooth lead guitar sound and my favourite drum kit. I'm also very pleased with the chorus melody and the way it turned out on the recording. I've often described this snare drum sound as 'the most sophisticated piece of tin you'll ever hear.' This of course I mean in the nicest way possible, because it really works for me and has popped up at some point on all three of my albums. The relationship between the different instruments seemed to mesh really well, and I'd ear marked this tune to close the album as soon as the final mix was complete.