Gary Cain Band

TWANGADELIC BLUESOPHUNK Gary Cain Band (independent) ****

Weirdly, that title sums up how this disc sounds. Cain is a ridiculously talented, genre-bending blues guitarist, and Twangadelic Bluesophunk is a stunning collection of songs.

“It was normal to play every day, 6 or 8 hours” says Gary about when he picked up the guitar. “In summers, when school was out, it would be 13 hours a day- it’s all I ever wanted to do.” His dedication the instrument is evident on each of these 10 tracks- I defy you to listen to the opening track Live Wire and not say “Oh DAMN!!”

This is blues with a strong rock and blues influence. Cain has a fine singing voice and the other guys in his band, bassist Tom Nagy and drummer Donnie McDougall, supply the bedrock Gary needs to soar. Twangadelic is a jaw-dropper. - Gonzo Okanagan

If you're hungry for some teeth-rattlin' blues, Kitchener's Gary Cain Band has a meal for you! Their full-length debut album, Twangadelic Bluesophunk definitely satisfies.

A veritable feast for the ears, the recording serves up out-of-this-world guitar with spectacular vocals and a hearty dose of energy. It's hard rockin', funky Blues with a side of country thrown in.

You can pick up their latest dish at their unforgettable live shows or download it via Bandcamp. - Hamilton Blues Lovers

Here’s a real barn burner for all you guitar
slingers and blues/rock lovers out there. Based
in Kitchener, Ontario Gary Cain is a fl eetfi
ngered picker who wastes no time showing off his skills with the album’s opening track, ‘Live Wire.’ And if you’re looking for more evidence of his prowess on guitar, check out the hot instrumental, ‘Twang Strut.’ Supported by bassist Tom Nagy and drummer Donnie McDougall, Cain runs through 10 original tracks that more than live up to the album’s descriptive title. There is so much focus on Cain’s guitar playing that it’s easy to overlook the fact that he’s a decent singer and composer as well. - Scene Magazine

KITCHENER — Gary Cain is about as unpredictable a musician as has ever rocked on a stage in Waterloo Region.

Even the name of his soon to be released debut album, "Twang-a-delic Blues-o-phunk" illustrates his sense of humour and determination to follow a musical path less trodden.

"I do things that are not expected, getting away from the predictable," Cain said, by way of understatement. "I've seen a lot of players that don't make mistakes but they're not taking any chances.

"I want to take chances."

On Saturday, May 13, Cain and his band will perform music from the new album at Cork Hall in Kitchener and it's bound to be an evening of surprises.

"Twang-a-delic Blues-o-phunk" is a bit of this, a dash of that and whole lot of fast and furious finger work not to mention some serious drumming by Donnie MacDougall and bass playing by Tom Nagy.

"I didn't make it sound like anything specifically," said Cain, who by day runs a video production company in Kitchener. "There are a lot of influences."

Cain's discovery of guitar music came when he was a newly minted teenager and a guitar his mother had purchased on a vacation was just sitting in the rec room, taunting him.

"No one in my family played guitar," said Cain, who also played piano a bit but wasn't as inspired by the linear nature of the keyboard.

A guitar in his hands, producing sounds he found exciting, that was the instrument for him and he would regularly spend up to 13 hours a day playing AC/DC on this acoustic, nylon stringed classical guitar.

"I really got obsessed," Cain said, describing how he would play a record, "rewind and play, rewind and play" absorbing every note of the song which he would then copy.

"I was really into rock," he said. "Then I heard Stevie Ray Vaughan and I couldn't believe what I was hearing."

On a family vacation, his parents gave Cain some spending money which he immediately used to purchase a Vaughan recording on a cassette tape.

"I wouldn't leave the car, I just kept listening to it," he said, admitting his family was pretty sick of the recording by the end of that car ride.

Through Vaughan he learned about other great blues artists such as Albert King, known as one of the kings of the blues, and Danny Gatton, a musician often called the world's greatest unknown guitarist.

Suddenly, he was thinking less about rock and more about blues. It would be years later before he would marry the two, add a few other influences and come up with the Twang-a-delic Blues-o-phunk. But the road to his self-directed music career would be a long and at times difficult.

While performing in Dubai at a time when he was making a living as a professional musician, Cain suffered a throat injury and had to take several months off.

It was this time away from the stage that gave Cain pause, time to reflect on what he wanted to do with his music and it turned out, he wanted the music to be motivated by passion not a paycheque. So he has a regular job and only plays the music that inspires him.

