If you’re looking for ‘high brow’ and a social conscience, then a band whose debut album was titled ‘Full Blast Fuckery’ and numbered the delightfully titled ‘College Gang Bang’ and ‘Viking Pussies Fuck Off’ amongst it’s tracks, probably isn’t what you are looking for.
If, however, you want to leave cerebral behind and just have a bit of fun, then Wilson’s latest offering, ‘Right To Rise’ will more than likely float your boat.
Pitching-in somewhere roughly between Maylene & The Sons of Disaster and Black Stone Cherry, this is an album that evokes images of dingy, US roadhouse bars, filled with beer swilling bikers and denim hotpants-wearing, Daisy Duke style barmaids.
Kicking off with the album’s title track, things build nicely and by track 3, ‘Crave’, we are in full swing. Dripping with melody, heavy riffage reminiscent of Mötley Crüe’s Dr Feelgood gives way to an absolutely sublime chorus, guaranteed to have middle-aged metal Dads in their cars and live audiences singing along with equal gusto.
Follow-on tracks ‘Windows Down’ (that car again!) and ‘All My Friends’ absolutely swagger along on groove laden riffs and we are by now, in full-on party mode in the redneck bar.
And then, disapointingly, it goes a bit, well, lame really. At least for the next couple of songs. ‘Satisfy Me’ and ‘The Flood’ can only be described as ‘meh’, full of the clichéd radio-friendly twaddle usually found on a Nickelback release.
The party starts up again with ‘Hang With the Devil’, another Southern groover, complete with Chuck Leavell-style keys, which sets the tone for the remainder of the album, a canter through a Smorgasbord of bluesy, almost Southern (they’re from Detroit, so don’t qualify!) metal riffs and decent, melodic hooks which, whilst making you want to wash it down with a beer or five, never actually reaches the heights the first five tracks on the album alluded to.
Closing track, ‘Before I Burn’, saves the angriest-sounding vocal performance on the album until last and is in itself another good, competent tune with a nicely atmospheric mid-section, but it ultimately just doesn’t quite ‘get there’, in the way the first few tracks on the album did.
Overall, this is a solid, but ultimately unspectacular album. A few cracking tunes, some great riffs, and at times the swagger of a Kentucky rancher full of bourbon, it’s fun and it’s worth a listen, but don’t expect it to be winning many ‘album of the year’ accolades.