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Run - Black Cadillacs
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RELEASE INFO

LABEL: Young Giant
RELEASE DATE: June 6, 2012
FORMATS: CD / Digital

Band Members

Will Horton: Lead Vocals, Acoustic Guitar, Harmonica
Matthew Hyrka: Lead Guitar
Philip Anderson: Bass Guitar
John Phillips: Rhythm Guitar
Kevin Hyfantis: Keyboards
Adam Bonomo: Drums

BIOGRAPHY

The Black Cadillacs are a 6-piece rock & roll band from Knoxville, TN. The Black Cadillacs have a diverse array of influences from classic bands like The Rolling Stones, The Who, and Pink Floyd to more modern bands like My Morning Jacket, The Black Keys, and Jack White. Describing their first album, Patrick Gipson of Blank Newspaper wrote this: All Them Witches’ proves that The Black Cadillacs are in no need of gimmicks. They have found a way to become successful through their simplicity. And in their case, it is the talent that shows up first and lasts the longest.

Describing Classic Fool, the band's first single off of Run, Jason Harrison of Sirens of Decay said: This is a band that sometimes delves into the lowest of lows, but they have a good fuckin’ time doing it. 'Classic Fool' begins on that same solitary island, Horton’s vocals carrying wistfully while the melody finds its feet. The guitars find their horses at the midway point with a bit of help from some beautiful organ accompaniment and 'Classic Fool' really hits its stride.

The Black Cadillacs are: Will Horton (Lead Vocals), Philip Anderson (Bass, Harmonies), Matthew Hyrka (Lead Guitar), John Phillips (Rhythm Guitar), Kevin Hyfantis (Keyboard and Organ) and Adam Bonomo (Drums). Over the last 3 years they have been working hard honing their sound and live performance, and have made a name for themselves in the Knoxville region. The Black Cadillacs are currently touring in anticipation of their second album, Run, out via Young Giant on June 5th, 2012.

Review

May 10th 2012. http://www.blanknews.com

Just under a year ago, I was reviewing the Black Cadillacs’ last record All Them Witches, a far bluesy cry from what I am about to describe.

Then, the band had finished what seemed to be their tribute to Memphis; an album that showed not just where they were from, but how far they had come. “Witches” was riddled with simple blues and country staples that relied on authenticity more so than showmanship. Now a Knoxville mainstay, their latest album, Run, seems to be their salute to Knoxville. With rock riffs that will have you slapping your Levi’s and country ballads aged like fine wine, this is a more mature masterpiece. With everything from piano, to crunching guitar riffs to brass sections, it’s a Southern beer can with a Knoxville inspected sticker.

The album opens with the beautifully constructed “Classic Fool,” in which vocalist Will Horton lays some memorable lines over a riff that could be taken right off an early White Stripes record. The band doesn’t overwork here; the melody is preserved simply, which you will come to thank them for. I wouldn’t be surprised to see this one wind up on the closing credits of a television program one day, assuming the guys are the licensing type.

“Run, Run” takes us back to the classic Cadillacs sound; garage-distorted guitars, booming drums and bass guitar layered as thickly as peanut butter. The chorus is once again, very strong…“And I guess/You knew best/I never proved you wrong.” Not at all surprised that 90.3 The Rock picked this up on high rotation; this is signature Knoxville at work.

Guitarists John Phillips and Matthew Hyrka provide excellent vocal support, without which, I’m not sure even Horton could carry the weight alone. But make no mistake, Horton is showing his ringleader spirit here, channeling those salty Dan Auerbach hums.

“Would You Be So Kind” steps us out of the bar room and into the rain. A dance hall piano is accompanied with some guitar slides that will leave you reflecting. It’s not until the light brass section kicks in that you realize this song was indeed made for slow dancing. The band keeps the lights down low with “I Know It’s Hard.” Horton moans over the difficulties of change and distance. Right when I was ready to write this one off, a hazy guitar solo breaks through, circa Roger Waters’ The Wall, that really pulled it all together. While this isn’t their strongest on the record, it’s a true testament to how far these boys have come.

“Choke” turns the blues back up again and if anything, verifies how closely cataloged this band is to the Black Keys in today’s soundscape. I don’t mean to be cute; this could easily be mistaken for a Magic Potion B-Side in a post-nuclear world. The next track, “How You’re Feelin,’” bleeds seamlessly in next. Horton’s vocals echo from the background, as the instruments take center stage in this interlude. Nice brief interludes (this one stretching 2.5 minutes) are too rare these days; bands should take note. The interlude blends awkwardly into “100 Guns,” in which the melody hardly notifies you. I was kind of hoping the band would crank it back into high gear right after the break; it brings listeners to the edge of the cliff, make no mistake about it.

“Find My Own Way” opens with a killer electric piano; reminiscent of Raconteurs meets early Steve Winwood. I’m submitting my nomination for the keys as the least respected element of this album. On “Goodbye Fate,” Horton utilizes some nice lyrical work, in what sounds like a lost poem saluting our forfeiture of all that is good in this world. Really some excellent writing at work.

The horns return and just like in “Would You Be So Kind,” I’m wondering when they’ll return again. “Shade” has some nice play between the drums and a fabric tearing guitar fuzz. Also, credit to Phillip Anderson; this is his best bass work thus far. His domino riffs are a nice touch. The album concludes with “Go On, Go Off,” which sounds like the accompaniment to lowering of the flag. Lyrically, it’s a good farewell ‘til next time. “So go on, go off/and do what you will do/it’s too late and I can’t find a place for you.”

Knoxville, as we all know, is a growing music scene and it is going to have to save a seat at the bar for this band. I say that, because groups that evolve in the manner that the Black Cadillacs have is as much of a tribute to their spirit as it is the sweet influence of this town. This band is drinking the water here. They aren’t filtering it with that Brita shit. I’m not into giving stars or thumbs to albums; I wouldn’t want to dissuade you from your own journeys, or deliver unfair expectations when an artist is at stake. Therefore, I give this album three pale ales, a ride to the bar and a lucky billiards streak. And if you play this on the ride over with the windows down, you just might pick up some gals.





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