Black Stone Cherry's 'Family Tree' - Album Review

Ever since signing to the Mascot Label Group in 2015, the Kentucky-based southern rock band Black Stone Cherry have found their mojo again. The band had been with the giant rock and metal label Roadrunner since the very early days of their career, but their sound was stagnating under what seemed to be a push from the Roadrunner to commercialise their sound. 2006's self-titled debut album and its follow-up, 2008's Folklore and Superstition, were two of the best southern rock albums for years and they helped to bring the genre kicking and screaming into the modern day with anthemic songwriting, dirty blues riffs, and soulful vocals that often told relatable stories. With these two albums Black Stone Cherry brought the sounds of bands like Lynyrd Skynyrd, Blackfoot, and Molly Hatchet to a whole new generation of rock fans; and mixed it with some of the 1990s post-grunge toughness of Creed. It was these albums that made Black Stone Cherry such an exciting prospect to the young classic rock fan I was back in the late 2000s, and they were both played regularly on my iPod. 2011's Between the Devil & the Deep Blue Sea was an enjoyable album full of catchy songs, but the cracks were beginning to show. Folklore and Superstition had its share of ballads, but Between the Devil & the Deep Blue Sea seemed to really focus on them. This, coupled with some natty singles that were more Nickelback than The Allman Brothers Band, was the start of the band's decline for me and 2014's Magic Mountain (which I reviewed here) saw the band slide further down the slope of record company pressure with a fairly average collection of songs that added little to the band's legacy. I enjoyed Magic Mountain initially, as can be seen from my review from the time, but looking back it saw the band caught between wanting to headline arenas (which they ironically did here in the UK during the Magic Mountain tour) and wanting to write honest songs. The split with Roadrunner was inevitable, and the smaller label Mascot Records seem to have given Black Stone Cherry a free hand to just be themselves. 2016's Kentucky (which I reviewed here) was easily the band's best album since Folklore and Superstition and saw them once again churning out dirty southern rock riffs that befitted their core sound. An EP of blues covers last year allowed the band to have some fun with some of their favourite blues classics, but it is the band's sixth studio album which was released last month that really interests me. Family Tree is the band's second full length effort wit Mascot, and it builds on the good work the band re-established on Kentucky. While not exactly adding anything new to their sound, Family Tree sees Black Stone Cherry once again turning in a soulful collection of hard rocking southern anthems that are befitting their history. This is a totally self-produced effort that seems to have involved as few outside influences as possible. The band's frontman Chris Robertson mixed the album, and bassist Jon Lawhon designed and produced all of the artwork - which shows that Black Stone Cherry have really gone back to basics here and made exactly the album that they wanted to make.

The album opens up with Bad Habit, one of the album's lead singles and the type of boogie-laden track fans have come to expect from Black Stone Cherry. A groove-filled rock riff drives the song, while Lawhon's bass dominates the verses with a snaking melody. Southern rock is all about the groove, and this song has it in spades as Robertson and fellow guitarist Ben Wells lock in together for a riff that is worthy of one of Blackfoot's best albums, before Robertson lays down a bleeding solo after the song's midpoint. Bad Habit is the sort of song that really sets out the band's stall early, and should prepare the listener for what else is to follow. Burnin' opens out with a heavier riff, more reminiscent of the more basic compositions found on Magic Mountain, but with some sharp lead guitar atop it to ensure it takes hold. The verses are a big of a chug, with the bass once again highly placed in the mix, before the lighter choruses provide a strong hook. Robertson's southern voice is always packed full of character, and he ensures the chorus here soars. It is songs like this that show the 1990s post-grunge influences are still very much a part of Black Stone Cherry's sound, but when used effectively - as they have been here - they can prove to be an asset rather than a drawback. New Kinda Feelin' is packed with boogie, and features driving piano melodies mixed into the background of the song courtesy of session player Kevin McKendree. Most southern rock bands make good use of keyboards, but Black Stone Cherry have only ever used them sparingly. While the band's riffing still dominates the song, the barroom piano style helps to add another dimension to the piece. As a result the song has a dirty blues feel to it, packed full of stomp, that is sure to go down well if the band ever choose to play it live. Despite a slow-burning percussion-filled intro, Carry Me On Down the Road soon opens up with a strong riff that forces its way out of the speakers with raw southern power. Despite this however, the song is not really a driving rocker and instead seems to channel some country influences with fast-picked guitar melodies during the chorus and a lighter overall tone. This is not the twee country rock that fills American football stadiums however, but a powerful brand that is packed full of blues and southern attitude. While not exactly something totally new for Black Stone Cherry, it still feels like something different to their usual sound which helps to keep things interesting.

