​I’m going to share something with you right now…I love sloths. I happen to have a weakness for three-toed sloths as I find them absolutely adorable and If I could afford it I’d happily fund their conservation in Costa Rica etc…hell if it was legal in the UK I’d buy one myself and let him hang around my garden, I want a pet sloth somebody make that happen! However, while I aren’t lucky enough to get to cuddle one of these moss-covered fuzzy bastards I can in fact LISTEN to some sloths from the comfort of my own home; let me introduce you to THE SLOTHS. Formed in Los Angeles WAY back in 1964, these pioneering rockers may not have been around for long initially, but their calibre of rock ‘n’ roll has had people digging through the archives and old record collections, subsequently re-discovering The Sloths, embracing all of the nostalgia and classic charm. Very much like the animals their named after, it’s a case of better late than never I guess as slowly they’ve garnered credibility…let’s see if they can cling on over 50 years later with the vinyl re-release of “Back From The Grave”…

We open up with the track “Never Enough Girls” and immediately my mind goes in the direction of sloth ‘rape memes’ but I have to compose myself amidst images of dragons and pudding…a tinny-sounding little track, very much of its time; blues inspired rock ‘n’ roll with a slight proto-punk edge. With influences ranging from THE ROLLING STONES and CHUCK BERRY it’s very easy to see where they’re coming from, but also you can see where bands like THE RAMONES took inspiration from too. “End Of My Rope” follows up and again here we’re given more of that original blues heritage with some rich harmonica licks (Even going as far as a solo) and you can easily picture yourself sipping whiskey at a bar in Tennessee while this plays…so far so good. Speaking of solo’s we’re further treated on the tracks “Lust” which utilises an up-tempo, surfer-rock vibe allowing for a fun little piece, and also “Gotta Get Fired”, which by contrast is a slower, bass-driven, groove-heavy number which takes extra influence from the likes of THE DOORS.

The rest of the album, while subtle in its variety, does mostly retain a consistency and level of quality throughout which truth be told results in an all-around enjoyable listen…”Haunted” is thematically self-explanatory in its pained ballad approach; which somehow bridges a gap between the tenderness of ROY ORBISON and the spooky tones of THE MISFITS…”Before I Die” returns to the bands blues roots but here we’re given a slight, country / rockabilly twist, before the initial album rounds off with their most infamous track “Makin’ Love”, which during its initial release over 50 years ago was deemed too controversial for airplay on many US radio stations but is incredibly tame by today’s standards. If I’m to pick at anything really it’s the main single “One Way Out” which has a primarily spoken-word approach that reminds me of “Monster Mash” for the most part in its structure and delivery but it has a pretty weak chorus sadly. The European release does have a bonus track by the name of “I Survived” but it’s really nothing to rave about, actually the weakest sounding vocal quality on the album, sounding more like a demo than anything. Ultimately, for a band that only had an initial run of 2 years, it’s impressive to see their legacy not only living on but how much excitement a little nostalgia can provide! Granted this may be helped by the fact that original vinyl’s have gone for as much as $6000 online but that’s beside the point…whether they are back from the grave or, being the sloths they are they’ve literally just taken this long to get here, it doesn’t matter, rock ‘n’ roll never truly gets old. Roll on the year 2066 for the new album! [7]

As disappointing as it is, it’s not just day-to-day society that’s still behind in terms of equality between men and women in the work place…the world of rock and metal is still very much a male dominated genre of music and despite the best efforts of several high profile bands, it’s still dragging it’s knuckles to a degree…for example; Download festival (Arguably the most mainstream and high profile of the alternative rock and metal festivals) is yet to have a ‘female-fronted’ headline act on its main stage. Women in rock and metal just don’t seem to be getting a legitimate fair shot…but one young lady is hoping to change all of that; let me introduce you to DIAMANTE.

The Los Angeles-based singer found herself listening to the likes of AVRIL LAVIGNE and KELLY CLARKSON at a young age but through that soon discovered and developed a passion for classic rock, and artists such as JOAN JETT and PAT BETANAR. After dropping her debut single “Bite Your Kiss” back in 2014 she’s generated millions of streams on YouTube etc. and has recently dropped her debut full length album; “Coming In Hot”. Produced by Howard Benson (MY CHEMICAL ROMANCE, MOTORHEAD) he’s proclaimed himself that the 21-year-old is the rightful heir to the throne of Joan Jett; while Diamante herself intends to make a statement…incredibly bold, let’s see if she can back it up.

