Having undergone one or two line-up changes since debut album ‘ Rev Up, Burn Out’, the change in personnel has definitely not subdued The Cheaterslicks momentum. If anything, new album ‘Rock ‘n’ Roll Graveyard’ is a considerable leap forward in the department labelled ‘variation’ compared to its predecessor that was more foot to the floor rockabilly and therefore living up to its moniker.

Despite opening song ‘Bayou Boogie’ suggesting a repeat of their previous winning formula, the band opt for more challenging terrain by letting in the blues and adding a country twang or two. Once ‘Don’t Ya Know’ swoops in on a lovely vocal drawl and claims your heart within a matter of seconds, it is clear The Cheaterslicks not only have a major hit single on their hands but also the creative department is under exploration. ‘Betty Page (Let’s Talk About Love)’ adds further weight to such ideas due to its playful taunts rubbing up against the serious declarations given by lead vocalist Paul Newman as it is played to a slight country beat, which is stretched further with the unreciprocated love of ‘Tears Heartaches & You’. The western feel of ‘Desert Wind’ completes this (almost) trilogy of country-inspired songs, bearing in mind the raucous ‘Nothing To Lose’ sandwiched in between, and reveals Newman’s depth of vocal delivery (head to the magnificent ‘Blonde Blue Eyed Beauty’ for further evidence).

‘Bad Bad Girl’ sees The Cheaterslicks comparing notes over a few rounds of drinks with label mates The Wolftones as it’s reminiscent of the latter’s blues-inspired numbers with its strutting beat and tight harmonica.

The rumbling and shaking instrumental ‘Gasolina’ unveils further facets to this album, which is nicely balanced with the restrained rhythm of ‘Honey Bee’, pleading for its ‘baby’ to come on home, only to be usurped by the outlaw quality of ‘Forgotten Places’.

Clocking in at a sizable 18 tracks, ‘Rock ‘n’ Roll Graveyard’ will severely test the patience of those more attuned to the present culture of downloads whereby a handful of songs more than suffice. As it stands, The Cheaterslicks seem to be hitting a rich vein of form, and one that is not afraid to experiment, as the majority of ‘Rock ‘n’ Roll Graveyard’ reveals a winning formula to rival any in the modern rockin’ stakes.

Do not be dissuaded by the skull imagery adorning this sixth studio album release by America’s Avenged Sevenfold because this is more old-school metal than anything of the black metal variety. Produced by Mike Elizondo, who was also responsible for the band’s previous album ‘Nightmare’, ‘Hail To The King’ consists of ten tracks that owe a debt of gratitude to the 80s and 90s metal and rock scenes as elements of Guns ‘N’ Roses and Metallica (lite) bubble to the surface during the ominous ‘Shepherd Of Fire’ before giving way to the opening guitar squall of title track ‘Hail To The King’. Such reference points are to be commended, however, as ‘Hail To The King’ turns up the amps and leaves behind the softer edges of previous efforts ‘So far Away’ and ‘Dear God’ as evidenced by the rumbling ‘Doing Time’; colossus that is ‘Planets’ and impressive vocals of ‘This Means War’.

While this album may not appeal to everyone, there is no disputing the true inventiveness running throughout the majority of ‘Trap Lord’. There is a real unorthodox approach musically with compelling yet detached spooky beats and impressions of running commentary; ‘Didn’t Wanna Do That’ being a perfect example complete with distant police sirens and dreamy female backing vocals that drift in and out. The icy spectre looming over ‘Let It Go’ is executed to perfection with its climbing electronica and downright weird closing sermon regarding paying your dues with vocals straight from the monastery floating over the top. The tribute to dancehall artist Shabba Ranks (‘Shabba’) follows in similar tone with its chilling rhythm and penetrating chorus which is smoothed over with the mellow sounding ‘Hood Pope’. ‘Trap Lord’ is an imaginative journey musically and one that details an (almost) open book which is equally captivating.

Sporting the sight of a buffalo on a collision course with a steam train during the latter’s early inception to the wild west perhaps best describes the music on offer with Tedeschi Trucks Band’s second album ‘Made Up Mind’ as there is a real collision of styles whether blues, soul, folk or rock. Despite this melting pot of varying styles, Tedeschi Trucks Band manage to make things work largely due to such deft musicianship but also wondrous vocals supplied by Susan Tedeschi. Where this combination of styles works best is the gutsy blues-rocker ‘Whiskey Legs’, Tedeschi’s vocal emphasising the abrasiveness to great effect; guitar-driven zip of ‘Made Up Mind’ and two ballad-esque numbers ‘It’s So Heavy’ and more stripped-down ‘Calling Out To You’. Despite all of this greatness, ‘Do I look Worried’ steals the plaudits with its powerful, soulful delivery that is resolutely defiant in its beliefs and ably supported with some lovely brass instrumentation and raucous bluesy guitar work.

John Mayer returns with latest album ‘Paradise Valley’ which sees a return to roots of sorts with a largely country-tinged affair held together by a light smattering of the more bluesy pickings he is more renowned for. Such familiar sounding ground can be heard midsection with the (almost) brisk tempo of ‘Call Me The Breeze’ that is dramatically cut short when in full swing only to be greeted by the mellow pop edges no doubt brought to the table by Katy Perry during ‘Who You Love’. In fact, there is such an effortless quality about the majority of songs held within that one cannot help but succumb to such delights of album opener ‘Wildfire’ that is all handclaps and campfire boogie or the gentle acoustic strum of open love letter ‘Dear Marie’ to realise that John Mayer possesses something of the Midas touch when it comes to songwriting.

Debut album ‘Barton Hollow’ from American country-folk duo The Civil Wars was always going to be a tough challenge to overcome when it came to album number two. Despite any initial fears held due to the sheer quality running throughout their debut album, The Civil Wars pull out the stops once more and deliver a resounding triumph that expands on its predecessor with a fuller and slightly firmer sound. The cover artwork with its darkened cloud depicting a sense of impending doom sums up the regret felt during ‘The One That Got Away’. There is a real sultriness about ‘I Had Me A Girl’ that even stems to the guitar strings sounding tetchy under the song’s humidity. ‘Same Old, Same Old’ is anything but tired sounding as it reveals an aching beauty that leads appropriately into the tenderness of ‘Dust To Dust’. It is sincerely hoped that The Civil Wars fight off any further sense of unrest, as reported in the media, and make it to third base because they now have two classic albums on their CV.