| Musical Style: Blues Rock | Produced By: Dale Thompson & Austin Dodig |
| Record Label: Girder Records | Country Of Origin: USA |
| Year Released: 2025 | Artist Website: |
| Tracks: 13 | Rating: 90% |
| Running Time: 55:31 |
We put Smoke & Mirrors, the July of 2025 Girder Records fourth full-length album from Dale Thompson & The Boon Dogs, near the top of our blues rock album list for the depth to its songwriting, inspired musicianship and becoming lead vocals. As its namesake implies the project of vocalist Dale Thompson, The Boon Dogs finds the veteran front man staying true to his blues predicated roots, referencing the signature blues based hard rock direction of his main band Bride and blues rock solo material under the heading ‘The Religious Overtones’ (1995) and ‘The Kentucky Cadillacs’ (1998). The Boon Dogs, however, is not just Thompson but also encompasses keyboardist, pianist and organist Graham Carruthers, whom is involved with Thompson in his Dabster Gentlman project, and mixing/mastering technician and drummer, keyboardist, guitarist & bassist Austin Dodig.
I have remained a fan of The Boon Dogs dating to its 2021 Girder Records self-titled debut, an 80% Angelic Warlord graded work featuring ‘ten equally good songs of traditional blues upholding solid hooks and melody structures’, and 2022 follow up effort I See Red (also Girder) that ‘maintains the blues heavy rock direction to the debut’ (80% review). The Boon Dogs returned in 2024 on Roxx Records for third album Unfinished Business that might have dipped slightly with a 75% score but otherwise ‘(should appeal) to those whose tastes trend towards Glenn Kaiser Band, Stevie & The Saints, Darrell Mansfield, Greg Chaisson & Sign of Jonah’. Musically, Smoke & Mirrors picks up where its predecessors leave off with a traditional blues rock leaning that while not crossing the hard rock threshold hits particularly hard in places, noting the contributions of a talented host of guest guitarists to include brother Troy Thompson, Sean Silas, Tim Bushong (Lovewar) and others. Where Smoke & Mirrors separates and takes things to the next level is songwriting consistency, with 13 quality tracks which while some are better than others (in my opinion) none are skip worthy either.
Added bonus comes in the form of re-mastered versions to Thompson’s solo albums Speak To The Machine and Testimony from 1994 and 1998 respectively, which turn Smoke & Mirrors into a three-disc package. Former is a compiling of at times outside the box and others eclectic rock pieces. Highlight is a heavy rocking cover of the Matrix (pre-Bride) track “Butterfly”, which initially appeared on the 1985 demo Studio Junkie. Latter embodies traditional blues-rock but is also not without its choice moments in the groove underpinned “Don’t You Judge The Preacher”, which sounds as if an outtake to 1994 sixth Bride album Scarecrow Messiah, and borderline hard rocker “Road Less Travelled”.
Opener “Raw Bone” delivers the traits one expects of quality blues heavy rock: acoustic backbone but rhythm guitar to taste, disparate bass, outlying melody and lower register backing vocals. Thompson meanwhile accents with his signature grainy but soulful middle register vocal abilities.
“Jonah And The Gourd” carries over the acoustic bent but in a slower, slide guitar driven format with a shuffling low-end groove presence. Vocals reach down low with fitting gravelly venom, while Gospel style female backing vocals make occasional appearance. Lyric snippet:
The sign of Jonah stills the storm
Raises the dead, removes the thorns
Rolls back the clouds, lowers him down
Nothing of the earth could hold Him in the ground
There is coming a day when they shall be scattered
And no one will be there to gather
I have prophesied as you did command
It must be overthrown, it must go down
“Grave Digger” approaches from a traditional blues standpoint, lighter and upbeat compared to the opening two in maintaining the acoustic bent but also laid back and reserved with its seamlessly flowing tincture. Harmonies are fittingly raw and granular and lead guitar of a classical form.
“No One Said” embodies five minutes of bass impelled melancholy. Slow, trudging and mournful, song touches upon the ballad like with its downcast melody and Gospel flavored backing vocals. Glenn Kaiser could not do better the wonderful guitar leads closing the final minute and half. Lyric snippet:
I’m nearing the end; you say it’s time to begin
Life is sure a fight to win, finish the race before us
No one said this would be easy, no one said it would be clean
When you run the race all along, and you’re on your own
I don’t know how to defend against the ones that ignore us
No one said this would be easy, no one said it would be clean
“Conversation With The Devil” reveals the heavier side to The Boon Dogs, amplifying force exponentially as clouting rhythm guitar, cowbell and brusquely done hooks take hold. I sense a bit of Bride style venom and groove here, referencing the lead guitar straight from the hard rock school of soloing.