The album opens up with the title track and lead single “Coming In Hot” and within seconds you can hear the influence that Joan Jett has had on the young artist…from the gritty, attitude-riddled vocal delivery and the simple, old-school style of the guitars, this will easily appeal to fans of all that is classic rock. Do you remember when BRITNEY SPEARS covered (And I use that term loosely) “I Love Rock ‘N’ Roll”? Well this is better, considerably better…follow up track “Sound Of Us” for the most part is more of the same though the pre-chorus has some additional melody, while the chorus itself has gone big, bordering on anthemic. The guitar solo here too is a pretty decent effort and ultimately we’ve got a straightforward yet enjoyable track here. Recent single “Had Enough” directly addresses the issue of women’s rights by supporting the #MeToo movement…with a video inspired by “Thelma & Louise” and a production staff consisting entirely of women, it’s more of a statement than a hit single as musically again it’s relatively straight forward, but the message is more important than the track itself here really.

Elsewhere the record does have further highlights including “Kind Of Love” which combines bold melodies and soaring gang vocals over some catchy pop-rock hooks for a solid, enjoyable track…”War Cry” takes things up a notch with a deeper, darker core sound, almost rooted in industrial given the lyricism and instrumentation; the riffs are heavier and the overall tone of the track is a little more sinister, while “Fight Like A Girl” is predominantly more groove-heavy with another strong chorus. The album isn’t without it’s lesser points however; “Definitely Not In Love” is a completely cringe-worthy track driven by spoken-word verses, I’m definitely not in love with THIS one, while “Black Heart” harks back to those early Kelly Clarkson influences, negating the whole classic rock vibe of the album, before closing track “Lo Siento” is just a Spanish version of earlier track “I’m Sorry” and serves little to no point, adding nothing to the album in terms of quality…it would have served better as a B-Side. Ultimately the album as a whole is a decent selection of rock ‘n’ roll track’s and despite her young age she’s done well, channeling the genre’s heritage through to a new generation of listeners, bridging the gap between pop and rock well, but there’s nothing truly iconic or memorable about the record. Diamante here coming in lukewarm if anything, but there’s no reason to suggest she can’t turn up the temperature next time around. [6]

The beautiful island of Trinidad; the southernmost island of the Caribbean just a few miles off the coast of Venezuela…a colourful and vibrant place with a rich, diverse culture of exotic carnivals, and also the inspiration behind classic stories such as “Treasure Island”, to many it really is a tropical paradise, however, the steel-drums aren’t the only source of ‘metal’ you’ll hear whilst you sip your cocktails in Las Cuevas Bay, for even the Trinidadian’s know how to rock out; let me introduce you to HAIL THE HATTER. Having formed in 2015, the metal outfit started off when vocalist Jonathan Boos and guitarist Dax Carter decided that the world of rock music was lacking a sense of fun, and thus HTH (Now completed by drummer Nickolai Assam and bassist Aaron Lowchewtung) was born. Having recently released their debut mini-album “Discovering Light”, let’s see just how mad these hatters really are…

We open up with a little intro entitled “The Coming Of The Hatter” and frankly I hope he brought tissues…I kid…incredibly foreboding; it’s a spoken word piece foretelling the hatters arrival as an omen among the thunder and rain, bringing with him the imminent doom for the people of the island, before we get chants of “Hail The Hatter!”, likening him to the devil himself. It sets up an interesting concept and we’re a far cry from Wonderland here let me tell you. First track proper then is “Bone Grin” and aside from the incredibly random Arnold Schwarzenegger opening, we have a brief build towards some slick, blues-inspired hard rock. Initially up-tempo it channels influences such as GUNS ‘N’ ROSES which you can pick up in the tone of Boos’ vocals and definitely the solo towards the end; it’s a decent start…aside from more Schwarzenegger rounding it off…you’re NOT AUSTRIAN DEATH MACHINE…stop it.

