Mick Ralphs Blues Band | If It Ain't Broke

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Blues: Electric Blues Blues: Blues-Rock Moods: Featuring Guitar
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If It Ain't Broke

by Mick Ralphs Blues Band

The Title Artist Was One OF The Founders Of Both Mott The Hoople and Bad Company. In His Second Solo CD He Is Surrounded By Four Top Musicians From The UK. Adam Barron vocals, Jim Maving Guitar, Vocals , Dicky Baldwin Bass, and Damon Sawyer Drums
Genre: Blues: Electric Blues
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  Song Share Time Download
1. I Don't Care
4:28 $0.99
2. Standing on Shakey Ground
3:47 $0.99
3. Talk to Your Daughter
4:13 $0.99
4. Just a Little Bit
3:16 $0.99
5. Nothing's Gonna Stop Me
2:53 $0.99
6. Same Old Blues
4:26 $0.99
7. Too Bad
4:18 $0.99
8. Roll the Dice
4:01 $0.99
9. Well Connected
4:11 $0.99
10. Going Down
3:46 $0.99
Downloads are available as MP3-320 files.


Album Notes
Mick Ralphs – Most of us would count ourselves lucky to be a founding member of one highly influential band in our lifetime, but Mick Ralphs has doubled that. He is the founder of two of the UK’s most loved and respected bands, Mott The Hoople and Bad Company. When Morrissey is writing your liner notes and The Clash’s Mick Jones is copying both your guitar style and the guitars you play, then you know you’ve done a good job. His unique tone and style have been influential on a generation of guitar players. He’s the writer of some of rocks most classic songs (and we haven’t even mentioned the iconic guitar intro to Mott The Hooples “All The Young Dudes!) He’s written songs with George Harrison. He was David Gilmour’s go-to guitar player in the 1980’s….Ladies and Gentleman….Mick Ralphs

Adam Barron – Two words – “The Voice”. Yes, he was a success on BBC TV’s talent programme of the same name (being chosen and mentored by Jessie J and the legendary Sir Tom Jones) but when you see Adam perform you will hear his instrument – The Voice. As with all the great British singers, Adam is steeped in Soul, Rock and Blues. It’s at his very core. Adam is stepping into some big shoes working with Mick Ralphs (you will be well aware of the other vocalists Mick has worked with) but Adam Barron has risen to join those ranks.

Dickie Baldwin – With a background in country bands, Dicky has toured the UK extensively with gigs including the famous Wembley Country Festivals of the ‘70’s and ‘80’s. Having worked with members of bands such as The Strawbs, Albert Lee, Bad Company and The Pretenders, Dicky’s subtle, unobtrusive bass lines are the anchor that holds down any project he is involved in and creates a bottom end tone most bass players can only dream of.
and mentored by Jessie J and the legendary Sir Tom Jones) but when you see Adam perform you will hear his instrument – The Voice. As with all the great British singers, Adam is steeped in Soul, Rock and Blues. It’s at his very core. Adam is stepping into some big shoes working with Mick Ralphs (you will be well aware of the other vocalists Mick has worked with) but Adam Barron has risen to join those ranks.

Damon Sawer – Is no stranger to the blues and rock scene, having played with artists including Bernie Marsden (Whitesnake), Leo Lyons (Ten Years After), Robert Hart (Manfred Mann’s Earthband), Micky Moody, Paul Jones, Paul Rodgers, Pee Wee Ellis and Ben E King to name but a few. He has appeared on the Paul Jones BBC Radio 2 Show many times drumming for Sonny Black, Dietra Farr, Dave Spector and Jimmy Dawkins. When he’s not out on the road, you will find him producing and engineering at his own Platform Studio in Berkshire, where he has also recorded two solo albums featuring some of the artists above. He has also had the pleasure working alongside legendary blues producer Mike Vernon on several projects and albums.

Jim Maving – Bringing a multitude of guitar styles into the band, Jim’s influences range from Buddy Holly, Ry Cooder and the great Lowell George. He’s just as happy being the second guitarist with Mick Ralphs as he is playing with one of the UK’s foremost Alt.Country Americana bands Case Hardin. As Jim says “Mick Ralphs never had another guitarist in his bands, and I’m honored he’s chosen me to be his in his solo project”.