Last year Cain placed fourth in Lee Ritenour's Unsigned Blues Guitarist Six String Theory competition, in the blues guitar category and uses a new technology made by Fractal Audio and he is one of the company's official artists.

Music continues to inspire him. It's like meditation, a way to enter a state of mind where everything else falls away.

"I just turn off my brain and let life flow," he said.

vhill@therecord.com - Waterloo Region Record

It’s been great making some friends in the music field in Canada. We’ve been sampling a number of artists who rarely make it into our neighborhood, and we’re grateful for the influx of new blood into the business.
Recently, I received a copy of a CD from the Gary Cain Band, and I had never heard the group before. I quickly discovered that this CD, Twangadelic Bluesophunk was their debut album. Now I didn’t feel quite so uninformed.
Reading up on Cain, I discovered quickly that he had been a student of the guitar since he was in grade school and had a deep love for a variety of music. He graduated from a top-flight music school and was making a living playing in Dubai when a vocal injury sidelined him for several months.
That brief holiday helped him focus his energies and he began to crystallize the sound he wanted to create when he played. Teaming up with drummer Donnie McDougall and bassist Tom Nagy, who also had backgrounds in different forms of music, he created the Gary Cain Band and began tackling gigs in their native Canada. Along the way he wrote all of the songs the group recorded for this album.
Oh my God, can this guy play a guitar! The first song on the album, Live Wire, doesn’t start, it explodes! Cain and Company have the energy of punk rock with the musical chops of musicians who have been playing together for years. His vocals are a little tricky to pick up through the machine effect that treats them, but it’s still very cool.
The next song, Pipes And Spoons, starts out with a heavy hand. We get a better chance to hear Cain’s actual voice on this song. You can hear the metal influence in the band’s approach. It still has a ton of energy and it demonstrates the many different influences on the band members.
Some very cool retro funk opens Thought I Heard You Say. Cain has a sure hand for the guitar and his rhythm section is tight so the music is good. The vocals are processed and it adds kind of a distant feel to them. Once he gets to the guitar break, he’s on solid ground and he delivers a smoking run.
No Foolin’ follows with some more strong guitar, bass, and drums. Cain has a decent voice, but this is the third song out of four where it sounds more processed than natural. It’s not autotuned, it just sounds like he’s singing through more effects than are called for. Still, his guitar playing is among the best I’ve heard and that’s where he’s placed his focus on this album.
Up next is Write You A Letter, a little more funk and soul. He seems a little more relaxed on his vocals and the choppy guitar delivers musically. It’s a decent number, and one that would be great live. He follows up with the instrumental, Twang Strut. That’s where these guys really shine. Very few bands could keep up with them in straight up playing, and here it’s the musical equivalent of a hot rod race. It’s exciting, and the music just runs flat out. It’s rockabilly, it’s country twang, it’s a great song.
Okay, here’s where it gets tricky. The next two songs are different than what is labeled on the album. It may say that this song is Last Dance, and it has explicit lyrics, but, it’s actually Got Me Where You Want Me, and the lyrics are fine. It reminds me a little of Edgar Winter’s Frankenstein in the opening. It’s a good song with a metal backbone. Cain shreds his guitar and McDougall and Nagy lay down a solid backbeat.
Now we get Last Dance, and its explicit lyrics. You can hear more of the metal influence in Cain’s playing and singing. Now, for any of my fellow radio show hosts, the word in question is on George Carlin’s list of Seven Words you can’t say on the air, so listen before you play. On a personal note, I think it just adds to the attitude of the singer presenting the song, so express yourself any way you want. I won’t be able to play it, but in your home or car, crank it up!
It’s back to normal now, I promise. The next song, Girl’s Too Rich, has some of the most intricate guitar playing on the album, and that’s saying something. Cain and Company maintain that frenetic pace, I don’t know how they do it, I’m exhausted just listening to them. This is the story of what can happen when you date someone with those expensive tastes and you don’t have that kind of budget.
They close the album with an instrumental, Faith Healer. This starts out as a power ballad with some heavenly guitar. Cain has repeatedly demonstrated that he belongs in the category of guitar wizard and this gives him a chance to show he can handle a slow deliberate number and put plenty of emotion into the strings. He can play the hell out of a guitar, and I can’t wait to see what comes along down the road.
This is the debut album for the Gary Cain Band and I found it to be exciting. Having said that, I recognize that there are some issues with it and many pure blues fans might not agree with my assessment. It’s kind of a controversial subject these days as to the direction the blues industry is taking.
Keep in mind that Cain tells us in the title of the album, Twangadelic Bluesophunk, that he is not beholden to just one style or genre of music. When you listen, you can hear all of these influences converging and trying to coexist within his delivery. Sometimes one style wins out over the others, but there are still elements of all of them scattered throughout the album.
Do your research. You can check them out on the web at http://www.garycainband.com/, and there are several samples of their work on YouTube. If you like what you see and hear, you can find the album at just about all of the usual places. And if you live north of the border, you can probably catch them live. If they ever head down into the states, I’ll be watching for ‘em. - Professor Johnny's P's Juke Joint