Next up we have “God Bless The Beast” and we’re pretty quickly head-banging to some classic riffs and solid percussion; it’s quite nostalgic in sound for the most part, acting like a throwback to vintage NWOBHM acts such as SAXON and JUDAS PRIEST given it’s tone and even lyrically, you can hear them praise the likes of BLACK SABBATH, they’re definitely tipping their hat to their influences here. “White Walls” initially slows things down dramatically, reduced down to no more than a sluggish drawl with tired riffs mixed with brief guitar licks and gang vocals; so incredibly lethargic, that is until a brief up-tempo fill click-baits you into thinking the song is waking up, but alas it’s short lived. “Akasha”, given its name has a sense and feeling of both vacuity and freedom, with Carter’s guitars flowing through your conscious like they would through space and time itself, before we end proceedings then on the title track, and the longest track on offer here. After a long winding string-section leading into the track, we’re met with more vintage metal at nearly three minutes in, backed with some emotive, soaring vocals from Boos. It’s a dramatic number, especially with the delicate tones of the piano wrapping things up, ending the record on a high.

It’s an interesting listen all in all really and musically they’ve delivered, there’s ample to be enjoyed here for fans of hard rock, classic metal and maybe even a little prog too if you will.  The band wanted to incorporate a little ‘fun and menace’ into their sound and style but sadly they’ve not really delivered on the fun bit to be honest; given their name and such a statement, I was expecting something more off-kilter and essentially bonkers but sadly didn’t so much as smirk once, and coming from the West Indies, well…it’s just not cricket. [6]

As you all know by now, every year I do a round up in some way shape or form, of the annual EUROVISION SONG CONTEST. Highly regarded in the UK as an absolutely cringe-worthy cheese-fest, it's no surprise we haven't won it for years, and that's without getting into the shows regular politics let alone the utter shambolic level of fuckery we've found ourselves in under the "leadership" of Theresa May and the current Conservative government...well actually no I'll blame Cameron too, the pig-poking prick! Regardless...we enter every year and hope to not come last essentially. The 2018 final will be held on Saturday 12th May and will take place in Lisbon, Portugal, after SALVADOR SOBRAL won the Ukraine 2017 competition...here I'll be taking a quick run down of all 26 qualified acts and giving my own personal individual score / opinion ahead of the live final...in order of live performance; let's begin...

1] UKRAINE: MELOVIN - "Under The Ladder". Aged just 21, opening the Eurovision Song Contest would seem like a daunting task for many, but Melovin (Real name Kostyantyn Mykolayovych Bocharov) is perfectly at home here, as winner of season 6 of Ukraine's version of The X-Factor. The track is an up-beat, rhythmic dance-pop piece which should in all honesty kick things off really well in terms of tempo and entertainment, but on record it isn't the most convincing vocal display in places and I just hope things don't fall flat for him on the night. 3/5

2] SPAIN: AMAIA Y ALFRED - "Tu Cancion". This is a track taken from Amaia Romero's album "Sus Canciones" and is a collaboration with one Alfred Garcia...sung in Spanish, it's one of the songs this year traditionally sung in the native language as used to be part of the rules before they relaxed things, and for all intents and purposes it's a soft piano ballad with elegant string sections...a lovely song in some aspects but luckily one of the boring ones is now out of the way early. 1/5

3] SLOVENIA: LEA SIRK - "Hvala, Ne!"...NE! NE! NE! We are the knight's who say...NE! *Ahem* All jokes aside, Slovenia's answer to MO / KESHA does a decent job of bringing a modern twist to proceedings. Utilizing a blend of hip-hop production and combining electronica with soulful pop, it's got a decent beat to it overall but it never truly takes off, with the chorus sadly coming across as anti-climatic compared to the level of expectancy of the track. 2/5

4] LITHUANIA: IEVA ZASIMAUSKAITE - "When We're Old". Ironically titled by the 24 year old, and despite her youth this isn't her first Euro rodeo! Having enrolled to compete in 2013, 2014, 2016 and 2017, she FINALLY get's her opportunity to represent her country in 2018. It's an honestly lovely song, focusing on Ieva's hushed, whispered vocals over a gentle piano lullaby...it's a slow one, and one that will rely on mood and emotions conveyed on the night, but it's a wonderfully tranquil track and should score well regardless. 2/5

5] AUSTRIA: CESAR SAMPSON - "Nobody But You". Always the bridesmaid, never the bride...having performed as part of backing vocals for two previous Austrian acts, Cesar finally get's his own shot. Arguably one of the first bandwagon jumpers this year, Cesar brings a fully emotive, gospel sound to Portugal with his blend of soulful pop music, hammered home by a strong melodic chorus...if you're a fan of RAG 'N' BONE MAN then expect to be giving Austria your vote this year... 3/5

