Steve Montgomery, Seattle radio personality

Debbie and I know just about every band in Western Washington and No Rules is certainly one of the best.  We catch their shows as often as possible.

Tulalip Resort Casino (Canoe's Cabaret)

No Rules was great!  I'd call them a 'rock 'n roll hamburger'--super-juicy with a lot of meat.

Amante Bistro (Kirkland, WA)

Everything was perfect--volume, song list, sound, everything.

Microsoft Corporate Event

No Rules played at one of our internal team events, and they were fantastic. The team really enjoyed the music, and No Rules got the crowd going.


No Rules killed it last night.  Too many good things to say.  You need to see these guys LIVE to appreciate what they do.  Serious grooves, Big Fun.

Inside World Music

Rating: 5 Stars (out of 5)

No Rules is a collective of eight musicians based in the Washington State area that have been making and performing music for years.  The all-male band produces classic rock, yet original contemporary pop tunes with heartfelt messages of hope and happiness.  The album of nine songs is entirely original and possesses a strong modern rock band edge with jazzy elements of horns and sax.  The result is a fun mix of jam tunes with a modern beat and jazzy undertone.

“Girl” opens with a jaunty rock guitar melody with rousing sax and a punky and punchy guitar, bass, and percussion arrangement.  The slightly classic, almost Western European rock arrangement, contains bubbly bass and easy-to-understand vocals coming from everyone in the group; except Walt Johnson and Dave Carlson.  The latter half of the song contains an electric guitar solo with accompanying percussion.  This is a good song arrangement with a genuine vocal set-up throughout.

“Motel” opens with a few solo, reverberating electric guitar chords.  The fluttering electric sounds permeate the punchy sax medley and heavy percussion.  The bluesy, soulful vocals begin with the advent of the bass and B3-esque keyboards elevating the music to a Southern rock and gospel anthem.  The electric guitar squeals a bit with the jazzy horn section, but all is worth it. The three-minute song is a moving piece of musical ingenuity with the entire band joining in on the track.  There is not much of an outro, but the rest of the song builds up to the abrupt ending.

“Drop Dead Gorgeous” opens with a symphonic wave of sound produced on keyboard, as an electric guitar chimes in and a full-on set of jazzy horns and upbeat rock percussion take over. The vocals are classic rock through and through, but there is an element of contemporary arrangements, too.  The sax, bass, keyboard, drums, and electric guitar move into a display of musicianship that is very good overall.

“My Beloved” begins with a slow, rock beat with a bit of acoustic guitar that joins in a few vocal ‘oohs’ that match the melody with the percussion.  The vocals begin and the acoustic guitar takes on a more folk melody with gospel-esque vocals.  The rolling bass, twangy guitar, and horn-like sounds signal a more diverse composition than the rest of the songs.  The end of the song features a few vocal words that are not accompanied by any instrumentation.  The short two and a half minute song is still a gem, despite ending abruptly.

“Down The Road” opens with a Southern, bluesy guitar and horn swagger that is almost rock-like, but it quickly moves into a solo B3 performance with throbbing sounds and a folksy vocal line.  The bass, percussion, guitar, and additional horn sounds propel the song into an ear-catching melody with heartfelt vocals.  The mix of rock, blues, gospel, and Western elements are equally present, but amazingly, everything works here.  The blaring horns and keyboard shrieks are amazing near the end of the song.

No Rules is more than an all-male band singing songs about women, but that is still fairly evident.  At any rate, Hell And High Water is a poignant album of nine songs with an energetic, yet tight rock beat, jazzy horn sections, and group vocals that border on classic rock with tinges of blues.  The music is reminiscent of state fair bands or casino bands, but that is not a negative. The classy vocals and instrumental arrangements hearken back to an era of 1970s or 80s rock without the big hair and big egos.  Overall, No Rules know how to create whirling melodies backed with full vocals and a full sound for fans of jam rock, jazz, blues, gospel, and related genres.


Rating:  5 stars (out of 5)

No Rules is a band consisting of eight friends from Seattle.  They have a huge horn section that might make one think that they should change the band's name to Seattle as a nod to Chicago, or rather to the Chicago sound.

The songs on Hell And High Water will take a lot of listeners back to the 60s and 70s. The strong horn presence and the poppy lyrics all seem to point to an influence by artists like The Buckinghams and Chicago.

