Joey Freedom must draw his influences from Kiss, Alice Cooper, and punk rock of the 1970s. His music is direct, straight up rock and roll with a raw edge. His new Long Time Comin’ CD draws from some of the great protest songs and concept albums. Freedom knocks down the nations’ false images and false gods in each track. He’s a veteran rocker who has simply had enough. Despite the two-fisted lyrical attitude, Freedom injects true artistry into each track. He can list his grievances with the system in tastefully performed ballads too.Freedom opens his disc with “A Change Will Come,” a fix our America soon anthem that rocks right out with straight up guitars. Freedom’s guitar lines are blistering hot, scorching melodic lines that can make you bleed if you get too close to them. It’s refreshing to hear electric guitars in a three piece rock with such force and authority. Bassist Jim Perry and drummer Dana Bonardi spike their rhythm section parts with violent force. Lyrically, Freedom wants the country he grew up in to become a great place again. In plain language he says we’re all sick and tired of hearing lies. His straight up lyrics and forceful vocal delivery only give more edge to an edgy song. He grabs your ears and just doesn’t let go.
“Long Time Comin’” slows things down, letting Freedom put more emotion into his message. He says things cannot go on the way they have been, and he sings it in a melancholy mood, yet with an underlying sense of hope. He knows things will get better but that it won’t happen overnight. Freedom’s voice benefits from a tough guy edge, and it works in this down tempo tune because it keeps things solid even though he’s grooving mellow. His lead guitar break here is a tasty rock and roll treat, winding its way around the twists in his groove. Perry lets his organ chords percolate in the background, giving a layer of oldies rock flavor.
Still mellow, Freedom continues his message in “I Believe In Dreams.” Here, he plays a slight country flavored electric guitar melody that unfurls like a long stretch of highway with snaking, winding turns. It’s impossible to resist that guitar line. It moves like a fun bus ride through beautiful scenery. Freedom states his case that it is crucial for we Americans to believe in and to aim for some major direction or accomplishment. Listeners can feel his whole hearted earnestness, making him similar to singer-songwriters in lyrical grit, even though he sounds more of a rocker with something to say.
“U Ain’t Nuthin” finds Freedom and his rhythm section playing tight, muscular grooves that sound dipped in 1970s punk rock. Rocking steady, Freedom and his boys give a variety of colors and tones and emotive qualities within this tight groove ensemble work. Perry’s bass guitar is concise and compact, keeping a lot of nervous energy brewing just under the surface of the song. Freedom’s guitar, with its dangerous overtones, ignites the song briefly before returning us to the safety of his hefty chords. He also has fun running someone down with his lyrics, telling him he doesn’t amount to much in the greater scheme of things.
Freedom points the finger most directly in “Mr. Politician Man.” Strikingly rich guitar notes lead the way into this acoustic roots rock message song. Freedom shows flexibility in the vocal department, crooning this one smooth and easy, switching to more emphatic expression in his controlled build up. His smoky, considered electric guitar line is a wispy thing of beauty and his acoustic strumming is a mesh of thoughtful notes.
“World Gone Mad” is the most radio accessible tune on this album. Catchy from the start, Freedom caresses his lyrics with a dark smoothness while he and his boys rock out on the carefully crafted rock song. It punches lyrically as well. You know Freedom is truly worried about someone igniting our powder keg world affairs when he croons “The world’s gone mad, and it’s ready to blow.” The listener can truly feel Freedom driving him through a scary ride rollercoaster trip through our current mess we’ve made of things.
A dreamy electric guitar line pulls the listener gently and artfully into “Something To Believe.” Freedom, without missing a beat, soon turns it into a singer-songwriter acoustic guitar ballad. His harmonies with Perry on the chorus loom large with their fulsome sound. This one is tastefully played, folks, which highlights Freedom’s range as a player, singer-songwriter. Just when you think he’s a punk inspired rocker, he pulls this gem out of his hat, reminding us of all of those deep, introspective, meaning of life rock ballads from the 1970s.
“The American Blues” closes out this album with a mix of acoustic strum and rippling electric guitar notes. Freedom creates a moody vibe with his beautifully somber voice. He takes the current “sick and tired” attitude of Americans and turns it into a sterling, stirring, and tasteful rock ballad. Listeners will want to cheer on Freedom as he critiques the current sad state of America. They will also feel moved by the rolling flow of his considerate music.
Freedom is a true rock and roll artist. He has musical range, depth of lyrical vision, and he carefully balances his edgy attitude with blissful electric guitar lines and driving grooves. This disc was produced by Roger Lavallee at Tremolo Lounge Studios in West Boylston, Massachusetts. Lavallee, who seems to produce everybody in Worcester, has these songs sounding good to their very last notes in their ride outs. Long Time Comin’ is sure to sell a lot of copies and should be getting airplay on area radio stations’ local music programs.