6] ESTONIA: ELINA NECHAYEVA - "La Forza". The show isn't over until the fat lady sings...well as it happens Elina is far from fat and we're less than a quarter of our way through so buckle up! A classically trained Soprano, Elina brings a touch of class and vocal quality to proceedings this year, with her powerful vocal range and dramatic, operatic elements...if you're a fan of TARJA TURUNEN for example, you may want to send your vote Elina's way! 2/5

7] NORWAY: ALEXANDER RYBAK - "That's How You Write A Song". FEED. ME. MORE! Oh...sorry...wrong Ryback I was thinking about WWE for a second...but no in all seriousness, Alexander is technically a Eurovision veteran; he WON the competition back in 2009 with a track called "Fairytale"...can the young lad with the violin become a two-time winner this weekend? This funk-driven almost 70's inspired combination of tinny guitar and violin has plenty of energy, but will it be Norway or NO WAY!? You be the judge...2/5

8] PORTUGAL: CLAUDIA PASCOAL - "O Jardim". The hometown-hero as such, Claudia represents the hosts this year taking the torch from reigning champion SALVADOR SOBRAL and will be hoping Portugal can pull off an unexpected victory to retain the Eurovision Trophy for a 2nd consecutive year. Another acoustic/piano ballad, it's got quite a slow build and is honestly quite soppy, potentially risking too many similarities to last years winning song itself...they say lightning doesn't strike twice, I guess Saturday we'll find out. 1/5

9] UNITED KINGDOM: SuRie - "Storm". Oh boy...if you could find me a more fitting song for the UK for this competition I will do sexual things for you no questions asked...not only is the song already two years old and theoretically out-dated, lyrically and thematically it pretty much sums up the state of affairs regarding Britain and the EU and the whole Brexit debacle...metaphorically of course. Musically it is a decent pop track and has it's anthemic qualities but despite any positives I can't see us doing well at all this year...3/5

10] SERBIA: SANJA ILIC & BALKANIKA - "Nova Deca". There's always an entry with utilizes traditional middle-eastern tones and this track is that entry...and seriously what a long-ass intro, taking up nearly a third of the song! It's got a generally simple beat and does pick up, leading into an ultimately pleasant, up-tempo track with subtle dance tones, but it could have benefited  having more of this, less of the intro, as it's shot itself in the camel-toe essentially. 1/5

11] GERMANY: MICHAEL SCHULTE - "You Let Me Walk Alone". Another young talent with a background in reality TV; 28 year old Michael found mild success on Germany's version of The Voice in 2012, where he came third overall, before going on to release his debut album. This year we find him contributing yet another piano ballad to this years Eurovision playlist, and as you may have guessed it's another harmonious love-song with an impassioned climatic feel...again, nice but, it may get lost in the shuffle. 2/5

12] ALBANIA: EUGENT BUSHPEPA - "Mall"...I take one look at this guys name and I swear to god all I can think of is a bush-tucker trial...but my mental issues aside, here we have the first of our demographic-pleasing alternative entries. Eugent is a renowned rock performer in his home country and has actually supported the likes of DEEP PURPLE in mainland Europe, so he's got his credentials...but what is he offering here? A mellow, country-esque traditional folk-pop type piece with an acoustic lead and impressive vocals. It sounds good, I just wish I knew what he was saying. 2/5

13] FRANCE: MADAME MONSIEUR - "Mercy". France hardly needs the bad luck of performing 13th...their results have hardly been the most impressive in recent years, but they hope to change that in 2018. The ambient, synth-pop track follows on from recent success stories such as CHRISTINA & THE QUEENS and may go down well, and though there are no direct ties to the LGBT community, the whole MRS/MR approach could appeal to gender neutral's from an activist point of view...unless that's me looking far too deeply into what is essentially an annual song contest...2/5

14] CZECH REPUBLIC: MIKOLAS JOSEF - "Lie To Me". A potential favourite here depending on the right crowd...full of swagger and groove, Mikolas utilizes the southern blues inspired jazz tones of New Orleans to great effect here, rich in funk and passion, he confidently takes this track by the scruff and simply awaits the laudits of the Lisbon crowd. The recorded version does have some swearing in it, so that'll have to be edited during the final or he may find himself getting nil poi via disqualification... 3/5

