Biography
John Lyons comes from Kalamazoo, Michigan and has played on stages in Michigan, Florida, Chicago-Illinois, South Carolina (House of Blues Myrtle Beach) and all over Switzerland since moving to Europe in 2001.
Although generally lumped into the blues-rock arena, John Lyons and his band fall into whatever category a combination of Tom Petty, Stevie Ray Vaughn and ZZ Top would create. Perhaps swampy Americana Folk funky soul blues is closer to the trio's sound, especially on this terrific album. John's been at it for quite a while; nearly two decades, playing small stages all over USA and Switzerland. But that hard work has paid off, big time. Lyons writes melodies and especially lyrics that show him to be an under the radar talent who has gone unnoticed for too long. Vocally his sweet voice is somewhat similar to Dire Strait’s Knopfler, especially on the excellent ballad ‘Ghosts’ and ‘Drive Baby Drive” on this album. Its bluesy swagger on the simple but energetic ZZ Top styled boogie of "I Need Your Lovin" and the greasy sex of "Natural woman" are remarkably effective due to John's suggestive vocals combined with his tasty guitar and the band's in the pocket backing. The New Orleans influence is widely obvious on the second line groove of ‘Voodoo Priest”, where John’s bluesy guitar licks have a vocalesque quality. Meanwhile, Lyons's cool yet edgy guitar playing also kicks "Last Shirt" up a few notches as well as guest Christian Roffler’s excellent piano work. There seem to be a few subtle overdubs but most of the album connects with just the three piece working through arrangements that make the most of the trio's abilities. At seven minutes, "Cry" is the disc's longest cut and its most emotional. John’s vocal and guitar talents are once again showcased on another great slow blues song on this record, “Lonley Fool” which is a heart-felt bluesy ballad with great dynamics and intense feeling and also features a slinky sexy guest saxophone solo by Pierroz Bolli.. Lyons returns on the Hendrix / Vaughn inspired closing tune, this time playing a ripping guitar solo that makes the already romping "I Like It Like That" even more intense and moving. While there is plenty of boogie, Lyons's evocative words and distinctive vocals bring surprising introspective depth to music that could easily deteriorate to bar band grind status. This album is several levels above that. Even with all the miles already on Lyons's life odometer, there is plenty of gas left in his tank. His journeyman experience makes these songs resonate more passionately than what's on the surface and connect on a deeper level.
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