You would think after three relatively solid albums and a wickedly good live DVD with Black Country Communion that Glenn Hughes and Jason Bonham, the band’s slam dunkin’ rhythm section, would want to carry on with another guitarist similar in style and pedigree to the departed Joe Bonamassa. Not even close. Instead, they formed a power trio and christened it California Breed with a new, unknown 23-year-old guitarist named Andrew Watt. Combining influences that span three generations, the self-titled California Breed is a heavy amalgamation of Hughes’ soaring vocals, Bonham’s imitable finesse behind a drum kit and Watt’s intuitive, modern swagger on the guitar and songwriting abilities.
Julian Lennon introduced Hughes to Watt, and, despite the 40 year gap between the two, they apparently spoke the same musical language. Together with Bonham, they’ve churned out a rigid collection of 13 songs, sparse of hot-shot leads and speedy intervals in favor of rusty-blade power chords and layer upon layer of riffery resourcefulness. There’s a pervasive 70s influence throughout, alongside the grungy feel of the 90s (think Pearl Jam meets Led Zeppelin) that lifts the music from the doldrums of recycled retro rock moldy oldies. Much of this, of course, is due to the production skills of Dave Cobb, whose work with Rival Sons turned the rock world on its proverbial earlobe. What he brings to California Breed is a live and crunchy sonic sensibility that aids and abets in its immense power and melodic overtones.
There, rising above a tight triad of bass, drums and guitar, is that magnificent Hughes voice, seemingly untarnished by age and abuse — a potent rock and roll voice as golden and full-ranged as any possible American Idol candidate could ever hope to be. Except this ain’t American Idol — this is rock and roll! So we get a jolt-sized introduction via “The Way,” which chunks away as those booming vocals cascade the measures and Watt counters with a stinging progression. Bonham’s drums and Hughes’ bass crush through each stanza, as if to say: “This is California Breed and you better watch out.”
“Sweet Tea” with Watt’s cracking wind-up lead gives way to the thick and heavy delight of “Chemical Rain,” where Hughes soulfully declares his hard-earned determination to rock your face off. The chorus softens up with creamy vocal accompaniment from Watt and Bonham, clearly cushioning the turnarounds before Hughes blasts off into vocal stratosphere. “Midnight Oil” is a snappy rocker with a catchy refrain and a Jason Bonham drum outro that should be burning up request lines around the world. Hey, you never know. You can catch your breath during “All Falls Down,” a simple and plaintive ballad that washes over the listener like a light and sudden rainfall — edgy breaks, howling lead, Hughes’ emotional delivery and all. Just another sign this band can lay back and mellow out when it needs to.
If the sheer wall of sound coming from both “The Grey” and “Days They Come,” with their grungy, Nirvanaistic wails, smoothed out by Hughes’ soulful yelps, fail to rouse you from your slumber, then nothing ever will. “Spit It Out” is the record’s most playful romp, a spunky rocker that makes you wish radio would get behind this release, while there’s still time. The ear-bleeding lead that bends and twists around the “you know you’re gonna feel it when I take you for a ride” line alone is enough to give rock a chance. “Strong,” the first of a series of one-word-titled tracks (a total grunge move), shines with the glean of an acoustic guitar strumming out in front of the muscular trio. “Invisible” and “Scars” borrow heavily from the Zeppelin and Hendrix school of overdubbed distortion swimming in a subterfuge of feedback and reverb that Cobb can pull in so well. Through the wreckage, Hughes and Bonham pile-drive through the rhythms without the slightest stumble.
“Breathe” assumes a steady and poignant stance as it brings the album to a close (unless you count the bonus “Solo” track). But you’ll probably go right back to the beginning to see what you missed. Or groove on what you dug the first time around because California Breed is that kind of record and that kind of band — one you’ll want to hear again and again. As they prepare to share this music on the world’s stages, it will be interesting to see how the chemistry and interplay develops. That’s where the real test of the band’s vibrancy, their very future as an effective creative unit, lies. By all indications, California Breed is off to an auspicious beginning.
~ Shawn Perry