Gary Cain Band; Twangadelic Bluesophunk. SRV meets AC/DC, OMG and WTF?!!! Not sure I’ve ever heard anything quite like Cain’s guitar playing. It’s like he’s driving high speed through a school zone. Watch out kiddies, he’s armed with a Strat and licensed to kill. The band is a power trio with Don McDougall on the drum kit who must be exhausted by the end of a gig. And he’s an old fart unlike the younger bass man, Tom Nagy. All three are graduates of Humber College’s music program during completely different eras. This CD is the second release by Cain and gets my vote for the coolest album cover since Dr. John’s, Creole Moon. Live Wire opens the ten song set and sounds much like a 45 being played at 78 rpm due to Cain’s crazy finger work on the strings. His vocals are gravelly and might not yet have fully recovered from back to back to back performances on a club contract in Dubai in the early 2000’s and ultimately forcing him back to his home in Cambridge, Ontario and quite likely into a secondary career as a video producer in Kitchener. Wait, Dubai? Isn’t that where pious men of a certain religion go to get blitzed on booze and hookers before returning to their homelands with lies of fine dining with Sheiks and Western infidels. And of seeing this crazy Canuk who plays the guitar like his skivvies were on fire. No Foolin’, that’s the third cut and a bit slower tempo if you feel like catching your breath. I’m bouncing around the CD here due to literary irresponsibility. Pipes and Spoons carries social commentary and guitar work resembling a drag race between a Stratocaster and a 747. Turn it up to 11 and annoy the neighbors. You’ll thank me for it later. Write You a Letter, Girl’s Too Rich and the last cut, Faith Healer show those SRV influences that moved Cain toward the Blues as a teenager. Twang Strut is another one of those high speed finger pickers that borders on insanity, but with a country edge, pick your country and pity the poor drummer. Got Me Where You Want Me rocks and rolls along like a freight train solidly on its tracks. Throughout this fine ass album you’ll be wondering if the train is really a runaway or if Gary Cain is. I like it and mmm mmm mmm, my ears still ring. Buy it, play it loud and play it often because the Gary Cain Band puts the phun in phunk. - Bones & Blues Productions

Given high props by Captain Rit, Cain is a high wire blues/rock guitar slinger that mixes pyrotechnics with chops and doesn’t need anything more than his Fender Sunburst to blow you away, raise the roof and all that other stuff that means he’s frying your synapses. Killer original stuff that those in the market for a new guitar hero will take to heart. Hot stuff. - Midwest Record

Blues music is so named because listening to it is supposed to evoke a sadness in the listener. Live, pure blues is supposed to be the type of music that people listen to, perhaps while nodding their heads slowly with eyes closed while drowning their sorrows in alcohol. It certainly isn't something that is meant to elicit a smile, a dance or whip a room full of people into a frenzy.

Gary Cain did not get that memo.

Playing a style of music that he describes as Twang-a-Delic Blues-o-Phunk, the Gary Cain Band launches into each song with an energy and fervour that is contagious. Mixing influences form country picking to blues shuffles and guitar-rock, the band takes the audience on a non-stop fun ride. It's pure fun, pure enthusiasm, and pure musicianship.

The road to here has been a long one for Cain. Beginning with piano lessons at the age of ten, he soon started picking on his Mom's classical guitar. His picking became more intense when he discovered the music of AC/DC. Soon, he graduated to an electric guitar which he would play for hours until he learned each song not-for-note.

In time his musical tastes expanded to include such guitarists as Joe Satriani, Albert King, Danny Gatton and Stevie Ray Vaughan. These four influences - along with a handful of guitar teachers - helped infuse Cain's playing with technical proficiency, feel, and style that carried him through school at Humber College and into a touring musician.