When you first listen to Hell And High Water, you're instantly taken in by the talent of these guys.  Walt Johnson's guitar wails and the horn section is in your face.  These guys take all the things that make rock music great and incorporate them into one nine-song album that will restore your faith in music.

There are a lot of classic rock elements to be found here, but at no time will you feel like they are trying to imitate any artist.  The No Rules sound is its own, and it explodes with each song.

"Girl" is the album's first track.  This one is really reminiscent of that 60s Chicago sound. They stick with that sound on "Lovin' Me Too Much."  These songs are what pop/rock music is all about.  The music is fun and fast-paced, and it brings to mind the phrase "good time rock n' roll."

"Motel" is pure 70s funk.  This song really shows off the band's talent as musicians.  The rhythm is strong, the guitars scream and wail, and the organ adds the funk.

If you are looking for a fun rocker, "Drop Dead Gorgeous" is the song for you.  The beat is strong and so is the vocal.

The album isn't all rock, though.  "My Beloved" is a great acoustic ballad.  This is the type of song that screams "romance."  Women will want their men to sing it to them, and men will wish they had written it.  The best thing about this song is that it is so romantic, but it never crosses the line to sickeningly sappy.

"Down The Road" is one of the longer tracks on the record.  At almost five minutes, it is the longest track on Hell And High Water.  The sound is very 70s.  They seem to be giving a nod to Three Dog Night with this one.

The album closes with the title track.  It's the other four minute track and you'll love every funky, soulful minute of it.  This song is No Rules saving the best for last.  All the songs on the record are good, but this song is perfection.  The lyrics really speak to the heart.

No Rules make music fun.  Now that so many classic-rock artists aren't making new music, these eight guys captured their essence and made something new.  It is almost like a trip in a time machine.

The band paints itself as a group of friends that basically like to make music together, but when you listen to Hell And High Water you know that they are much more than that.  Hell And High Water is polished to perfection.

No Rules is a band for people who love classic rock, but are sick of waiting for their favorite bands to record again.  Hell And High Water is an album that makes you feel like it's 40 years ago, but the sound is fresh and very current.

There are so few albums out there that have this kind of quality music. Hell And High Water is a rocking album that music lovers won't want to miss.  It is one of the best albums you can listen to this year.

Rating: 5 stars (out of 5)

You take eight seasoned musicians from the Washington State area and put them together to play rock music that can be classified simply as “rock” and you start to describe the band No Rules. Of course, as the band has musicians that play brass instruments, the band’s sound is slightly more complex than just “rock music,” there is also the horn sound that helps shape the band’s style.

No Rules is a band that consists of vocalist Jim Brady; Randy Hiatt on vocals and keys; Walt Johnson on guitars; Jim Austin on Tenor Sax, keys and vocals; Scott Batchelder on drums and vocals; Craig Ibsen on bass and vocals; Dennis Ashbrook on Saxes and vocals and Dave Carlson on Baritone Sax. The members come together to create a sound that is full-bodied, with elements that could easily group the band’s style into Classic Rock. It is that Classic Rock style that shows up on the band’s nine-song release called Hell and High Water.

As the eight members of No Rules all come with long histories as musicians, it comes as no surprise that many of the members also have songwriting abilities. In fact, the songs on the 2012 release from No Rules were composed by members of the band. The different writing styles from the various songwriters held add variety to the songs that make up Hell and High Water.

The song “Girl” is first up for the tracks on the release. While the music of this track is the best part of it, it is the lyrics, and more importantly the chorus, that brings the quality of the song down. With other tracks that are far superior, other songs should have been used to start off the album while pushing “Girl” to a less prominent position.

The albumpicks up steam with the much stronger song, “Lovin’ Me Too Much”. The organ starts off the track with a very catchy rhythm, and when the rest of the band joins in, a high energy song with an upbeat sound to it takes the listener with it as the bands sounds like they’re having fun. This would have been the track to use as the first track on the release as opposed to “Girl” as the Randy Hiatt-penned song just screams “fun”.

While the album picks up steam with “Lovin’ Me Too Much,” the band is downright smokin’ on the next track: With a sound that is more energetic than anything The Blues Brothers ever did, the song “Motel” features that “blues band with horns” style and turns it up a notch. The guitar playing from Walt Johnson taken with the keyboard from Randy Hiatt combines for a one-two punch to create a blues number with a lot more energy. “Motel” is easily one of the best tracks on Hell and High Water.

