Gutsy, Passionate and Honest Contemporary Southern Rock.
We loved Hannah Aldridge’s debut album Razor Wire way back in 2014 so got ‘super-excited’ to receive her follow up earlier this week (a bit too close to the release date for comfort; but…hey ho!).
WOAH! My ears were immediately pinned back with the intensity of opening track Aftermath, as Hannah channels her inner Joni and Bonnie on a steamy Rocker of the Southern variety.
That ‘feeling’ carries on through the darkly sensual Dark Haired Woman which follows and probably most songs here; but most noticeably on Lace and I Know Too Much.
I’ve deliberately not listened to Razor Wire while reviewing this beauty, as I want this fresh and feisty album to stand on its own merits; and it most certainly does with Alt. Country rockers like Shouldn’t Hurt So Bad and No Heart Left Behind being the type of punchy songs we associate with Lucinda and Chrissie Hinde; but Hannah Aldridge’s lavishly textured voice and full-blooded way with words takes her into a league very much of her own; with comparisons being futile.
A couple of other songs stand out for very different reasons; the almost Gothic ballad Living On Lonely, featuring Ryan Beaver on harmonies and Sadler Vaden’s spooky guitar parts sent a tingle down my spine the first time I heard it; and then when I discovered that it was a co-write with RMHQ favourite Andrew Combs it took on a whole new importance, and had me poring over the poetic lyrics.
But the title of RMHQ ‘favourite song’ goes to……..The Irony of Love, a song that had me thinking “where the Hell did that come from?” An almost lo-fi story that had; and still has me marvelling at it’s haunting construction and the actual phrase ‘The Irony of Love’ is just perfect and had me wondering why no one has actually used it before…..because, as Hannah points out, Love is made up of many and various ironies. 10/10.
Then we have the title track Gold Rush; a fascinating acoustic Alt. Country ballad which closes the disc and uses Hannah’s luscious voice against a moving pedal-steel, shimmering cymbals and some gorgeous bottle neck guitar playing from Vaden.
I’m not sure what more I can say to draw your attention to this album; but if it was by one of Hannah Aldridge’s more well known contemporary’s the national magazines and newspapers would be wetting their pants with excitement; so get in first and see what the fuss will be about.
Released 16th June 2017