15] DENMARK: RASMUSSEN - "Higher Ground". A man of many talents; Rasmussen (Real name Jonas) originally performed in a covers band, focusing on the likes of ELTON JOHN and ABBA, before he turned his attention to acting, focusing mainly on stage productions. 2018 see's him return to singing with this entry; a combination of power-pop and traditional, Nordic heritage in subtle tones. Despite the classic key-change sequence, it does lack a little oomph and falls just short of being an awesome entry. 3/5

16] AUSTRALIA: JESSICA MAUBOY - "We Got Love"...Hang on just a second let me just get Moe Sargi...'YO JESSICA MA BOI!" There we go...that's out of the way now...but no seriously Australia in Eurovision is still a thing. Yes it was novel having them there for the big anniversary show a couple of years ago but, despite not being anywhere remotely near Europe, here they are...the song itself is a generic, light, radio-pop song which wouldn't be out of place in some, teen Disney flick...it's fine but, I really don't see the point this year. 2/5

17] FINLAND: SAARA AALTO - "Monsters"...Finland you beautiful bastard of a country...as if you didn't already supply the world with some of the finest gothic metal and rock bands to ever grace the stage, you also have pop music nailed too by the looks! Saara Aalto ticks all the boxes having dueted with ADAM LAMBERT and ANDREA BOCELLI, not to mention having done voice acting for the Finnish dub of "Frozen", she's a proven voice. Here we have a sleek, electronic-pop monster in it's own right rich in hooks and mainstream appeal and it's an absolute top tune. All of the yes from me. 5/5

18] BULGARIA: EQUINOX - "Bones". Bulgaria's entry features yet another reality TV statistic in vocalist Zhana, who won Bulgaria's X-Factor in 2013...now, 5 years later we find them representing their country in Portugal with "Bones"...the haunting vocal tones and the predominantly dark-pop vibes of the song are pleasant enough, helped by its catchy chorus, but it sounds like a watered down version of "Skeletons" by 2017 Azerbaijan entry DIHAJ to me. 2/5

19] MOLDOVA: DoReDoS - "My Lucky Day". Three is the magic number as they say, and for this trio, it's third time lucky as they finally get to represent their country after failing to secure their place in both 2015 and 2016. Doritos as I shall call them from here on in, have a fun and up-beat approach this year combining modern pop with a GOGOL BORDELLO style of Oompa / alternative. 2/5

20] SWEDEN: BENJAMIN INGROSSO - "Dance You Off". One of the youngest performers at this years final in Lisbon, Benjamin started early and appeared in several Swedish musicals as a child and is hoping his performance experience can carry him through to another Swedish victory. With his soft vocals it can be said he's another JUSTIN TIMBERLAKE inspired pop-starlet but truth be told he's not of the same caliber previous Swedish winner MANS ZELMERLOW, he lacks that spark. A harmless pop song but I'm not expecting big things. 1/5

21] HUNGARY: AWS - "Vinszlat Nyar". Ever since LORDI won it for Finland back in 2006 there's almost always a rock song or two thrown into the mix to shake things up a bit and here we have that very token rock song. AWS deliver on all fronts with a strong melody and even stronger riffs for their hard rock performance, even including that cliched key-change and it has to be said it's a solid track...it wont win but it is a banger. 4/5

22] ISRAEL: NETTA - "Toy". While it's one thing to question Australia's inclusion in what is essentially a European competition, it can be said that you have to question Israel too...although politically and economically they are at least tied to the EU so there's that....anyway I digress this is a song contest not BBC Question Time. Netta Barzilai is an outsiders bet if ever there was one! A fun and up-tempo track for the most part, combining western pop influences with middle eastern traditions...it's a decent listen, that is until the random chicken noises...seriously I don't know if it's a gimmick or an affliction. 3/5

23] THE NETHERLANDS: WAYLON - "Outlaw In Em'". Real name Willem Bijkirk, he acquired his stage name after the late Waylon Jennings as means of a tribute and is no stranger to Eurovision. As part of THE COMMON LINNETS he finished runner-up back in 2014 and hopes to go one step further 4 years later. Mixing bluegrass with southern rock swagger, fans of BLACK STONE CHERRY and the like are sure to give him the nod of approval and send a vote his way. 4/5