The track “Drop Dead Gorgeous” is yet another shining spot on the album. The horns, along with the group’s vocals, create a song that could easily be a single….if the radio wasn’t so strict on what they allow in their playlists. “Drop Dead Gorgeous” is very catchy and the chorus is nearly impossible not to sing along with; everything you’d want in a single.

Producer Stevie Adamek contributes the song “My Beloved” to the mix. The slower-paced track gives a good release something more while adding a little emotion. The slower feel to “My Beloved” provides a little breathing room for the listener before the album picks up once again.

And speaking of “picking up”, the track “Can’t Help the Heartache” finds No Rules creating a song that has a retro sound from the eighties. In fact, it’s the “power rock” sound of the track that may attract a lot of listeners to that song on the release.

No Rules bring their 2012 release to a close with the title track. “Hell and High Water” is another slower-paced track, but the upbeat lyrics about seeing brighter days ahead is a very positive way to bring the album to a close.

Aside from the misstep (in my opinion) of putting “Girl” at the beginning of the album where a stronger track should have been, Hell and High Water from No Rules is a solid release. The blues/rock style with horns is unique and different from most of today’s artists. It is that difference that makes their music so enjoyable.

Rating: 4 stars (out of 5)

It’s hard to pin a label on this album. If one had to come up with a genre title, though, it would probably be something like “horn-infused classic rock.” That comes pretty close. The truth is, the album features solid songwriting, multi-layered vocal arrangements and effective use of a horn section. All of those things combine into an album that’s very strong and only contains a couple minor missteps.

The bouncy groove that opens the album on “Girl” is rather like something from Madness, particularly with the horn-soaked arrangement. They drop it down to a mellower motif for the verse, but the chorus jumps back up in that Madness like sound. There’s a screaming hot guitar solo later in the tune. This is a high-energy, accessible cut that serves as a great starter.

Retro keyboard sounds open “Lovin' Me Too Much” before they work out into an arrangement that’s like a more classic rock oriented version of the sound from the first piece. There’s a powerful instrumental section where that Madness sound is mixed with hard edged guitar soloing and some progressive rock elements. The vocal performance here is among the best of the disc.

The opening to “Motel” is along the lines of classic late 1960s or 1970s rock. When it drops to the verse section Blood Sweat and Tears is a valid reference, but the chorus has almost a Frank Zappa kind of edge to it. The number has some seriously jazz-oriented music in the inspired instrumental section. It’s one of the highlights on an album filled with strong material.

Backwards tracked sounds are heard on the introduction to “Drop Dead Gorgeous,” bringing a real psychedelic sound to the table. When it works out to the song proper, though, they bring one of the most modern sounds of the whole disc to play. The vocal arrangement here is particularly effective and the horn section adds a lot to the piece. There’s a tasty saxophone solo later in the piece and one of the meatiest guitar solos here follows that.

“My Beloved” presents a change of pace. It has a classic rock ballad styled movement that gets alternated with a more powered up section with a lot of progressive rock in the mix. “Can’t Help the Heartache” is the one misstep of the disc. The thing is, it’s an energetic rocker that feels a lot like Chicago. From that aspect it works really well. The problem is someone must have decided to make this sound “fresh” and appeal to a younger audience by using autotune on the vocals for effect. That makes it a tough cut to get through. It will also guarantee that it’s going to sound dated as soon as the modern infatuation with autotune disappears, and it will. That said, the song other than that flaw is top notch and has a great guitar solo built into it.

“Down the Road” really feels a lot like something from the 1970s. Parts of it call to mind Chicago, other bits echo Three Dog Night and in other places listeners might think of Blood Sweat and Tears. Where ever the influences lie, though, it’s an effective song that sort of bridges a gap between balladic and rocking sounds.

The vocals on the verse section of “Near My Soul” sometimes feel exaggerated. That makes the cut another slight misstep. Beyond that, though, it’s a high energy rocker well-rooted in classic sounds. The title track closes the set. It’s a bit slower groove and is thoroughly set in classic rock textures. As a contrast to a lot of the rest of the disc, it includes an acoustic guitar solo. The vocal arrangement is among the best on the album. There’s even a progressive rock inspired section near the end. It’s an effective piece and serves the CD well as closer.

No Rules show off song-writing and performance ability on Hell and High Water. It’s a disc that should appeal to fans of late 1960s, early 1970s rock music. Surely there’s a wide range of listeners who would appreciate this set. It’s an entertaining one from start to finish.

