The album opens in fine style, with the jaunty Original Black Eyed Son which is a future Quireboys classic in the making. From McCluskey's drum intro, through Weir's diverse keyboard work, to Spike's soulful chorus - the song is packed full of everything that makes The Quireboys such a great band. Griffin and Guerin's guitars provide a tight rhythm, but it is Weir that really drives the piece with a mix of piano, Hammond organ, and keyboards that mimic a horn section. The verses are full of that rock 'n' roll piano that has always been a big part of the band's sound, before washes of organ dominate elsewhere to add that earthy sound the instrument does so well. This would all be for nothing without great melodies however, and luckily Spike is on hand to offer them up. The chorus is one of many memorable moments on the album, and sees him team up with Griffin and backing vocalist Katy Dann to deliver a strong chorus full of hooks. This is a song that throws everything at the listener from the off, and creates a lush soundscape that opens the album perfectly. Sinner Serenade is brasher, and full of the band's raw, in-your-face bluesy hard rock sound. Guerin's slide guitar licks throughout add some real grit to the piece, while Griffin's tough riffing forms the basis for the song - along with Ivin's muscular bass playing. After the smooth soul of the opening number, the harder rock of this song hits hard, with Spike's voice sounding rawer than ever and the guitars packed with heavy blues goodness. Not to be outdone however, Weir still makes his presence felt with subtle a piano boogie throughout that adds to that barroom feel that the band have perfected so well over the years. This feels like an old-school Quireboys number, and is sure to be a fun one to hear live. Seven Deadly Sins slows things down a little and introduces a strong mid-paced rock groove from the off, with Ivin's bass taking control of the pace while the two guitars add spiky rhythms around him. While not a funk piece, the prominent bass helps to add a little bit of a funk feeling which is only helped by Weir's keyboards once again mirroring a horn section - especially during the chorus. Speaking of the chorus, it is another catchy moment with some really strutting vocals from Spike with the soulful female backing vocals adding to the overall atmosphere. The band have been writing lots of songs like this in recent years, and I feel it will become a real favourite of the fanbase going forward. The album's title track is a little rawer, with a strong shuffle beat from McCluskey driving the song forward and a dominating Hammond organ showing from Weir. As a result the guitars are a mixed into the background somewhat, but occasionally cut through the keyboards to add a little bluesy riff here and there - but mostly they provide a strong backing for the dominant vocals and keyboards. Things take a slight turn towards country during the choruses, which have a somewhat laid back, summery vibe which works really well in the context of the song. This is not an overly raucous song, but it is still packed full of the band's trademark attitude. A guitar solo sees the band cut loose a little, which creates a great contrast in moods when they move into a final reprise of the confident chorus.
Eve of the Summertime is the first ballad of the album, and is based around big acoustic guitar chords; with some delicate bluesy licks throughout to add some colour. The band have always written great ballads, and this is another strong one to add to their considerable collection. Over the past couple of weeks, this is one of the songs that has grown on me the most and has moved it towards being one of the best here. Spike's voice is not quite as powerful as it used to be, and it is songs like this that really showcase him at his best these days. His lyrical style also really suits songs like this too, and unsurprisingly he is the star of the show. The subtle instrumentation is mostly just a backing for his storytelling, and his wistful crooning sounds as good here as it ever has. If this song does not find a home in the band's unplugged sets going forward I will be very surprised, as it would certainly be a perfect fit. California Blues turns things up to eleven again, and showcases the tough blues sound that the band channelled on 2016's Twisted Love as well as on their blues covers album. The guitar tones here are raw, with Weir's organic keyboards rolling back the years to a time when music such as this was the norm. In some ways, this feels a bit like a modern version of Whippin' Boy from their debut album, with the darker undertones mixed in with the band's rogue-ish rock 'n' roll. The chorus sees some real throat-ripping vocals from Spike, before an instrumental section that is based around dense keyboard textures and brash guitar riffing helps to entrench the heavier feel of the piece. This Is It is another more whimsical piece, something which the band have become masters of in recent years. Folky overtones thanks of Sam Barrett's fiddle add a subtle edge to the piece, but mostly this song is all about a big wall of acoustic guitars and some excellent keyboard work from Weir. Throughout the album he moves between piano and organ effortlessly, and that is no different here as both sounds make their mark on the song. He even gets the chance to lay down an organ solo part-way through the song, which certainly makes a chance from the band's usual guitar solos. A soulful Spike vocal ties everything together, with his voice oozing the class that the band's fans have come to expect over the years. Feels Like a Long Time is a little rockier, but is still satisfied to lay back on a strong groove and create a bit of a relaxing vibe despite some tougher bluesier guitars. The standout performer here for me however is Ivin, who's bass playing really drives the whole song. His playing is quite high in the mix here, and it is his snaking riffing that really keeps the whole song on track. I have seen him live with the band a few times over the past couple of years now, and I have always been impressed with his fluid playing. That style is perfectly on display here, and it is his grooves that really make this song what it is. It allows everyone else to add in the flourishes that they do, and create a song full of layers.
Slave #1 toughens things up again, and sounds a bit like a distant cousin to Chain Smokin' from Beautiful Curse. From an acoustic-dominated intro, the piece explodes into a rough blues rocker with some the album's most-raw riffing, with Weir's Hammond organ once again driving the piece forward at times with it's cranking sound. The chorus feels a little more lush however, with plenty of backing vocals to harmonise with Spike's raw delivery and layers of keyboards to add a halo of melody. This does change the vibe of the piece a little, but for the most part this is one of the album's toughest songs. It is great to hear Griffin, Guerin, and Ivin cranking out riff after riff here as they really help to make the song what it is. There are catchier songs here, but as example of the band at their bluesiest it is a strong effort. Dancing in Paris is the album's final ballad, and it is probably the best one here. Weir's piano once again has a prominent role, while the two guitarists sit back on their acoustics to strum out the rhythm in a laid back fashion. Spike turns in a strong performance throughout the album, but it is perhaps this song where he shines the brightest. I really like his lyrics here, and the mournful way he delivers them is truly perfect for the piece. Barrett's fiddle once again makes an appearance here, and his small additions to really add to the overall mood. Fiddles can sound mournful when played in a certain way and, coupled with Spike's vocals, it really helps to add to the song's overall mood. It is only right that the album comes to a somewhat tougher close, and the final song here Medusa, My Girl is a bluesier piece that builds up around a shuffling drum pattern and some really raw vocals. Fiddle melodies add something different to the song when required, but mostly it is Griffin and Guerin's guitar playing that lays the real foundations here. Their tight grooves lay the entire backbone for the piece, but the duo are quick to turn to their acoustics when the mood takes them. Part-way through the song the instruments all drop out, and Spike is left crooning atop a dark-sounding acoustic backing that has a slight gothic tinge to it. I am not sure the band have ever done something like that before, and it is such an effective little moment that really brings the song to life. Spike sounds fantastic here, and it makes the final portion of the song - which moves back into the shuffling drum pattern and tight riffing - all the more powerful. It ends the album on a real high, and shows the band trying something a little different within their established sound. Overall, Amazing Disgrace is another strong album from the band that fits in perfectly with the other albums that they have released recently. This recent run of creativity from the band has been a joy to follow, and this album is another step along that road that sees the band as one of the most prolific and active in the country at the moment.
The album was released on 5th April 2019 via Off Yer Rocka Recordings. Below is the band's official lyric video for Seven Deadly Sins.
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