Rival Sons Win With Grizzle & Grit On ‘Hollow Bones’ (ALBUM REVIEW)

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The Rival Sons’ fifth full-length album, Hollow Bones, is another offering from one of the very few bands that are writing and producing genuine rock and roll music today. One cannot deny the eclectic sound that the Sons produce. With their cumulative influences that range from Jazz, Soul, R&B and Rock, the Rival Sons have maintained their integrity by melding their influences and talents to ultimately forge their art on their own terms. Recording once again with two-time Grammy winning producer Dave Cobb, Jay Buchanan (vocals), Scott Holiday (guitar), Dave Beste (bass), Michael Miley (drums) and Todd E. Ogren-Brooks (keyboards), the Rival Sons have put together one of their most enticing albums to date. The band is currently supporting Black Sabbath on their final world tour. They were offered the honor after catching the ears of both Ozzy and Sharon Osbourne at the Classic Rock And Roll Honour 2014 Award Ceremony in California.

The album and its title track, “Hollow Bones, Pt. 1” are anything but – hollow. Scott Holiday, a.k.a the Fuzzlord, strikes first by throwing a low blow of a detuned and distorted riff that conjures up the gritty guitars in Beastie Boys “Sabotage” or Beck’s “Devil’s Haircut”, but with the ferocity of dueling anvils being slammed into the listener’s ears – in stereo. Jay Buchanan’s vocals are blistering and tear through the glorious din with such savage lyrics as; “This one’s gonna help you suffer. This one gonna help you bleed. It’s gonna make you cry for your mother. It’s gonna make you question your beliefs.” “Bones Pt. 1” commands attention and makes a bold statement by setting the tone for this album. The chilling “Tied Up” follows with and trippy back and forth volley of Pixies-esque loud/soft/loud transitions, that only enhance the dramatic dynamics of another devastating track. Listen to interplay of Miley’s drums and Ogren-Brooks’ psychedelic, chiming keyboard accents. It’s a magical combination when tied in with Buchanan’s vocals and Holiday’s fills and thrills.

The rock continues to roll with “Thundering Voices”. Holiday continues to think and play out of the box with a riff that sounds as if it were inspired by the soundtrack of a county fair’s arcade. Beste keeps it locked in with Holiday as Miley pounds away on the skins. The trip-heavy bridge creates a cosmic segue for additional sonic nirvana. The Sons back off from the overdrive a bit with the melodic and more straight forward trio of “Baby Boy”, “Pretty Face” and the dystopian “Fade Out” which features Buchanan’s flawless cascades of vocal bliss, concludes with a dark outro that sounds as if may just summon the next apocalypse.

A choice cover of “Black Coffee” (Ike and Tina Turner) follows to mix things up a little bit. “Coffee” was previously released as a B-Side on a Record Store Day 45 rpm.  Though covered dozens of times by the likes of Steve Marriot’s Humble Pie, and most recently Delta Deep, the Sons make this one all their own while respectfully paying homage to the original as only a great rock and roll band can do. Buchanan’s voice is as nasty as Holiday’s slide guitar and his orchestrated fills. However, the icing on the cake is the beautifully mixed background vocals that lift the chorus to another level. The outro verse, in double-time, is euphoric and it brings the song to its climax. A cigarette may be necessary after listening to this brilliant take on a classic.

The wrecking ball returns for one last grazing with “Hollow Bones, Pt. 2”. The band clearly channeled their collective physical and spiritual energy to compose this beautifully chaotic and mind-blowing track.

Bones ends with “All That I Want” and it delivers what the purist of Jay Buchanan’s fans will clamor over. This first two and one half minutes of song mesmerizes the listener with Buchanan’s angelic voice as it hovers over a subtle acoustic guitar and haunting string section, before the rhythm section and Holiday’s demure slide guitar.

Hollow Bones has grizzle and grit that is bedazzled with gems that only a band like the Rival Sons can pull off. Bones is not a polished or slick corporate production. There are rough edges, like that of a sculpture built by hand. But, that’s part of its beauty. There are no Pro Tools or studio slight of hand trickery. It’s a true rock and roll record, most likely recorded and produced like the likes of Zeppelin and the Stones must have done it. And, if you haven’t taken the time to check out this band, you’re dearly missing out.