You'd think with a name like Blues Lawyer that the band might be a bunch of smarty-pants-types, gently ribbing the conventions of the alt-rock form. And, sure, these folks are smart, but there's a whole lot of heart here in the music on All in Good Time, the band's third album, out today via Dark Entries.
From the Swimming Pool Q's-ish roar of opener "Chance Encounters" and to the beautiful resignation of "Salary", this band starts off on a very good footing. Things get even better with "Return Policy", a lyrical number with vocals from drummer Elyse Schrock. That one and "Crystal Ball", back to vocals from Rob I. Miller, indicate a grounding in the kind of thing we used to call college rock. If a listener of my age hears an echo of Game Theory or The Reivers throughtout All in Good Time, that should be counted as good thing, and a reason, if you're still reading, to run out and get this record. A neat little lick anchors the heartfelt "Elusive Eden", while the gorgeous "Scenic Route", with vocals by Schrock again, provides this record with its brightest highlight of many.
There's a little fire here that reminds me of Eighties Mekons without the polemics (not that those are a bad thing, mind you), and Blues Lawyer manage to harness that vibe and ride it all the way through ever selection here. There's an energy here that elevates all of this to another level. It's not that each selection is wildly tuneful, and expertly constructed, it's that the four players play with the gusto that musicians on these shores once brought to this kind of thing, before Nineties bands elevated irony and/or volume over everything else. Blues Lawyer are drawing from a lot of (good) influences, but they're also making their material distinctive, mapping a corner of indie that feels both familiar and fresh. This whole album sounds like the kind of thing we'd get if Comet Gain were Americans. Yes, All in Good Time is that good, in that way.
All in Good Time by Blues Lawyer is out today via Dark Entries.
[Photo: Marisa Bazan]