Soon after school was done, Cain found himself in Dubai, playing with a Top 40 band. It was a 3 1/2 month gig of 6 shows per week. He was offered an extension, but found that even though he was playing music every day, something was missing. He returned home and re-evaluated his playing. What he learned was that he felt unfulfilled because he wasn't playing the music that he loved. He vowed at that moment that he would only play music that resonated with him - songs that he could infuse with his passion for playing, and he could bring that to every audience that he plays in front of.

Years later, The Gary Cain Band does exactly that. This is no easy feat, as the music that he chooses is not fit for journeyman musicians. It is so technical that it requires the skills of expert musicians like bassist Tom Nagy and drummer Don McDougall. Together, the three have arguably as much talent as any trio, and definitively have more fun. Whether they're playing an original title like "Twang Strut" (As heard on www.garycainband.com) or doing their take on a Hendrix or SRV song, the air is filled with a vibe that must be felt to be appreciated. True, this is not your every-day blues band. It's better. - Guelph Mercury

Gary Cain’s debut album Twangdelic Bluesophunk made it halfway around the world from Kitchener, Canada, to 100% ROCK Castle in Western Australia, and we instantly knew we had to find out more.

From learning AC/DC’s Highway To Hell by ear on his Mum’s acoustic guitar, to playing covers in a residency in Dubai, Cain never shirks a challenge and it shows in his refusal to be pigeon holed on the new record. We threw him a Quick Dozen and he threw down some cool answers for us.

1. Tell us a little about your latest release. Are there any hidden nuggets the band put in the material that only diehard fans might pick up on?
This is my first full-length album, and combines a lot of different influences. I didn’t want to make an album that was trying to fit into one particular genre, so I tried to just let the song-writing happen organically rather than try and fit it into a particular stylistic box. My rhythm section of Donnie McDougall on drums and Tom Nagy on bass have been playing with me for a few years now, so we’ve definitely got a feel for how to get the best out of each other performance-wise. As far as hidden nuggets, there is a brief lyrical nod to a ZZ Top song at one point, but I’ll let listeners find that for themselves!

2. What got you into music, and can you tell us about the moment you realised you wanted to be a musician?
My Mom played the piano in our house while I was growing up, and showed me how to play some tunes (which was a smart way to keep me out of her hair so she could get stuff done around the house). I remember that being able to play music seemed to me to be like a magical power and it was really exciting to start to acquire it myself. But what really got me hooked was hearing Angus Young from AC/DC. I learned the Highway to Hell album by ear on my Mom’s old nylon-string acoustic. My friend was a drummer so I’d go over to his place, tape a microphone to the acoustic guitar and plug it into his stereo. Thinking about it now it must have sounded terrible, but we thought we were rock stars!

3. Who would be your main five musical influences?
Angus Young, Stevie Ray Vaughan, Chris Duarte, Danny Gatton, and Eric Gales.

4. If you could call in any one collaborator to do a song with, who would it be?
There are a ton of people I’d love to play with, but if I had to name one it’d probably be Kenny Aronoff. His energy on the drums is just insane and I’d love to play off it.

5. How would you describe your music to someone who’d never listened to you before?
I named this album after what I’ve called my style: “Twangadelic Bluesophunk”. It’s a mix of a number of different styles, sometimes within the same tune. The one thing I try to do is not play it safe. I think a lot of players work on not making mistakes, but they miss out on some really amazing things that happen when you improvise and take chances. So I’d say its blues, with strong rock, funk, and twang influences, played balls-out!

6. What’s the best thing about being a musician?
Live performance for sure. When it’s really clicking and you get into this state of flow where your mind turns off and it feels like the guitar is playing itself, that’s the greatest feeling in the world. I also love meeting people who are as into music in general and guitar in particular as I am.

7. When the band are all hanging out together, who cooks; who gets the drinks in; and who is first to crack out the acoustic guitars for a singalong?
I think one of the things you need to have as a band that’s almost more important than musical chemistry, is being able to enjoy each other’s company. When you spend that much time together, you need to be able to crack each other up, and we definitely have some huge laughs on the road. None of us are big drinkers – I like to have a pint or two during a show, Donnie is a Starbucks fiend, and Tom eats nearly his weight in desserts at every gig. I swear he should be about 600 pounds based on his caloric intake on gigs!

8. If you weren’t a musician, what would be your dream job?
Probably either a stand-up comedian, or hosting a podcast or show where I get to interview many different interesting people.