REVIEW by: Deborah Allen

What comes to mind when you hear the name Mick Ralphs?
I'll tell you what comes to mine. Good, solid, fat chords--no frills, bells or whistles--delivered to the masses with a sugar-sweet, melodic Les Paul tone and resonance that has become a trademark of Ralphs over the years, first, with Mott The Hoople, and then, more famously, with Bad Company.
Mick Ralphs, at the end of the day, is a simple man. He likes to keep it simple. To him, simple is best, simple is beautiful. Nothing over-done, over-played, mixed or produced. I picture the Fairytale Goldilocks And The Three Bears being read to him as a child--everything in the Bear's Cottage being too hot, too cold, or just right-- and this modus operandi staying with him. This is the way he approaches his music. Not too little, not too much--just right.
But with Ralphs, simple is not that simple, really. His musical efforts, out of his innate desire to "keep it simple", become a thing of sublimity, a thing of exquisiteness that stays with one, replaying itself over and over in your head. In my case, and that of so many others, for a fair number of decades.
See that quiet, studious-looking guitar player standing back by the drum riser and the amp stack? That's him. That's the guy I'm talking about. Mick Ralphs.
Now for a little Bad Company backstory, if you will.
Everyone has heard of Bad Company. Only that little ole band from the UK who, in this writer's humble opinion, single-handedly breathed life back into a dying Rock and Roll Scene. With a healthy dollop of Bare Bones Blues and Raunchy, Bar Band Machismo to ice the cake, circa late 1973 into 1974; their amazing first album quickly went gold, and they conquered America, and eventually, the Planet, just like that, as, if not more completely than Attila and all his Huns could have managed it. They were the prize stallions in the Swan Song stable, other than Zeppelin themselves, who not only loved and admired Bad Company, but confessed over time to having been more than a little envious of this amazing quartet, with their short, snappy songs, their catchy, virile lyrics, and their "tight but loose" delivery.
This was due in a very prominent way to Ralph's unique way with a note, a chord on the guitar.
To borrow his own words, his "smooth and creamy" sound. Never one to come across flash or pretentious, Mick delivered, song after song, precisely what the piece needed; never overpowering it with the extended solo or harsh, grating chords.
At the same time, he well knows how to dirty it up, and can supply the right touch of Raunch, ever in all the right places.
But no one, and I do mean NO ONE, can get a Les Paul to drip honey like Ralphs. He gets from it a sublime sweetness that sets him well apart from other players, and always has. He is a Master at his craft.
This amazing finesse continues to come through in his playing today. If It Ain't Broke, the new album from Mick Ralphs Blues Band, brings all of that forward in fine, satisfying, blues-tinged style. A mirror reflection of his Blues schooling, with two compositions of his own, including a great new number, titled I DON'T CARE, to start things off in ear-pleasing, toe-tapping style. With a sparse treatment applied, a steady back beat, sparkling little solo in the middle, it's "just right",
(Not too little, not too much). Short. Sweet. Smile-inducing.
Track Two introduces some funk/soul into the mix, via Bowen, Boyd and Hazel's Shakey Ground. If you remember Parliament/Funkadelic Motown sound, you know what I mean. A single released by The Temptations in 1975, it is here given the proper funky vibe by Ralphs and company. A pleasingly danceable offering, interspersed with some searing guitar work by Ralphs and Maving, falling back onto a steady backbeat supplied by Dicky Baldwin on bass and Damon Sawyer on drums. It makes you want to move, as is intended.
Track Three, TALK TO YOUR DAUGHTER, is hands-down this girl's favorite. A little ditty from
J B Lenoir of Chicago Blues Scene fame, it rocks along nicely and is a showcase for the excellent "grit in all the right spots" vocals of Adam Barron, who belts out the lyrics convincingly.
Track Four, Lil Bit, is a MRBB staple, and the original soul/rhythm and blues number is here given a tighter, faster delivery, with tasteful licks from Ralphs and Maving, over solid bass foundation from Baldwin. Maving pleases here with some satisfying slide on the guitar.
Next up is another Ralph's-penned number, NOTHING'S GONNA STOP ME. It's a good example of Ralph's penchant for the guitar duet, and chugs along effectively, expressing the eternal Rocker's lament of " so many pretty women, so little time."
Track Six, SAME OLD BLUES, is a lovely Blues/Soul number by the legendary Freddie King, a favorite of Ralph's, and a Bluesman he reaches out to more than once on this record. More pleasing guitar work here, more excellent, soulful vocals. The perfect song for slow dancing with your significant other, this one.
Track Seven, TOO BAD, takes us back to Bad Company territory. This is such an enduring number by Ralphs, I have to ponder why it was so-seldom used by them. Offering due compliment, I can state emphatically that there was so much great Bad Company material to be had, it is small wonder a few real gems like this one would get lost in the shuffle. With blistering guitar and the enhancement of Barron's fine pipes, this number couldn't get much better.
ROLL THE DICE, Max Barnes and Troy Seal's song is a nice little rocker with a country feel. Satisfying and a toe-tapper, with a brilliant guitar break in the middle that sees Ralphs hitting the higher notes with his singular style. A perfect Club number, another one to dance to.
WELL CONNECTED has long been a favorite of mine. Written by Maving and Maxwell, their former vocalist, it is classic ear candy blues. Add to that the anticipated soaring, sweet Ralphs solo in the middle, and again you have all the right stuff in all the right places.
Track Ten keeps the Blues vibe alive with Freddie King's Going Down to finish out the Album with erudite Blues style. The guitar work is again blistering and fine, the arrangement tight, but not too.
And that's it. Just ten tracks, but fashioned in an order that holds you from beginning to satisfying end.
This is Mick Ralphs Blues Band's second offering, and their first in-studio production. Their first album, Should Know Better, was recorded live at the favored and fabled Musician in Leicester.

Mick Ralphs, in 2016, at a venerable 72, continues to do what he was doing wonderfully, long before I walked into my favorite record shop one fine day and discovered Mott The Hoople in the racks, and the amazing young guitar virtuoso who played with them.
Forty Five years on, and nothing has changed. Except that the playing, and the listening, just gets better, and better.
And a simple man Mick Ralphs remains. Simply phenomenal, that is.
September 16, 2016



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