Nothing Like Some Old Time Rock and Roll, Today

They’re just some good ol’ Tennessee boys, and girl, with some good old fashion Rock N’ Roll. Except not old, still good though.

In a market that is increasingly dominated by synthesizers and keytars, a guitar solo from the stunning Deanna Passarella or James himself is an eagerly awaited refresher. Todd Schlosser on drums and percussion leads a hard rock rhythm section while Josh Burns on bass shows his flexibility and versatility as he plays in-tandem with Schlosser enters the melody. Both were former band mates of James in preceding projects.

Power trio Rose Hill Drive tried their hand at the blues led American hard rock scene with some decent results. Wolfmother made their attempt as well, with a bit more success, but their flame was also short lived. Blackwater James is among the contestants now, and not without due competition.

Blackwater James often most closely resembles Guns N’ Roses with a Buckcherry feel and less botox. Christopher James, on lead vocals and guitar, has no shortage of charisma behind a microphone. He successfully balances a sound that’s unavoidably familiar, yet excitedly contemporary.

“Vol. 1.” is the follow up to their well-received self-titled debut album, which enjoyed decent radio rotation around Europe. The six-song EP does not reflect much versatility as a band but makes up for it with an easily palatable set ready for more some FM airwave play.

“Blackheart,” the lead off track and the first single released off of the album insidiously irrigates its way through the ear canal, straight into the memory banks. A contemporary blues-rock riff jump-starts the ambitiously titled album with an equally ambitious vigor. A Robert Plant-esque pre chorus “I’m ready / So ready / She’s ready / she’s so ready,” fades into the hypnotic chorus. The quickly dispensed verses lend to the draw power. Songs with less lyrical content and more repetition generally enjoy fast acceptance The trade of is usually a shorter lifeline due to overexposure.

While not a weak song by any means, “Closer to free,” pales in comparison to the two tracks it’s wedged between. That being said, it does its job well. It maintains the energy level from the previous song and sets up the listener for the skill showcase to come. Its accessibility to a wide range of listeners represents the album well and nearly crosses Journey with Lynyrd Skynyrd.

“Burn,” is a perfect centerpiece track and the best example on “Vol. 1.” of the accomplished and polished combined skill Blackwater James. The clean pound of Schlosser’s kick drum and crashing cymbals intro to “Burn” could match a Cheap Trick’s “Want You to Want Me” cover until the distorted guitar bursts into the foreground. Fierce guitar riffs and a lively solo exit with a held ring for James’ first verse. As the song progresses each instrument builds the anticipation for another instrumental breakdown and a strong culmination.

“Come On” has the edgy sound and gruff vocal attitude that should introduce the FX’s “Sons of Anarchy” any day now. They have clearly mastered the art of the hypnotic and simplified one-liner repeater chorus’ like, “Come on, come on / now move it on over / come on, come on /let’s get it started now / Come on, come on.” Whether or not you’ve ever been on a motorcycle, its difficult not to imagine yourself on Route 66 with this song cranked up.

Blackwater James sound fully capable of captivating any bar scene, but the impressive level of continuity throughout and craftsmanship of each tracks production spell a much larger stage in their future. Bands like Alberta Cross will be battling for rock’s spotlight and the only thing that will set a band like these two apart from their burnout predecessors will be proliferation and longevity.