9. Looking back over your career, is there a single moment or situation you feel was a misstep, or you would like to be able to “do over”?
It’s hard to say what you’d change if you had to go back and do it again, because even the mistakes help you learn and become part of who you are. That said, I probably would have stayed truer to pursuing my own music earlier on and not gotten side-tracked with playing cover gigs that paid better but were less artistically satisfying.

10. If you were made ruler of the world, what would your first orders be?
I’d like to think that I’d legalize and regulate all drugs, and start tackling climate change with some urgency. But in reality, my first order would probably be to elect a new ruler of the world. I lose my car keys about 3 times a day – I don’t think the world needs me trying to run it!

11. If you could magically go back in time and be a part of the recording sessions for any one record in history, which would you choose – and what does that record mean to you?
Probably Chris Duarte’s Texas Sugar Strat Magik. He plays a slow blues on that album called Shiloh that is maybe my favourite song of all time. The performance is live off the floor and it’s just incredibly powerful. To be there to see it done in person would have been amazing. Other than that, maybe a Rick James recording session, ‘cause it sounds like the parties were off the hook!

12. What, for you, is the meaning of life??

I don’t know that there is any intrinsic meaning in life other than what we put in it ourselves. For me, I just want to spend more time doing the things that bring me joy, and try to do right by other people while I’m at it. So I guess that boils down to ‘have fun, try not to be a dick’.

Links:

Buy the album: www.garycain.bandcamp.com/album/twangadelic-bluesophunk

Website: www.garycainband.com

Facebook: www.facebook.com/garycainband

Twitter: www.twitter.com/GaryDCain

Instagram: www.instagram.com/garycain - 100 Percent Rock Magazine

Twang-O-Delic Blues-O-Phunk.

That's how Gary Cain likes to classify his music.

In 2014, this unique sound reached several legendary musicians' ears when Cain entered Grammy-winning guitarist/composer/producer Lee Ritenour's Six-String Theory Music Competition. Competing against hundreds of applicants from 48 countries, Cain sent in video entries "Funky Jam" and "Twang Strut" for the Blues Guitar category. He placed sixth in the world thanks to guitar gods/judges Joe Bonamassa, Ry Cooder, and Joe Satriani.

"That's so funny that Joe Bonamassa (B.B. King, Eric Clapton, Steve Winwood) had to watch my videos," notes Cain with a laugh adding he had forgotten about the contest entry until he received an email telling him he was a semi finalist.

"The next time they contacted me they said 'Here are the results.' That was it. You go to the website and sure enough, there I was, at number six. So that was pretty cool," he remarks.

Cain's current passion for blues stems from earlier days at age 12 spending "13 to 14 hour days" learning the "note to note" guitar riffs of rock/blues giant Angus Young from AC/DC. He "plunked away" at AC/DC anthems on his mum's old classical guitar and then a purple Vantage electric with a tremolo arm, a.k.a. "whammy bar."

His music taste evolved into the heavy metal music of Metallica and Joe Satriani, yet Cain always appreciated the blues vibe. And that vibe intensified on a family vacation, when Cain purchased his first Stevie Ray Vaughan cassette.

From SRV, Cain traced blues history discovering the (Three) electric guitar "Kings" "favourite old school guy" Freddy King, Albert King, and B.B. King.

Cain studied music at Toronto's Humber College with acclaimed guitarist Ted Quinlan (Chet Baker).

He began playing the Toronto club circuit, and many other gigs including an exhausting "Top 40" showcase in Dubai, after which Cain decided to play "only the music he liked."

He owns three guitars — a Fender Stratocaster, Gibson Les Paul, and recent "bucket list" purchase, Fender Telecaster guitar with B-Bender (accessory) to create that specific Nashville pedal steel/"twang-a-delic" sound.

Together with bassist/film score composer Tom Nagy, and veteran drummer/teacher Don McDougall (Pat LaBarbera, Jane Bunnett), the Gary Cain Band is a sonic tornado.

"Twang Strut" is a fun little ditty that highlights Cain's lightning fast guitar, while potent 12-bar blues standard (Chris Duarte cover) "Shiloh" and slo-down blues track "Faith Healer" showcase Cain's musical prowess.

Original "Pipes and Spoons" is a shrewd comment on power hungry leaders who corrupt society from politicians to televangelists featuring a nice little sound byte from late religious fanatic Jerry Falwell.

Jim Hurst cover "Catfish" is Cain's own Cajun-style interpretation with hint of Jimi Hendrix classic "Voodoo Chile." Original jazz-jangle-twang tune "Lounge Lizards" is an example of Cain's catchy "Blues-O-Phunk" sound.

