King King's 'Maverick' - Album Review

Despite becoming aware of the British blues rock group King King in 2016 when they supported Thunder at the Wembley Arena in London, and also having seen them twice more by default in 2018, it was not until last year that I became a proper fan of the band. Those who know me will know that blues is not my favourite genre of music, but over the last couple of years I feel that my appreciation of the genre has grown. In fairness to me, most of the blues that I have been exposed to over the years, at least live, is what I call 'Man in Pub Blues' - i.e. third-tier bands that play for 20 people in the local pub on a Friday night, or play on the smaller stages of the smaller rock festivals. King King are certainly not 'Man in Pub Blues' however, although it certainly took me long enough to realise this. I remember somewhat enjoying their set opening for Thunder - but it was possibly the two 2018 shows that opened my eyes further. The second of the two, which was when I saw the band open for Europe in Cardiff, was a particularly impressive performance - and the band certainly made a few new fans for themselves at the St. David's Hall that night. Since then, my appreciation for the band has only grown. I now have nearly all of the band's albums, and I have become quite familiar with their back catalogue and unique, diverse sound. To me, the band sound like a mix of the more overtly-melodic end of Free, Bad Company, and Joe Bonamassa's more soulful output. There are even the occasional hints of 1990s Toto (when Steve Lukather fronted the band) and the smooth grooves of the Atlanta Rhythm Section to be found too. King King are certainly a blues band at heart, but there is a strong melodic side to their songwriting that makes each cut stand out - as well as the occasional twist and turn to keep things interesting. Fronted by Alan Nimmo since the band's 2008 genesis, King King have gone through a number of changes over the years. Nimmo has always been the band's main songwriter and focal point, but a few other great musicians have contributed a lot to the band over the years. 2019 saw a rather large shake-up in the band's line-up - and last month saw the release of their fifth album Maverick, their first since 2017's Exile & Grace, which features almost an entirely different band to its predecessor. Gone are founding bassist Lindsay Coulson, keyboardist Bob Fridzema, and drummer Wayne Proctor; and in are Zander Greenshields, Jonny Dyke, and Andrew Scott in their places. Dyke is slightly less of a new face, as he has been playing with the band since at least 2018, but the other two are still relative newbies - especially considering that the band's touring opportunities have been curtailed of late. These four musicians form the core of Maverick, but there are also lyrical and backing vocal contributions from Alan's brother Stevie. He has also joined the band as a second guitarist since the album was recorded, bringing the band up to a five-piece for the first time in their history.

Despite the big line-up change, Maverick more or less picks up exactly where Exile & Grace left off three years ago. King King have a clearly defined sound at this point, and with Nimmo at the helm and directing traffic the band are not likely to divert too far from it. The opening cut Never Give In is testament to this, and the riffier number follows in the footsteps of the band's previous harder rocking tracks. The Bad Company vibes are extremely prevalent here, and I have often thought that Nimmo was the 21st Century's answer to Paul Rodgers. He is a fantastic singer as well as a great guitarist, and he is truly the star of the band. Never Give In really showcases this, with a strident verse based around a simple riff - before a smooth chorus packed full of subtle harmonies brings the best out of him vocally. Despite Nimmo getting, and deserving, most of the plaudits here - Dyke should also receive a lot of credit for his keyboard performance throughout the album. Keyboards have always been a big part of the band's sound, but his style seems to really dominate here - and the keyboards on this album are possibly the best on a King King album yet. Fire in My Soul really showcases this in my opinion, as the opening riff sees Dyke and Nimmo join forces for a punchy keyboard/guitar combo that brings early Deep Purple to mind, before anthemic piano rhythms provide a backing for the nimble verses. Piano and Hammond organ are put to great use throughout the album, and Dyke seems to be the perfect foil for Nimmo - his ever-present keyboard wizardry complimenting both the guitars and vocals. The song is one of my favourites on the album partly for this reason, but also because of the energy that it creates. The band are never truly heavy or fast-paced, but this is one of their songs that comes the closet to such a description - with a stadium rock feel present throughout the big chorus, and a ripping guitar solo that is packed full of bluesy venom. Songs like Whatever it Takes to Survive perhaps showcase King King's core sound at its best however. Songs like Rush Hour and A Long History of Love are some of the band's best-loved tracks for a reason, and Whatever it Takes to Survive sounds like a natural successor to those tunes - although with a slightly more compact feel. The song does not extend on quite as much as those two songs do, but it is felt that when the band play the song live they are likely to bolster it out with longer guitar and keyboard solos - and it is likely to become another real fan favourite. It perfectly showcases the band's soulful side, and the chorus is one that really sticks in the head thanks to Nimmo's fantastic vocal delivery; as well as the Hammond backing from Dyke that perfectly compliments it. This is only aped by the fantastic guitar solo that comes towards the end of the song, and it helps to elevate the cut to one of the album's best.

