Black Stone Cherry Magic Mountain

Ignore the album title, (because lets face it, it’s pretty awful) Black Stone Cherry’s fourth instalment in their admirable crusade of southern hard rock, is a commendable effort and a decent listen. Released via Roadrunner records and produced under the expertise of veteran rock architect Joe Baressi, (QOTSA, Bad Religion, Soundgarden) Magic Mountain sees the Kentucky foursome return with fresh material invoking similar attributes of their previous efforts; brash down-tuned guitar hooks, quick-paced fretwork, melodic and harmonious choruses and that signature southern rock sound stapled forcefully down since their debut eight years ago. 

Since their self-titled debut, the band have solidly enhanced their hard rock repertoire, along with successful tours with Lynyrd Skynyrd, Whitesnake, Alter Bridge and Bad Company and prominent appearances at the Download festival, Black Stone Cherry have earned a devout following across the UK and US. Regarding their third release, Between the Devil and the Deep Blue Sea, many argued they had swapped their unique sound and focused on a radio-friendly approach. To quote a favourite term from music fans, it was disputed that they had “sold out.” That said, Magic Mountain musically is much closer to their first two albums. Reminiscing that harder-edged rock sound that won them much praise earlier on in their music careers, the sound in BSC’s latest release, is very similar. Equivalent to what was probably expected from their fans, more importantly, the album is just as entertaining to listen to as their first two offerings.

The album opener, “Holding on…to letting go,” commences the record with trademark unapologetic, brutal and down-right heavy riffs before unleashing a high tempo chorus and energetic breakdowns. Immediately follows is “Peace Pipe,” a groove-laden anti war number featuring smooth vocals from front-man and lead guitarist Chris Robertson and exhibiting an impressive guitar solo. Magic Mountain continues to throw up dynamic rock anthems; “Bad Luck & Hard Love,” “Fiesta del Fuego,” and “Never Surrender,” with the former executed with Alter Bridge-like precision and exactitude and heralding one of BSC’s most impressive riffs to date. “Me And Mary Jane,” combines blues-inspired licks with the band’s formulaic modern rock sound, showcasing the edgy, hard rock swagger that separates them from the likes of Nickelback and Theory of a Deadman. Though the song is simple and uncomplicated, it still kicks a serious bite, with unashamed arrogance and aplomb and shrewd use of production effects, it will no doubt become a firm favourite on rock radio stations. As with previous efforts, BSC still have a soft spot for rock ballads with “Runaway” and “Sometimes” holding the sentimental flag through Magic Mountain. The stripped-down  “Sometimes,” is one of the highlights on the record, drawing parallels in sound with Pearl Jam, the tender ballad is a timely reminder of how impressive BSC are at pausing the high-octane rock and roll sound and expressing a more affectionate side.

Though Magic Mountain is an impressive effort, the album does have its flaws, which in turn prevents it from matching or bettering BSC’s first two records. Once the 13-song compilation is concluded, it feels certain songs should not have been featured and that more focus should have been paid in seeing a far more accomplished package of songs constructed. The title track of the album is a weak link, suffering from repetitive song structuring and bedlamite lyrics and lacking artistic merit. If it was an extra or a B-side track then it would probably go unnoticed, however the title track of an album of this magnitude should be far stronger and more imaginative then “Magic Mountain.” “Hollywood in Kentucky” and “Dance Girl” are also examples of BSC losing slight focus on constructive and original song writing. Both tracks incorporate stereotypical and at times futile lyrics, disappointing considering the band’s usual erudite and polished core on lyric writing.     

Despite this, BSC’s fourth album is a welcome return to form from a quartet very much assured in their continued presence within the 21^st Century’s selection of hard rock acts. The record showcases the band members at the peak of their playing abilities. Chris Robertson’s vocals throughout Magic Mountain are as dominant as always, proving why he is currently one of the best in the business. Ben Wells on rhythm guitar adds to the great dexterity of BSC’s riff-making process and provides an excellent backup to Robertson’s lead playing. On bass, Jon Lawhon, is as prominent as ever, just like in previous albums, his lusty and resounding grooves really power the music to a greater level. Drummer John Fred Young, BSC’s secret weapon with his belligerent, aggressive and masterful force behind the kit, comprehensively induces all elements of the heavy rock genre that Black Stone Cherry lives and breathes by. Magic Mountain might not be the band’s landmark album that will empower them into rock and roll history, though it is still an excellent attempt from a band continuing to elicit powerful and enjoyable rock music to fans of this genre. Black Stone Cherry are better than most modern acts in displaying their own character and distinctive nature within their music and Magic Mountain is no different. Notably enlisting passion, depth and full-force rock and roll from start to finish, BSC’s latest instalment, though not defining their evolving legacy, will certainly help to prolong it.