Back to traditional blues with “In Bashan”. What we have is a mid-paced toiler, awash in doleful melody and disconsolate harmonies but also stirring in form of enlivened vocal harmonies and unpretentious classic rock peculiarities. This one would potentially fit on seventh Bride album Drop. Lyric snippet:
You brought comfort to my troubled soul
Goodness and mercy follows me wherever I go
Now’s the appointed time, all the days of my life
Jesus is in Bashan
The table is set in the presence of my enemies, I was an honored guest
You anoint my head with oil, wash my feet with your tears
My cup runs over
Gates of hell shall not prevail, Jesus in Bashan
“Superstition” is a short (three and half minute) but varied piece. Opening seconds lightly traipse to banjo until an evident guitar edge cuts in, taking things ahead in heavy rocking fashion as female backing vocals daintily decorate the backend. Vocally, Thompson takes a coarsely impassioned tone.
On first listen, “Barabbas” stands apart with its immense bass line - Dodig proves no small talent in this regard - but repeat listen reveals song to revel in masterful blues laden licks and chops of the highest order (also referencing Dodig’s work). When further factoring the guttural melody, “Barabbas” ranks with albums choice tracks. Lyric snippet:
Standing accused He opened not His mouth to speak
He bore our sins, lost and the weak
Jesus give us Barabbas a killer and a thief
Crucify upon Golgotha’s tree
You hate what you don’t know, you have whom you’ve never met
You drive those nails into His flesh
Jesus give us Barabbas a killer and a thief
Crucify upon Golgotha’s tree
The distant piano and ‘ooh-woo’ backing vocals to start “Thirty Pieces Of Silver” give way to hard rocking rhythm guitar and firm bass to establish some of albums heavier moments. A darker aspect rises to the surface found in the stern harmonizing and sober backing vocals repeating, ‘money, money’, which combine to make the grave hooks that much more memorable. I see this one sounding at home on any recent Bride album.
The brilliant “Cords Of A Man” initiates to a bass solo that segues to hard hitting rhythm guitar that when joined with spoken word vocals point to classic Rez Band blues rock cut “Players” (off Civil Rites from 1991). Bass continues to play a lead role, interweaving with substantial hooks and another run of bettered bluesy soloing to make one of the stronger Smoke & Mirrors musical statements.
“Broke These Chains” is another favorite. It proves a lively and up-tempo rocker, rousing with its rollicking piano and bustling guitar - particularly for the electrifying ‘believe the Lord’ refrain - in giving prominence to a refuse to go away ambience. When further factoring the storytelling feel to vocals, I am reminded of Larry Norman’s wonderful 1981 blues based release Something New Under The Son. Lyric snippet:
Paul and Silas dragged by the magistrate
Disturbing the city now they’ve met their fate
Beat with rods, beaten with fist
Ain’t go no prayer, ain’t got no wish
Put into shackles and bound by chains
They stirred up a hymn and they began to sing
You got me wearing these chains
I’ll sing His praise, you got me wearing these chains
Albums remaining two tracks are a bit outside the box but still good. First, “The Fiddle Song” is lone track in which I struggle due to the Country infused twang interwoven with clapping hands and sing along mentality. I accept it due to the fact it is only song in such heading- if entire album were in this direction I might balk. Second, “I’m The One” is better as a straight on acoustic ballad in which viola plays a highlighting role and Thompson takes a flattering lower register baritone vocal role.
It goes without saying Dale Thompson & The Boon Dogs hit its creative and artistic stride on fourth album Smoke & Mirrors. The blues influenced songwriting, whether traditional or heavy rocking, is spot on with delectable melodies certain to draw in with consistent listen. As always, Thompson finds himself at home in a blues based environment with his distinctive soulful vocal style, while The Boon Dogs and host of guest guitarists not to mention artists nineties era solo albums Testimony and Speak Into The Machine lend further value. If a fan of blues-rock - noting any of the artists referenced in the review - or the previous three Boon Dogs albums, make Smoke & Mirrors a priority purchase.
Review by Andrew Rockwell
Track Listing: “Raw Bone” (4:22), “Jonah And The Gourd” (4:09), “Grave Digger” (3:41), “No One Said” (5:17), “The Fiddle Song” (2:23), “Conversation With The Devil” (4:22), “In Bashan” (5:12), “Superstition” (3:20), “Barabbas” (3:58), “Thirty Pieces Of Silver” (4:37), “Cords Of A Man” (3:50), “Broke These Chains” (4:53)
Musicians
Dale Thompson - Lead Vocals
Austin Dodig - Drums, Keyboards, Synthesizers, Horns, Guitar & Bass
Graham Carruthers - Keyboards, Piano & Organ
Additional Musicians
Phillip Thompson - Banjo
Aline Paola - Violin
Chris Dickens - Bass
Brian Gocking - Bass
Samuel Horner - Bass
Aaron Lucas - Guitar
Troy Thompson - Guitar
Sean Silas - Guitar
Ken Tucker - Guitar
Anderson Lima - Guitar
Tim Bushong - Guitar
