Jones is touring with his four-piece lineup and this new album overall explores contemporary rock elements rather than the rock-blues material upon which he has risen in the field as a live draw. Laurence and I met up to discuss this release and related matters and we shall run the piece in the near future. In the meantime if you go and see The Laurence Jones Band you will hear a lot of the numbers on this collection. As he said to me, he now has several albums from which to compile a setlist. This set is produced by Gregory Elias and was recorded in Florida, the band comprising Bennett Holland on keys and vocals, Phil Wilson on drums and bass in the hands of Greg Smith.

What Would You Do rides in on a heavy beat and wah’d guitar, the number being similar in ambience to Steve Miller’s Fly Like An Eagle. Clearly some sterling work has been done on the vocal arrangement. At 2:36 a guitar solo starts up. It’s a pretty effective opening cut. Next up is Don’t You Let Me Go with an edgier feel, another fine solo and to my ears would make a good set-starter.

Hold Me Close – many of these titles could come from a female artist – sports a great piano intro and uses vocal falsetto here and there. It’s quite unlike other LJ material, maybe closer to Bryan Adams in ambience and construction. I hear horns on this one..just an idea, amigo! Keep Me Up All Night benefits from Motown pacing and drumming and I like this one a lot, it sounds like a durable song. The emphatic bass and acoustic guitar helps. Give Me Your Time is a touch more soulful with much attack and a strong vocal, Jones’ Bad Company side on display. More biting guitar, great backing vocals and a creditable group sound. The Truth has a churchy start and definitely a Knopfler vibe at work. The questioning lyric adds depth and a heavier passage that enhances the song dynamic. Surely a live must?

Solemn piano introduces Take Me, a rock ballad with more tender singing, to suit. The guitar is pastoral, making this a good inclusion in the programme. Going Away and its dirty wah guitar does sound like a name-the-band set closer and again a tough vocal. If there’s ever a phrase you don’t ever say to a female it must be Can’t Go On Without You. There is a lovely roll to this tune and a reply vocal that works. Perhaps Laurence’s Hall & Oates moment ? The delay on the guitar is a wise move.
Never Good Enough is a relaxed blues effort, ending the collection.

Maybe a story song or two would have added a bit of balance to the love and romance-centred lyrics here but that’s a minor carp on a strong selection of new songs, played and sung with spirit and displaying true and developing songcraft.

Pete Sargeant