Review by Phil Rozier for MPM
Quite often, people are often mislead by the allure of the creative industries. Especially in the rock and metal world. Often pictured by late nights, debauchery, and excessive substance misuse. Even if you’re just a journo writing reviews, the expectation is to become enveloped by excess.
Well, it’s 2026, and whilst I listen to the latest release from the Thirsty Quireboys, a tribute to the late founder Guy Bailey, I’m getting lost in the duvet cover whilst changing the bed linen. As is often my Sunday morning routine. My ‘go to’ substance to use appropriately is Hayfever relief, and my weapon of choice to quench my thirst is a cup of tea. Standard builders’ tea, nothing flash. And that’s the way I roll this morning.
One thing to note about the new album, is of its 13 tracks, rarely any of them breech the 3-minute mark. This is 13 tracks of brief encounters. I try to avoid any influence, whether that be opinions or written word on music before I listen to it. Even the most impartial of listeners will unwillingly be looking for the content of the review in the songs.
And you know what, I’m pretty glad that was the case this morning. Opening with ‘10, 7, and Possible 6’, I was greeted with slow, blues inspired, gritty sharp vintage rock. A guitar, and maybe a Marshall, and that’s about it. Clearly, crisp notes tearing through the grill cloth, accompanied by the gravel that is Spike on the vocals.
In under 3 minutes we’re already into track 2. ‘Flawless’ almost feels like it just carries on from the preceding track. As one fades out, the other fades up and if you weren’t paying attention, you’d be forgiven for not recognising one track had finished and another had started.
‘God Bless America’ follows. And at 3 minutes and 8 seconds, you’re in for one of the longest tracks on the album. Rosemary, had a smile for me… I bet she did. I wonder what else she had for you? Have a listen, maybe you’ll find it.
So far this is the perfect Sunday morning album. The purity of the guitar talent, and raspy vocals are just perfect. Laced with emotion, the tracks are delivered with gentle precision, but distinctive intent. As I lay the final pillow down on the bed, I’m intrigued to see if the following tracks on the album follow suit.
‘Mercury’, ‘Albatross’ and track 6, ‘White’ have confirmed the album is a continual mastery of technical guitar intricacy, providing the foundation for the unchanging expression of vocal depth. I’m not sure who was on the drums, but there’s something worth listening to here. A combination of traditional blues laced with the occasional jazz inspired step up in pace.
It’s often said that some bands in the rock world could be criticised for sounding the same. I’d guess you’d put this album in that category. But rather than criticise, I’d applaud it. It’s designed to be that slow, steady, constant blues riffage. The tracks are short enough not to bore, and long enough for the talent to shine through.
With Spike’s husky lyrics being sung over the original guitar work, expertly masted by Chris Kimsey, it’s one for the fans of early Aerosmith, Rod Stewart with a touch of classic Stones. You can almost see the smoke and taste the Whiskey all the way through the album.
With final track ‘Black’ starting with a softer, cleaner guitar, with just a touch of tremolo, I find myself now lying on the freshly made bed, without wanting to find anything else to do. Just listening to this album, window open, air blowing through. Close your eyes and just drift into the world that the album effortlessly creates.
The album will be released on the revised date of 19 June 2026, with vinyl and CD pre‑orders now available.