Blank News Knoxville

Rating: 4 stars (out of 5)

Being made up of eight long-time friends from Seattle, WA, the group No Rules has a sturdy dynamic that stands out from start to finish of their first album, Hell and High Water.

The band comes complete with a solid rhythm and horn section; but the kicker is their vocalist section, which is made up of a grand total of six of the eight members. And while these six members lend their vocals to the album, each one of them also contributes instruments ranging from tenor, alto, soprano, and baritone saxophone to piano.

Much of the album is centered around the topic of women. "Girl" opens the album with guitar, drums, and saxophone. The lyrics are simple, consisting almost entirely of a single chorus, but this has a way of making the song more memorable. The band continues with their upbeat melodies and good-humored lyrics in "Lovin' Me Too Much," a song where sexually suggestive lyrics are played around with. They sing, "Before my heart blows up I think I'll love her two times." The mix of instruments and the playful melody within the first two songs is reminiscent of the energy you would find on an album with ska influence. When the lyrics kick in, though, it is clear that this is a classic rock album more than anything.

"Drop Dead Gorgeous" uses humorous lyrics to profile the way that a stunningly beautiful woman is able to reel in a man using nothing but her charm and good looks. The range of melodies and tones created by saxophones keeps you on your toes and creates an extra layer of interest within the album. The band is rooted in a classic rock/pop era of sound, but the use of saxophones adds a jazzier, more upbeat facet.

Despite their free spirited approach to women in the first half of the album, their lyrics take a more serious slant on relationships as the album continues. It is almost as if the album is outlining the way a person has matured relationship-wise throughout a period of time.

"Down the Road" is about a withering relationship. The use of an organ within the beginning and end of the track along with the solemnity the song creates draws similarities to the version of The Rolling Stones' "You Can't Always Get What You Want," as made famous by the movie "The Big Chill." No matter what the lyrics may illustrate an optimistic energy can still be perceived. Even "Near My Soul," a song about how a woman has done the narrator wrong, which is positioned directly before the title track, is surprisingly positive both lyrically and melodically.

The title track comes as the last song. Although the song is still about a relationship, it has more of an uplifting attitude. With lyrics such as, "We've been through hell and high water. I know whatever comes our way, tomorrow will always be a brand new day," the track serves as a fitting conclusion to the album.

The size of No Rules is made clear by the immensity of sound that they portray from song to song. But while there are a few more musicians than a normal band might require, there is still a cozy atmosphere and sense of warmth carried from the beginning of song one, "Girl," to the end of song nine, "Hell and High Water."

Rating:  4 stars (out of 5)

No Rules seems to be more of an army of musicians rather than just a band.  With eight members, six of whom contribute to the vocals, and a plethora of horn players, bassists, percussionists, keyboardists and guitar players, No Rules really does seem to play with no rules.  Their debut album, Hell And High Water, is a high-energy adventure guaranteed to get the blood pumping.

This army of talent is comprised of Walt Johnson, Jim Brady, Randy Hiatt, Jim Austin, Dave Carlson, Scott Batchelder, Craig Ibsen and Dennis Ashbrook, all of whom call Seattle, Washington home.  Seattle, home to strong coffee and grunge, now has a new animal to contend with, and No Rules has no plans of stopping there.

“Girl” is the lead-off track, and the catchy melody and brassy horns make this poppy number a serious foot-tapper that will be a great sing-along song when No Rules wows their audiences with live performances.  Clearly this band has a terrific grasp on timing and what works well within the confines of one song.  “Lovin’ Me Too Much” takes a more rock ‘n’ roll approach with some smoking guitar work.  The rhythm has an edge that begs to be danced to and the vocals are delivered with complete confidence.

“Motel” continues in this vein with a slightly bluesy vibe and more stellar guitar playing.  The keyboards come through clearly and this offering has pure attitude.  Listeners will feel the need to strut a little while jamming this track, and No Rules probably strut a little while playing it.  “Drop Dead Gorgeous” slows the pace a bit and has a smooth rhythm that transcends tempos effortlessly.  Several of the tracks on Hell And High Water tell stories, and this is such an offering.  Lyrically, this piece is well-written.  Instrumentally and vocally, each member of No Rules gets his chance to shine.