I Will Not Fall is a little funkier, and showcases the occasional twists and turns that the band sometimes like to take - and that Toto influence that I occasionally hear in their sound. The song is a real showcase for both Dyke and Greenshields - the former's electric piano riff driving the whole track, while the latter's busy bassline provides a counter-groove to Dyke's boogie. It seems strange to have a King King track where Nimmo's guitar takes something of a backseat, but it works well and it allows the rest of the new line-up of the band to really shine. The guitars largely just provide meaty rhythms here, but Nimmo still gets to shine vocally - and he seems to relish singing atop the grooves caused by the rest of the band. A lyrical guitar solo however reminds us that this is indeed a King King song, but for me this is a song that is much more about the grooves and the tightness of the band than any individual virtuosity. While Whatever it Takes to Survive was more slow-paced and expansive, By Your Side is more of a true ballad - and it opens with Nimmo singing atop Dyke's piano. The first verse and chorus of the song maintains this stripped-back vibe, and it works really well in my opinion. King King are a band that usually have quite a big sound, with walls of keyboards and lots of solos, but they also operate well in this more reflective mode. The guitars, bass, and drums do join in from the second verse onward; but the song still remains fairly low-key. It never really explodes into a big-sounding number, but for me that is the right choice. There are lots of songs here that do have a big sound, so focusing more on simple arrangements and heartfelt vocals here was certainly the right choice - although the short, cutting guitar solo is still a welcome addition. One World has more of the band's Bad Company influence on display, although a little of the funky groove that made I Will Not Fall so enjoyable are also present here. They are not as prominent this time around, but Dyke's electronic piano during the verses helps to showcase that vibe a little; but the rest of the song is much meatier with big guitar chords and lashings of warm Hammond. In many ways, One World showcases the band's core sound perfectly. It is simply a strong slab of blues rock that sees the whole band pulling in the same direction - with a catchy chorus to top it all off. Everything Will Be Alright is an upbeat, yet laid back, rocker that is filled with positive energy and joyous melodies. The verses are a little stripped back, with Greenshields' prominent bassline creating a strong groove, but the choruses are packed with the band's trademark big sound. Dyke's busy piano playing really boosts the choruses with his barroom style; while big vocal harmonies and feel-good lyrics bring the best out of Nimmo. Even the song's excellent guitar solo has a jaunty feel to it, and it helps to keep the song's upbeat vibe present throughout its entire duration.

When My Winter Comes is another ballad, but it is even more stripped back than By Your Side. The song is a collaboration between Nimmo and Dyke - the former providing his soulful vocals, while the latter lays down some emotive piano lines. Songs of this nature often grow in size, with additional instrumentation being added throughout its length, but When My Winter Comes is a very low-key number - and it could be the most sparse that the band have ever sounded. With the exception of a few vocal harmonies added to the choruses, this song could have been recorded by Nimmo and Dyke in one take - with the piano and the vocals being its only ingredients. While I love the band going all out with their big blues rock sound, occasional moments such as this are always welcome - and this song really showcases how great a singer Nimmo is. Dance Together gets back to the band's core sound however, and also has something of an upbeat sound similar to Everything Will Be Alright. It is possibly not quite so joyous as that song, but there are still plenty of infectious grooves and melodies to be found here. Greenshields' bass once again really dominates the verses, but elsewhere it is Dyke's Hammond that fills the speakers. The song is not quite as catchy as Everything Will Be Alright however, but there is still lots to enjoy here. The guitar solo is another standout moment, its slightly thin sound helping it to stand out from the crowd. The album comes to a close with End of the Line, another highlight in my opinion that mixes the band's core sound with some of those aforementioned Toto vibes for a big sounding ending moment. The verses are quite groovy, with a playful guitar lick driving them, but the choruses are pure King King with all-enveloping Hammond and plenty of soulful vocal harmonies. In many ways, the song is one that brings together many of the ideas that are present throughout the album into one cohesive whole. The guitar licks throughout are similar to some of the funky vibes used elsewhere, while the band's core sound sounds as good as ever. It also contains possibly the album's best and longest guitar solo - with Nimmo really stretching out with lots of bluesy phrases and emotional moments that showcase what a great player he is. The song is a great closing number as a result, and it is another real highlight on an album that is filled with them. Overall, Maverick is another very memorable album from King King and one that showcases the new line-up in a great light. While this album and Exile & Grace have somewhat consolidated and streamlined the band's sound; as they do not feature the band stretching out as much as they used to; the compact arrangements really allow their best features to shine. This is an album that is extremely easy to listen to at any time, and those who love soulful and bluesy rock ought to check it out.

The album was released on 27th November 2020 via Channel 9 Music. Below is the band's promotional video for Never Give In.