Snake Oil & Harmony's 'Hurricane Riders' - Album Review

As anyone who has ever read an article on this blog can probably attest to, I am a hard rock and metal guy. Most of the music I listen to is loud, full of big guitars and drums, and often quite energetic. There are exceptions of course but, on the whole, it is rock and metal music that is often pouring out of my stereo system or my iPod headphones. Therefore, acoustic-based music does not too often cross over into my sphere of understanding - and when it does it is often because rock or metal musicians are somehow involved. I find the 'singer-songwriter' genre, if that is indeed even an appropriate description for the type of music that I am referring to (simple, lyrically-driven songs that are often delivered by earnest solo artists with messages to share), quite dull - but, of course, there are exceptions. I admire a lot of Bruce Springsteen's more acoustic-based work for example, despite preferring hearing the E Street Band at full tilt, and there are lot of acoustic sessions that I have heard over the years from rock bands that I have enjoyed. It is in this mindset that I have approached Hurricane Riders, the debut album from Snake Oil & Harmony. Snake Oil & Harmony is a duo that has been a touring-only entity for a few years now, and is made up of Danny Vaughn (Tyketto) and Dan Reed (Dan Reed Network) - both of whom I am big fans of. While I have been aware of the pair's tours over the past few years, unfortunately I have never been able to make one of their shows. The reviews that I have read have always been excellent however, with the pair performing acoustic versions of Tyketto and Dan Reed Network tracks as well as songs from their respective solo albums and various covers. The shows always sound like relaxing, fun evenings out; but it seems that the pair wanted to take their relationship further and started to write together. Both Vaughn and Reed are busy guys, who are both active with their respective bands alongside their solo commitments, but the chemistry between the two, they thought, seemed too good to go to waste. Despite being big fans of both, Hurricane Riders is my first real exposure to Snake Oil & Harmony. As I mentioned previously I have not had the opportunity to see the pair live yet, and I do not remember ever seeing any footage of the shows online. I approached the album a little apprehensively due to my general aversion to solely acoustic-based music - but I have been enjoying Hurricane Riders a lot over the past month or so. While the songs are largely acoustic-based, the pair have 'bigged up' the production for the album. Keyboards from Reed, bass from Bengt Jonasson, and drums from Robert Ikiz join the pair's guitars and vocals, which help to add depth to the songs, but in truth it is the basic elements of the tracks that shine the strongest. Both Vaughn and Reed are excellent singers, and their voices often meld together perfectly throughout the album's ten songs to really bring their stories to life - and to present something that is often very different from both Tyketto and the Dan Reed Network.

Hurricane Riders covers quite a few different moods throughout its ten songs, but the opening track, The Lines are Open, is a fairly upbeat number that has shades of Tyketto's gentler numbers. A simple drum beat and a jaunty acoustic guitar riff drive the song - while Vaughn takes the lead vocally. While both Vaughn and Reed share the vocals throughout the album, most songs are somewhat dominated by one or the other. This opening track is largely Vaughn's territory, although Reed's smokey harmonies really help to add depth. Both Vaughn and Reed are no strangers to acoustic-based music, with their respective solo careers often being dominated by it, so it is unsurprising that this album feels so natural for both men. Vaughn's voice and use of melody are instantly recognisable, and the way he tackles the song's chorus is really reminiscent of the work he has done throughout his career - with the melodies sounding like a modern Tyketto ballad wrapped up in a slightly jaunty blues shroud. This vibe is cemented towards the end of the piece when Vaughn adds some harmonica lines that fit perfectly and provide a contrast to the catchy vocals. Last Man Standing is a bit more sombre, although Ikiz's drum patterns still keep the song moving. Vaughn takes the lead vocally again, but Reed's gorgeous harmonies should not be understated. Reed has an extremely distinct voice, with a slightly strange tone that is all his own, and he mixes well with Vaughn's country-esque delivery throughout. Big acoustic guitar patterns, with the subtlest of piano beneath, form the basis of the song. This vibe never really changes throughout at all, with both the verses and choruses sticking to largely the same template - with the main difference being the vocal delivery, which gets fuller throughout the catchy choruses. A short, piano-driven instrumental section comes towards the end of the song before the final chorus which allows Reed to shine somewhat as a musician. I think it is easy to forget that he is a genuine multi-instrumentalist who can turn his hand to a great many things - but this album allows him to demonstrate that talent throughout. Aberfan is a Reed-led track, and it is great to hear him in the spotlight after the opening songs focused largely on Vaughn. This is much more of an atmospheric track than the opening two numbers, with swirling keyboard arrangements and some mournful violin lines, courtesy of Elizabeth Prendergast, adding emotion depth. The guitars are still present, but they instead provide more of a rhythmic chug underneath the atmospherics which really helps the song to stand out. Jonasson's bass is also quite prominent, with the occasional low melody cutting through the mix to compliment the violin and stark piano chimes. Vocally, the song is quite downbeat too with Reed's hushed vocals sitting just atop everything else - his smokey delivery perfectly carrying the overall vibe of the song, which is fitting given the sombre subject matter.