“My Beloved” is a slow number with elegant acoustic guitar work and lovely lyrics that will melt the heart.  It is evident within this piece that No Rules has a depth that transcends their brassy sound and energetic performance, and listeners will appreciate the fact that this band has a softer side.  “Can’t Help The Heartache” carries a staccato rhythm that changes pace smoothly and gracefully throughout the song.  This band is clearly a master of tempo changes within a song and they do it with an ease that is enviable.

“Down The Road” is another great track that tells a story, and although it is a story with a melancholy message, somehow No Rules keeps it from becoming too sappy.  There is still a sense of hope in the despairing lyrics, which simply reinforces the fact that the songwriting within this band is exceptional.  “Near My Soul” is a snappy number with some excellent instrumentation, particularly with regards to the horn section.  This upbeat classic will be sure to become a fan favorite and there is no way people will be able to remain seated while listening to this one.

Hell And High Water closes with the album’s title track, and No Rules goes out in a big way.  Elegant musicianship is coupled wonderfully with great lyrics and strong vocals.  Leaving us with a sense of possibilities and hope, No Rules has closed their debut album with one of the strongest pieces on it.  The entire album is a work of talent and skill, well-rounded in all aspects of creativity, composition and performance.  No Rules has given the masses a small taste of what they can accomplish, and fans of all ages and walks of life will be waiting eagerly for their sophomore effort.

All Things Music

No Rules' new CD, 'Hell and High Water' is a solid mix of 'Hell Yeah' good ole rock 'n roll; co-mingled with 'ooh baby' slow groovin' R & B infusion; reflecting the consummate instrumental and vocal professionalism of eight PMW musicians.  It's a fine-tuned balance of nine well-rounded songs, complete with relatable lyrics and tantalizing tempos, each complimented by rare, robust musicianship.  All of the above becomes clearly evident as one listens to the well-mixed and professionally-engineered recorded sound.  'Hell and High Water' features finely-strummed acoustic and electric guitar, heavy and hard-driving bottom, soulful keys, well-timed percussion and bonafide bass. Genuinely heartfelt vocals, both bemaoning and exulting relationships, round out this journey of love and loss and rock and roll.

Local heroes coalesce wonderfully in this fine group. Crazy talent everywhere. Hugely ambitious songs recorded beautifully equals a big round set of tunes. A very fresh listen!

The decades of experience really show in this tight punchy album. A broad spectrum of styles taking me back to Saturday night dances at the local armory: this is a high zoot dance band blessed with big big voices and a wall of horns. Top drawer stuff.

Strong original songwriting with lots of contrast and texture mix a big vintage northwest sound with sparkling horn charts and fat harmony vocals to create an Apollo-style revue that is powerfully satisfying. Whipcrack drumming and a deep trundling bassist carry the mall with a ‘start dancing’ pocket. Add big gospel keyboards and a soaring musical guitar hammering out riff-driven songs, it’s already great. But there’s more: great romantic lead vocalists that bring to mind B.J. Thomas belting out “Mighty Clouds of Joy”, or perhaps like early Three Dog Night in full flight. Terrifically satisfying! Now dial in skin tight horns, shooting for the moon with a big baritone sax on the bottom - this is the stuff. This is meat and potatoes just like we wanted.

Kudos also to tape maestro Steve Adamek who warmly captures it all. Put it all together and you’ve got great professionals delivering a musical powerhouse of a CD.

You should hear!

When I first played the No Rules CD I was working and couldn't hear it very well but it sounded pretty good. When I got home I played it again and Wow! what a great band! Lots of excitement! Great players! Randy and the crew really deliver. Thanks for the ear candy!

A band of friends, eight-piece No Rules hail from Seattle.  Their nine-song release Hell and High Water manages to combine standout horn features, impressive percussion rhythms and enticing guitar interludes.  All the while six of the members trade vocals making for an eclectic LP.

Hell and High Water kicks things off with catchy track “Girl.”  Electric guitar parts introduce the song before horns blast into the picture managing to push things into high gear.

“Girl you are really something/ And you’re something that I want/ The way you move your little body/ Come on and move it up on here to me,” No Rules sing. There is no frontman per say and instead the layered vocals give the album more of a collaborative feel.  Alongside alluring horn elements the track transforms into a Big Band feel and it’s hard not to tap your feet along.  By the time the chorus enters it sounds as if the entire band is singing.  The only thing that takes attention away from the vocalists is a soaring electric guitar interlude mid-track.  A solid start to the album, No Rules charms the listener.

