Blues Rock Albums - Page 2

Black Ice finds AC/DC returning after a long break with thick riffs and Brian Johnson’s full-throated voice firmly in place.

Subconscious In Xperience combines Blindman’s detailed guitar phrases, clear keyboards and emotionally forward vocals.

Forever More keeps Tesla’s live-band directness while adding darker melodies and heavier guitar weight.

Good to Be Bad returns Whitesnake to blues-rooted hard rock, built around David Coverdale’s voice with its mixture of power and sensuality.

Great White's tenth studio album, released by Shrapnel on 17 July 2007, was its first in eight years, made after the band reunited in January 2007.

Real to Reel is a covers album on which TESLA takes up the 1960s and 1970s rock classics at its roots and plays them in its earthy, bluesy sound.

Black Stone Cherry's debut album, issued by Roadrunner Records on 18 July 2006. Three singles were taken from it.

Pain for the Pleasure joins Blindman’s expansive vocal lines, melodic guitar, and full keyboards into dramatic melodic hard rock.

Eagles of Death Metal's second album, released in the United States on 11 April 2006. Every song is by Jesse Hughes and Josh Homme.

Honkin’ on Bobo revisits blues standards as rough, living Aerosmith rock and roll.

Into the Now returns Tesla to the kind of rock and roll built on unadorned riffs, sturdy rhythm and seasoned vocals.

Soul Talks, Melodies Walk layers smooth vocals, full keyboards and poised guitar into hard rock that values melody.

Turning Back layers soaring vocals, bright keyboards and lyrical guitar with great order and polish.

Just Push Play brings digital textures and pop-minded hooks into Aerosmith’s blues-rooted framework.

BLINDMAN combines intricate guitar phrasing with lyrical melody in a polished Japanese melodic-hard-rock record.

Stiff Upper Lip strips AC/DC back to the blunt force of its blues-rooted hard rock.

…in the dark presents Blindman’s melancholy-rich melodic hard rock in a compact form.

Pleasure to Burn joins Doug Aldrich’s bluesy, full-bodied guitar work to Keith St.

Nuclear Cowboy places John Sykes’s cutting guitar tone at the center of a heavy, confrontational solo set.

Being Human builds melody-centered hard rock from clear vocals, lyrical keyboards and finely detailed guitar.

Burning Rain’s debut combines thick guitar riffs, blues-rooted lead work and soulful vocals.

Great White's ninth studio album, produced by Jack Blades, came out in Japan in May 1999 and then on Portrait in the US.

Sensitive Pictures is an early Blindman album built from soaring vocals, sharply defined guitar work and keyboard color.

Nine Lives reconnects Aerosmith with thick riffs, loose-moving rhythm and Steven Tyler’s unruly vocal presence.

20th Century centers on John Sykes’s thick, singing guitar and his melancholy vocal character.

Loveland is John Sykes's second solo album, built around ballads rather than the hard-rock attack he was known for.

Restless Heart combines bluesy guitar, soft keyboard and David Coverdale’s deep, settled vocal presence.

Great White's eighth studio album came out first in Japan, from Victor Entertainment in February 1996, and then on Imago in the US.

Ballbreaker builds on the restored steadiness of Phil Rudd’s drumming, giving Angus and Malcolm Young’s riffs a dry, heavy frame.

Out of My Tree captures John Sykes’ cutting guitar and soulful vocal with a near-live sense of band chemistry.

Still Climbing finds CINDERELLA in a phase that reconnects Cinderella's earthy blues-rock feel to hard-rock force and puts tactile playing ahead of glamour.

Great White's seventh studio album, released by Zoo Entertainment in May 1994, came with the bonus live disc Anaheim Live in the US.

Bust a Nut finds TESLA in a phase that keeps Tesla rooted in tactile American hard rock while moving toward a heavier, tighter sound.

Get a Grip finds AEROSMITH in a phase that joins the band’s blues-rooted roughness to a huge pop scale through heavier riffs and sharply defined vocal hooks.

Nothin' but Trouble is a useful way to hear JOHN SYKES from a different angle within the 1993 catalogue.

Great White's sixth studio album, produced by Alan Niven and Michael Lardie and released by Capitol in 1992, reached 107 on the Billboard 200.

Great White's fifth studio album, released by Capitol in February 1991, reached number 18 in the US and was certified gold by the RIAA that April.

Psychotic Supper avoids excessive overdubbing and brings guitar texture, Jeff Keith’s rough vocal and the band’s shared breathing to the front.

The Razors Edge is a useful way to hear AC/DC from a different angle within the 1990 catalogue.

Heartbreak Station finds CINDERELLA in a phase that puts hard rock’s physical pull forward on a base of bluesy grit and thick riffs.