He says these (2008) songs have evolved and now, he has plenty of original material ready for studio treatment tentatively scheduled for late September at Kitchener's Sound Distillery with producer Will Muir. Fractal Audio Systems (who make Cain's amps) recently "endorsed" Cain adding him to its artists' roster (with Alex Lifeson (Rush), Steve Vai (Frank Zappa). So things are cookin' for this local guitar slinger. He says the new album will likely be the "bare bones" trio, with music videos, hopefully released in time for festival bookings next year.

The Boathouse gig will feature a mix of new songs and material recently recorded live at Burns Howff Pub, Cambridge, and Riff's Music Lounge, in Woodstock. - The Waterloo Region Record

I just had the opportunity to review the most recent release, Twangadelic Bluesophunk from Gary Cain Band and it's a cool mix or country finger pickin', blues and rock. Opening with Live Wire, Tom Nagy on bass really drives this track with his tight bass riffs and Donnie McDougall hangs tight on drums and Gary Cain mixes finger picking and speed metal riffs for a cool sound. On heavy bottomed, Pipes and Spoons, Cain moves more into a dark blues' sound with a crunchy guitar sound and the swagger of ZZ Top. Very cool. With it's unusual guitar riff and it's solid rhythm, No Foolin' is one of the coolest tracks on the release. Funky, Write You A Letter is a solid rocker with traces of Led Zep. Twang Strut is a real nice instrumental showcase for Cain's finger picking' work. Another ZZ Top oriented track, Got Me Where You Want Me has a stripped down feel with a hard driving beat and crunchy guitar riffs. Girl's Too Rich is a bit jazzier with a Light Latin touch and a guitar style that has come to be associated with SRV. Very cool. Wrapping the release is instrumental, Faith Healer with really nice lead melody played on guitar. Cain pulls emotional riff after riff from his guitar creating a Gary Moore like soaring dynamic. Excellent closer for a real cool release. - Bman's Blues Report

Talk about an accomplished guitarist, Gary Cain is the real deal. If that was not enough his bassist Tom Nagy and drummer Donnie Mcdougall slip, slide, and groove like nobody’s business.

This album is HOT!!!

The first 3 songs Live Wire, Pipes and Spoons and the funky Thought I Heard You Say with it’s Stevie Ray Vaughan’s flourishes are fiery and dynamic.

Twang Strut is Jerry Reed on steroids and Got Me Where You Want Me gets on the patio ZZ Top style while the ripping Last Dance bares all.

Watch out for The Gary Cain Band in a BIG WAY. - John Emms Music Reviews

Cambridge, Ontario, Canada's Gary Cain puts his power trio through it's paces on their auspicious debut CD. As a youth Gary spent many of his teenage hours learning Angus Young's guitar solos note for note off of AC-DC albums. He takes his cue from their and other speed freak guitarists, while playing with taste and restraint when necessary. Drummer Donnie Mcdougall and bass man Tom Nagy are the sturdy foundation supporting his every move. Gary's vocals are a bit rough and at times a bit smoother to fit in nicely with their brand of music. All of the songs are Gary Cain originals that are about 90% rockers with some blues rock, country and yes, a snippet of reggae thrown in the mix. Pure power trio here with no outside assistance.
The band dives in the deep end right from the git go with Gary's lively and dexterous guitar slinging of a catchy and skip along riff on the boisterous "Live Wire". His voice has just enough grit for their brand of music. Twiddling and scraping guitar propel "Pipes And Spoons". From what I can gather it's about drugs. The guitar gets slightly jazzy and string bending on "Though I Heard You Say". The guys are tight as all get out and Gary's guitar is in sync with his vocals on "No Foolin'". If a cooler guitar riff exists, I don't know about it.
Twangy speed freak country-ish guitar is just what you get on the instrumental "Twang Strut". They throw in a 15 second reggae break in the middle and it makes sense. Their is an "explicit lyrics" warning on "Last Dance", and the only explicit word is sh*t. The Angus Young school of guitar is best displayed on this track. The instrumental closing track "Faith Healer" mines the Jimi Hendrix-Robin Trower dreamy-spacey guitar vein with mesmerizing atmospherics.
Rockin' guitar freaks have I got a CD for you! It's very well executed with nothing left to chance and all the while remaining fresh and energetic. No slap dash guitar trio mess here. No deep lyrics, but hey that's not what this music is about. This is as good as this genre of music gets. Do yourself a favor and pick up a copy. - Blues Blast Magazine