{"id":39704,"date":"2006-04-04T00:00:00","date_gmt":"2006-04-04T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/third-time-is-the-charm\/"},"modified":"2006-04-04T00:00:00","modified_gmt":"2006-04-04T00:00:00","slug":"third-time-is-the-charm","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/third-time-is-the-charm\/","title":{"rendered":"Third Time Is The Charm"},"content":{"rendered":"

<\/p>\n

Southern Gentlemen welcome a new vocalist, Eric
\nJohns, for the band’s third release of metal\/blues. While I didn’t
\nhave an issue with the vocals of guitarist David T. Chastain on
\ntheir previous two releases, I am glad that Johns is on board. He
\nbrings another element to the band’s musical message.<\/p>\n

Chastain, whose resume is long and impressive, wastes
\nlittle time reconfirming he can still kick out a great solo. In
\nfact, he lets loose in opener “Even Now,” but is able to maintain a
\ngreater awareness of song instead of being a guitar-hero showoff on
\nthis release. That seems to be the theme for the band this time
\naround, especially in the rhythm section of drummer Mike Haid and
\nbassist Dave Smart, who provide an interesting foundation for
\nChastain. Throwing Johns into the mix makes this a very good
\nlisten.<\/p>\n

What the SG have going for them is groove, especially
\non “Don’t Go,” the best song here. Chastain’s riff is direct
\nwithout a lot of flash and Haid and Smart lock in. This sets up
\nJohns to sing a gut-wrenching tale about a woman leaving him:
\n“Don’t know what the Good Book says \/ ’cause it’s never been read
\nby me,” he sings, as if his life depended upon convincing the
\nlistener that he is in agony over the woman leaving him. While the
\nsubject matter is not new, what is new is the way this song
\ngrooves. It’s a slower tune with a lot of space where the message
\nis allowed to resonate.<\/p>\n

Another stellar track is the upbeat boogie-blues
\n“Caught You Red-Handed,” which is about walking into a room and
\nfinding your woman with your best friend or, as John comments, “My
\nex-best friend.” The chorus of “I walked in the door and you’re
\nboth on the floor \/ There’s no way to pretend \/ I don’t know why,
\nthere’s no need to try \/caught you red-handed with my best friend \/
\nMy ex-best friend.”<\/p>\n

Another great track is “Broken Man.” Chastain allows
\nhis guitar riff to breathe with pauses that Haid and Swart fill in
\nwith a solid groove. Perhaps the only misstep of the release is the
\ncloser “Ladies Of The Night,” which sounds like something from the
\nSlide It In<\/i>-era Whitesnake. The track sounds out of place
\nand the release would have been stronger if the band had ended the
\nrelease with “Reflections.” Lyrically and musically, this song
\nwould have been a better final statement in this chapter of the
\nband’s history. The song ends with an excellent guitar solo and a
\nsynchronized snare\/guitar\/bass fill that would have ended the
\nrelease perfectly.<\/p>\n

As long as I’m airing wishes, I wish the band would
\nhave made “Heaven Help Me Now” as a duet between Johns and
\nChastain. I think the guitar riff and Johns’ vocals are a perfect
\nunion that makes the drums and bass unnecessary. Maybe they would
\nconsider making that song just guitar\/vocals at any live shows they
\nperform.<\/p>\n

I liked the first two Southern Gentlemen releases,
\nbut pulling in Johns to do the vocals was a wise choice and could
\nhelp the band’s mainstream recognition. And for his part, Chastain
\nprovides enough guitar flash to satisfy students of his playing
\nwhile also providing a feast for fans of hard-driving rock and roll
\nwith some blues.<\/p>\n

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