Dance in the Heart of the Sun is a bit more upbeat, with a catchy acoustic guitar melody driving much of the track while Vaughn's country-esque vocal delivery fits in with the overall feel-good vibe. Vaughn spent a number of years singing with an Eagles tribute band, and the type of vocal style that he used during those gigs is put to good use here - with Reed's occasional subtle harmonies also contributing to that Eagles-esque sound. While not exactly a high-energy song, there is a real upbeat and hopeful nature found throughout. It is music made to be listened to while relaxing on a warm summer day - with Vaughn's gorgeous vocal melodies and Reed's piano coming together for that sun-drenched country rock feeling. Another Reason sees Reed dominate again. It is interesting that the songs that are more dominated by Reed are much more atmospheric and low key than those which Vaughn takes the lead on. It helps the album to feel dynamic and varied despite the fairly low-key nature of all of the songs here, and allows each man to shine appropriately in their chosen style. Jonasson's bass is once again quite prominent, with his playing providing much more melody than your average rock bass performance. His playing is actually what the song hangs off, with the guitars once again taking on more of a supporting role to atmospherics, Reed's piano, and the bass. It is a relatively dark-sounding song in the context of the album, but it works well and allows a different side of the pair's songwriting to shine. Damned If You Do is filled with subtle lap steel swells from Stephen Barlow, which form an atmospheric backing to what is otherwise an upbeat bit of country rock. Ikiz's drumming keeps the song moving along at a fairly brisk pace, while Vaughn takes the lead vocally alongside his jaunty acoustic guitar chords. Many of the songs on the album are memorable, but on the whole this is an album that takes a few listens to really get the hang of. Damned If You Do was one of the songs that stood out to me on first listen however, with the catchy chorus being one of the album's most instantly-memorable moments. Vaughn and Reed sing it in a call-and-response style that works well; and is a style that is surprisingly not used too often throughout the album. Where the Water Goes is a rare song from the pair that actually sees the vocals more evenly shared out. Most of the songs here seem to largely feature either Vaughn or Reed dominating vocally with the other providing harmonies - but this song sees them sing around half of the song each. Vaughn takes the early parts of the song, while Reed takes over later on - with the pair stepping up to handle the atmospheric murk of the piece perfectly. Dark, bluesy guitar melodies are used throughout to add to the overall atmosphere, while Reed's big piano chords are mixed into the background to provide almost a percussive drive that sits nicely alongside a programmed drum loop.

Cannonball opens with some distant harmonica from Vaughn before Barlow's lap steel comes in and Vaughn starts singing along with his acoustic guitar. The Eagles vibes are extremely strong throughout this song, and I almost feel that I am listening to a long-lost Glenn Frey composition that the pair somehow unearthed. I saw Vaughn with his Eagles tribute band a couple of times live at festivals and he was a great fit, and he has clearly brought some of those musical motifs with him into his songwriting. This song is filled with country rock goodness, with the lap steel swells constantly adding to that vibe - before Vaughn's harmonica solo towards the end adds some mournful notes into what is largely otherwise a fairly upbeat and whimsical number. Save the Day is the last original song on the album, and is another showcase for Reed and his unique way of singing. I am not that familiar with Reed's solo work despite being a big Network fan, so I feel that I need to expand my knowledge of his back catalogue after hearing this album. His more acoustic-based material is extremely relaxing while at the same time being quite deep musically. There always seems to be a fair amount going on within his songs. Even this song, which is more upbeat that many of his efforts on this album, has a lot of depth to it. Bluesy guitar melodies are used throughout to add to the mood, while synths and old-school sounding organs fill every gap with their big, shimming sounds. Despite being more upbeat, with a strong acoustic guitar presence, the song is still filled with Reed's atmospheric trademarks - and it makes for another strong number. The album comes to a close with a rendition of Craig Carothers' Little Hercules which the duo do a fantastic rendition of. It is one of the only true duets on the album, with Vaughn and Reed trading lines during the verses before coming together for the melodic, yet dense, chorus. Much of the album is fairly upbeat, but this track has more in common with the Reed-led songs than Vaughn's. It might seem strange for the album to end on a bit of a low-key note, but I actually think it works really well. I was not familiar with the song before hearing this version, but it has become one of my favourites on the album already. There are no truly weak songs here however, but there is just something about the haunting nature of the melodies that really sticks with me. Being able to make haunting and dense melodies extremely catchy is a hard thing to achieve, so Vaughn and Reed must be congratulated for their arrangement of the track to make it fit well within the style of the overall album and for making it such a strong closing moment. Overall, Hurricane Riders is a really strong collection of songs from two songwriters who I have a lot of respect for. Whether Snake Oil & Harmony is to be a long-term project for the pair remains to be seen, but the two have clearly already struck up a good songwriting partnership and understanding, so I would love to hear more from this duo going forward.

The album was released on 28th February 2020 via Zero One Entertainment. Below is the pair's promotional video for Last Man Standing.