There are not a lot of ballads to be found on Family Tree, but My Last Breath is one of the offerings here that matches that description the closest. The song opens with organ melodies, which Robertson soon delivers the lyrics atop in his signature soulful fashion. After the first chorus the rest of the band joins in with a burst of slide guitar and a methodical, percussive rhythm. The organ continues to be a big part of the sound however, and still drives everything despite the rest of the instrumentation that gets introduced. A horn section and gospel-esque singers are added to the mix the further song moves along to create an even bigger sound. While Black Stone Cherry are at their best when they are rocking out, songs like this to create a change of pace are always welcome. Southern Fried Friday Night is a riff driven rocker, and feels a bit like a spiritual sequel to White Trash Millionaire. The main riff is led by some talkbox leads, and the chorus is one of the album's catchiest. In my opinion, this is the sort of the song that Black Stone Cherry excel at an they always seem to be able to whip up a party atmosphere with their huge grooves and anthemic choruses. The song is sure to become a live staple for years to come, and crowds will love moving to the big riff as it blasts from the speakers. Dancin' in the Rain is a powerful piece of blues rock that features the talents of Warren Haynes (The Allman Brothers Band; Gov't Mule), who contributes some additional lead guitar as well as sharing the lead vocals throughout with Robertson. Robertson takes the first verse, whereas Haynes handles the second with his slightly huskier voice. The tough style of Robertson mixes well with the bluesier drawl of Haynes for a contrasting vocal delivery. Haynes is also a great guitarist and there are moments where both him and Robertson and laying down leads and duelling with each other. As a result of the vocal contrast and the excellent guitar work throughout, this is one of my favourite pieces on the album. It feels like a real lost classic southern rock anthem, and Haynes' appearance just adds that extra sparkle to the piece. Ain't Nobody is probably the first song on the album that does not quite hit the spot. While there is quite a strong chorus to be found, as well as some occasional bursts of slide guitar, the rest of the song just does not reach the energy levels found elsewhere. The shuffling beat of the verses does not really help, as it means the song cannot reach a good speed, while elsewhere the melodies feel basic and not fully fleshed out. Those who want some real down and dirty blues however will love the grooves and melodies found in James Brown. While the poppy wordless vocal melodies that are used throughout parts of the song are a little annoying, the rest of the song is great. Songs like this make you realise just how well produced the album is. The guitar tone used for the rhythms here is huge, and it really makes the riffs stand out, especially against the poppier backdrop. The gospel-esque singers are also used throughout here which, apart from some of the aforementioned silly bits, works really well. They harmonise well with Robertson during the choruses, and add bluesy acumen elsewhere with additional vocal lines thrown in between Robertson's lines.

The bluesy feeling continues throughout You Got the Blues which feels like a real throwback to the band's earlier albums. The raw southern riffs are excellent, and John Fred Young's drums perfectly accentuate everything. I believe he is one of the best modern pure rock drummers as he has such a great sense of feel without ever over-playing - despite really letting rip at times. This big , raw production really suits his style, and allows him to hit the drums in his customary hard way while the rest of the band turn it up around him. I just love his drumming during the song's chorus, and his extended improv over the outro shows his diversity and feel perfectly. I Need a Woman slows things down a little, but not in a ballad sense. This is another big rock song, but one that just reigns it in a little and sits back on a muscular riff that dominates everything. Lawhon's bass once again gets to shine during the verses, while Robertson and Wells add little lead snippets for affect. While the melodies are not as strong here, the song is still worth listening to for the big guitar solo. Robertson takes the vast majority of the band's solos, but here it sounds like both him and Wells are trading off licks throughout which gives the instrumental break a slightly chaotic, but impressive, sound. Get Me Over You has quite a stop-start sound at times, with short guitar riffs fitting around vocal melodies and drum rolls - which is a classic southern rock trait. As a result the piece has a strong blues stomp throughout which is driven along by Young's excellent drumming. While the like the song's energy, it definitely lacks in the melody department and is not as catchy as many of the pieces here. There is an interesting tribal-esque section however which features a bit of a breakdown filled with percussion and chanting. It works quite well, and helps to add something memorable to the song. The album comes to an end with the title track, which is another favourite of mine. Much like My Last Breath, the song is one of the few here that resembles anything like a ballad but in truth it is just a great rock song as the organ-drenched main riff should tell you. The extremely melodic chorus has the feel of an epic rock ballad, but the rest of the song punches with bluesy riffing and excellent organ playing. This song is another example of the good that keyboards can add to the band's sound, and I would love to see them incorporating things like this a lot more going forward. Family Tree is a great 'ending' song. So many albums just end with a regular song, but this feels like a statement piece and closes everything out nicely. The guitar solo is great too, and sees Robertson really letting rip with a flurry of notes before attacking the song's powerful chorus one last time. Overall, Family Tree is another really strong effort from Black Stone Cherry that seems them firmly back on track again after going in the right direction with Kentucky. It is just a great collection of modern southern rock songs that sees the band back to doing what they do best and seeming invigorated.

The album was released on 20th April 2018 via Mascot Records. Below is the band's promotional video for Bad Habit.