Epic Records
2 out of 5 stars
Blues-iness
On their sophomore studio album, Los Lonely Boys have seemingly hit their stride
in the popularity department with "Sacred." On the strength of their released
single "Diamonds," a tune with hints much like their first mainstream success
"Heaven," they look to be on their way. However, it seems that promotional
purposes have marketed this Mexican Rock band as a blues album, which has,
well...its repercussions.
The album kicks off with a Los Lobos-of-old flavored rocking number called "My
Way" explaining the boys' ways of staying true to themselves and their music,
answering any critics' notions of their selling their souls to the big label
demons for commercial popularity. However, the real blood and guts of the album
is highlighted about five tracks in on a flamenco-tinged, almost slow blues
ballad called "I Never Met A Woman" which lends itself to another band of the
Texican element called Tito and Tarantula. It has a slow burn feel to it, with
just enough spice to definitely hint at the Stevie Ray Vaughan Texas roots of
guitar player Henry Garza. The Garza Brothers, though lacking in lyrical
content, don't lack in talent. Lush harmonies by all the brothers flourish
throughout the disc, reminiscent of their Mexican roots from the mariachi
tradition. The Garzas also call on their musical influences in the song
"Outlaws" paying homage to Johnny Cash and the Texas Blues traditions. It is
obviously that this fantastic band, especially in elder brother Henry's guitar
playing, that these guys are rooted in blues but definitely do not produce a
blues album.
It also obviously detracts from their previously released live disc which is
just drenched and flooded with the influence of Los Lobos, Vaughan, the Fabulous
Thunderbirds, Tito & Tarantula, amongst others in the Texas Electric Roadhouse
Blues tradition. With better marketing and experience on the road, the boys from
Southwest Texas will make for a real good band blessed in the Texican spirit
that they harmonize in the lyrics of the album. By Ben Cox
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