Bill Mead and crew always sound so purposeful, but not jaded. Powerful, but refined. Their exciting stage brew of rock, R &B, rockabilly and country rock makes for absorbing and rhythmic shows. This new studio record brings some new songs and a punchy sound from Mead, joined by bassist Baz Payne, ace drummer Brendan O’Neil (oh yes), slide guitar ace Loz Netto and Teresa Revill on bv’s.

Matters get under way with Automatic Mode with its slashing guitar chords and lively drumming. The gritty vocal rides the insistent bass rumble and the arrangement allows for curling axe motifs and bursts of fuzz. A cool guitar break has a hint of early Dave Edmunds with a dash of mean. Netto’s guitar decorations use harmonics, sustain and well-judged slide runs. The overall effect is We Mean Business on what is a catchy number. So far, so sparky…

Bullet is next and has a hint of Hispanics in its shadowy build, snaking guitar jumps in and out. The Sharpeez and SnakeCharmer are so good at this bluesrock songsmithery. The sinister tempo comes over well and the tale is spun by Mead in an almost conspiratorial manner. Bill tends to adapt to the mood of each song, to enhance the dynamic impact. As a craftsman does…

Doctor Feelgood is a nimble toe-tapper with greasy slide licks, imagine a meatier Dire Straits perhaps. Losing Hand piles on the edge, with another biting vocal and a crispness other acts might struggle to attain. Something here puts me in mind of Radio Birdman, Australia’s finest. On to Stiletto Heels with its swaying beat and intriguing tale of a bewitching female. A really infectious song, this one and already a performance favourite. Next up is Wild One going for funkier vibe and steadier pace. Perhaps the best vocal on the record, too. This is the sort of more restrained selection that the band are likely to expand on stage.

Heartache Express wastes no time in hitting a chugging groove, that juiced guitar blend used to maximum effect. The weaving guitar runs are relentless and fiery.

Heat Of The Night has a pent-up rocking gallop that works well despite some well-worn chordal progressions. Final cut Desperate Man appears to be a co-write by Bill and a bloke called Pete Feenstra. I wonder what he knows about guitar music?(Just kidding, chaps) It’s a moody, careering swagger of a song and a highlight of the collection

Pete Sargeant