24] IRELAND: Ryan O'Shaughnessy - "Together". Despite a lack of luck in recent years, Ireland are still the ones to beat as they've won Eurovision a record seven times since its inception, and they hope to add another victory in Portugal this year.Another TV talent show statistic, Ryan O'Whatshisface appeared in Britain's Got Talent back in 2012, reaching the final only to finish in 5th place...will he do better here? Another sweet, acoustic/piano ballad, it doesn't truly stand out as such but he's got enough Irish charm to win the voting public over...perhaps. 2/5

25] CYPRUS: ELENI FOUREIRA - "Fuego". Apparently Eleni here is the bookies favourite and I've been scratching my head to work out how and why...with her typically modern autotune-laden pop qualities I guess she'd make quick and easy money in the charts commercially, given the success of everyone from DEMI LOVATO to DUA LIPA and the like...it's decent enough pop song for what it's worth and catchy enough but, it's nothing special per se...we'll see. 3/5

26] ITALY: ERMAL META E FABRIZIO MORO - "Non Me Avete Fatto Niente"...It takes longer to say that than they'll stay in the top 10 this year if you ask me...it's emotive enough with its almost cinematic qualities in places but songs spoken in native tongue are hit and miss and never a guarantee...it might benefit from being on last in some eyes, but to many it'll be an afterthought as the audience suffers from fatigue and burnout, and it's hardly a climatic showstopper...I can't see this doing overly well. 2/5

So...there we have it...my run down of the 2018 Eurovision final! Have you heard any of the songs yet? Are you happy with your countries entry and more important;y, who will you be voting for? Leave your comments below, but for now...it's over to Graham Norton to entertain us with his commentary.

​Ah Kentucky, I may not be an American patriot but let me just say I damn well salute you, for you not only inebriate the world with your glorious bourbon whiskeys, but you also gave to us nomgasm’s by the literal bucket-load courtesy of your heavenly fried chicken…it’s finger lickin’ good y’all! Putting tonight’s dinner plans aside for a moment, Kentucky also has a rich musical heritage. Famously coined as the bluegrass state, it not only refers to its rich pastures, but also its blue-collar musical roots, notably blue’s based southern rock, gospel and jazz, and one of its biggest exports in recent times has been BLACK STONE CHERRY. Having formed in 2001, they’ve steadily grown into one of the most popular rock acts of a generation, regularly playing arena tours to thousands around the world thanks to tours supporting legends such as LYNYRD SKYNYRD and DEF LEPPARD, plus recently ALTER BRIDGE too…2018 sees them hope to continue their run with album number six; “Family Tree”…let’s do a little digging shall we?

The album kicks off with “Bad Habit” and we’re thrust straight into Cherry’s traditional groovy southern-rock style, there are some decent licks and a strong bass-line pushing the track, but honestly the chorus feels a little weak, and the key-change leading into the guitar solo ends up sounding just a little dull and half-arsed, resulting in a less than exciting start. First single “Burnin’” follows up and again it’s heavy on the groove and it balances being gritty while having ample melodic elements quite well, helped greatly by a much better display from vocalist Chris Robertson, this is considerably better it has to be said.

“Carry Me On Down The Road” is more or less more of the same, the instrumentation is pretty solid with some enjoyable guitar work throughout but it seems to just coast along leaving you a little uninspired…likewise with “Dancin’ In The Rain”. Featuring renowned session musician Warren Haynes, it’s pretty slick with its rich blues rock tones, especially during the chorus’ main hook and although it supplies the album’s first real highlight it still lacks a certain drive. Speaking of guest appearances, “You Got The Blues” features Chris’ 5-year-old son on backing vocals which I guess is fitting for the album’s title but, other than being quaint it’s another run of the mill offering. “I Need A Woman” continues to plod along with as much urgency as a brand new barrel of bourbon, honestly it’s in no rush, never mind a woman, pro-plus and a line of coke’ he needs, show a bit of energy! The album then closes on the title track and we’re given another strong chorus to end on a slightly more positive, encouraging note, but we’re not here to paper over any cracks sadly. The band went into the studio this time round with minimal rehearsal to capture a raw, honest vibe and in doing so this collection of songs on record at least is lacking a certain sheen. If “Family Tree” had been album number one you could say for sure that seeds have been planted and it’s just a matter of time before these blues rockers blossom, but six albums in, this hasn’t worked all too well. Bar one or two moments it’s a disappointingly boring listen. [4]