To many artists, whom I have reviewed over the years, I am linked by a digital acquaintance that I can call friendship.
The Georgia Thunderbolts, from Rome, Georgia, are special for two reasons: I reviewed them (almost) first when at the beginning of 2020 they were still a local band.
Secondly because in all this time I have become friends with the leader and frontman T.J. Lyle and two years ago, during their European tour supporting Black Stone Cherry, I was able to meet him and hug him to seal a “true” friendship.
However, the preamble should not distract you from the value of this second official album for Mascot: Rise Above It All (third if we count the self-titled EP released in 2020).
In theory, in my opinion, it would be right to talk about a fourth album since in 2019 they self-produced Southern Rock From Rome, which is the album I told you I discovered at the beginning of 2020.
The beautiful cover guides you through 13 songs of southern rock immersed in the swamps of the South and today confirms the band of T.J. Lyle (vocals, piano and acoustic guitar), Riley Couzzourt (lead guitar, slide and dobro), Logan Tolbert (rhythm guitar, lead and slide), Zach Everett (bass) and Bristol Perry (drums), one of the most talented and respected realities of this genre.
They have toured with Blackberry Smoke, Molly Hatchet, The Outlaws, Steel Woods and many others and together with these bands they hold high the flag of this genre born right in their parts now 50 years ago and survived the trends and attempts to water it down in the mainstream.
Are you a lover of true southern and want proof? No sooner said than done: press play and let Gonna Shine transport you to the streets of Georgia.
Fat guitars, groove and melody and then that voice that shakes your soul. One of the most beautiful southern songs of recent years.
Rock and Roll Record is a little gem: piano and a dutiful reference to the history of rock music. T.J.’s voice is one of the most powerful and intense that have ever been heard in recent years and in this powerful and emotional piece, it is a true timeless beauty.
“Let’s rise above it all” and admire the guitars that scratch the air with riffs that take no prisoners in the title track that immerses the southern in something that is very similar to what bands like Molly Hatchet did.
You take a trip almost into hard rock with a grunge t-shirt to show off proudly.
The following Moonlight Play slows down the speed: an intense rock ballad that reminded me a lot of Bad Company. The work of Couzzourt and Tolbert on guitars is pure talent. at ease both speeding at 90mph and enjoying the view slowing down with the wind on their face.
A splash of blues from the past emerges in the riff of Ain’t Got Money, a cadenced rhythm and a voice that has never ceased to amaze.
The rhythm of Perry and Everett envelops us and takes us by the hand in this “sticky” journey through the swamps of Southern blues rock.
The freshness and vitality of the ballad Wait and the acoustic intensity of the subsequent Crawling My Way Back To You, are the most reflective moment of the album where T.J. Lyle gives the best of himself, as in the beautiful social live broadcasts that have gone around the world: a complete artist and multi-instrumentalist, a heritage of quality independent music.
Break is over and we understand it from the irruption of Bristol Perry‘s drums: She’s Gonna Get It is a whizzing of guitars and a devilish rhythm, almost 90s hard rock, so much talent.
The solos are mouth-watering and the rhythm is enough to make the walls shake.
Little Jim is always guitars and riffs, but more bluesy, more swampy, more intense.
All seasoned with singing bordering on perfection.
The cover of Ain’t Easy (Ron Davies, whose most famous version was recorded by David Bowie in 1972) is the most disconcerting song on the album, but of unique beauty.
I had never heard of southern rock dancing to the rhythm of reggae, but it is really exciting. Here, I found the right adjective!
Everett‘s bass introduces Stand Up and leads us with his rhythmic talent through guitar riffs between rock and blues, with solos of absolute quality.
I won’t make comparisons, but this piece reminded me a lot of when Jimmy Page played live with the Black Crowes and soaked his guitar in the swamps of southern rock.
Whiskey Talkin’ is here to demonstrate that these guys grew up on bread and quality southern music and have fully assimilated the lesson of Lynyrd Skynyrd.
The album closes with Pricetag‘s fat guitars: rhythm that hammers under Lyle‘s voice that digs into the soul.
Power and melody fused as if they were one thing and then the final solos to put the seal of quality on a song of devastating emotional power.
The guys from Rome give us an exciting, powerful album, full of guitars and melody, pounding rhythm and solos that burn the speakers, which not only confirms all the good things we had heard in their early works, but goes beyond.
Today they are a sure reference for southern rock and among so many bands of value, in my opinion, they emerge as one of the most original and talented.
Passion, perseverance and commitment, combined with talent, are bearing the fruits that when I first listened to Southern Rock From Rome, I had predicted for T.J., Brandon, Logan, Zach and Riley.
Enjoy,
Trex.