Next track, the bombastic “Lovin’ Me Too Much” reintroduces the powerful horn section and layered vocals.  The urgency of the track is evident as the vocals crescendo, taking the forefront of the song.  Gritty saxophone electrifies as do the foot stomping rhythms.  During an instrumental interlude 90 seconds in, each part takes the lead and showcases each instrument’s power.  The horns alternate between electric guitar, percussion and organ before the singers come right back in.

“Motel” continues the party style.  This time guitar fuzz guides the track before horns enter for more of the fun.  Meanwhile, the alternating vocals between singers bring to mind classic rock acts of the 70s while horn trills and bluesy organ put a different spin on the album.  An unexpected, but welcomed trend it’s easy to envision fans on the dance floor dancing the night away.  With a Motown groove and classic rock elements the band manages to combine multiple genres of music in just three minutes.

Just when you think you’ve heard it all No Rules prove listeners wrong.  “Drop Dead Gorgeous” begins with 20 seconds of ethereal organs and screams before the percussion picks up the pace.  The band’s prowess continues as each member excels at his solo features.  The slow paced “My Beloved” switches gears once again.  A poignant ballad the band shows their more sensitive side along their familiar instrumental interludes.  With spot-on harmonies No Rules impresses.

Where “Drop Dead Gorgeous” impressed “Can’t Help the Heartache” surprises.  Despite the hurt showcased on the track, echoed and Auto-Tuned vocals confuse and lose the listener’s attention.  The darker “Down the Road” once again drastically changes things up.  Singing of a Dear John letter it’s hard not to feel the pain the man feels within the song.  The more serious side of No Rules shocks and takes a dramatic turn on Hell and High Water.  Where the previous tracks’ instrumental interludes intrigued, the nearly five minute track bores as it lags to a close.

“Near My Soul” continues the downers despite the upbeat horn parts.  Taking a more serious turn No Rules shifted dramatically from the first half of the LP to the end.  While their musicality is impeccable a more fluid transition would have left a bigger impact.  Instead, the party vibe transformed to scathing heartbreak and No Rules seems to have embodied two completely different bands on the release.  Having intertwined the heartbreak throughout, the album would have made for a more fluid release instead of depressing listeners by leaving it all at the end.

No Rules is an eight-piece band that describes itself as a “blue-eyed soul cocktail with a rock chaser,” which pretty much sums up what these musicians do.

The album Hell and High Water is a throwback in many different respects. First and foremost, its songs hearken back to a much more soulful era in music. These were the days when organ and brass horns played against the usual staples of guitar, bass and drums. These songs also sport soulful vocals that many times bring Huey Lewis and the News to mind. However, whereas Lewis’ ‘80s hits mixed a backwards-looking stylistic esthetic with -- at the time -- modern sonic techniques, No Rules doesn’t use a whole lot of spit and polish to make their sounds come off particularly modern.

While blue-eyed soul is the best description of No Rules’ most closely related musical style, these intricate horn parts also sometimes bring ska music to mind, particularly during a track called “Girl.” Perhaps one gets this unique impression because ska is one of the few musical styles in recent memory to significantly employ a regular working horn section.  Ironically, however, there aren’t a whole lot of instrumental solos. It isn’t until four songs in, with the track “Drop Dead Gorgeous,” that No Rules includes especially noticeable solos – in this case, both a saxophone and electric guitar solo.
     Perhaps the best track on this whole album is one that is distinctly different from the pack. “My Beloved” is built upon pretty acoustic guitar, a slow groove and nicely layered harmony vocals. The song’s lyric speaks to how one particular girl was specifically selected to be this man’s love interest. “I have chosen you from all the women on the earth,” the lead vocal states. Oddly enough, these words have almost a spiritual quality. If you didn’t listen too closely, you might be tricked into thinking No Rules was expressing a John Calvin predestination theological position with these words. It’s just that holy sounding.

This is a wonderfully constructed and performed set of music. Anyone that fondly remembers groups like Tower Of Power, Average White Band and Earth, Wind & Fire, will likely get a kick out of these tunes. These guys appear to be older than your average 2012 rock band, at least in publicity photos, which explains both the retro attitudes and stylistic inclinations. You have to give the players extra credit for writing and performing original songs, rather than just following the much easier nostalgia route, where they could just as easily have played familiar Motown and Stax covers, instead. These players may have no rules, perhaps, but they nevertheless have solid musical guidelines, which mostly serve them well.