Musical Style: Rock	Produced By: Glenn Rogers
Record Label: Roxx Records	Country Of Origin: USA
Year Released: 2018	Artist Website:
Tracks: 10	Rating: 80%
Running Time: 45:36

At times groove based, at others funk driven but always drawing upon the bluesy aesthetic, Max Blam Jam reflects a wide array of musical influences to create its own eclectic if not outside the box form.  A group consisting of former Deliverance member’s bassist Brian Khairullah and guitarist Glenn Rogers, Max Jam Blam came together in early 1991 when Khairullah, dissatisfied with his record company at the time, Intense Records, and Rogers, writing music on the side while playing lead guitar for Steel Vengeance, joined forces.  The Max Blam Jam press material from back in the day puts things into perspective when it suggests the two ‘found the collaboration to be fiercely productive’ in light of how ‘they sought to create music that could be felt in the heart as well as the gut’. 

With bassist Cesar Ceregatti and drummer Dan Ceregatti later rounding out its lineup, Max Blam Jam settled into a ‘crunchy funky blues groove with an affinity for the soul’ (again, referencing the groups press material) on the lone full-length album it recorded in 1991.  Due to mirroring so many diverse musical styles, one can understand the disparate natures to the group’s musical influences that range from (once more, from its press material) ‘Elton John, Primus and Aerosmith to The Beatles, Jimi Hendrix, Metallica and Mozart’.  If into any of the following, I can see Max Blam Jam also being of interest: Red Hot Chili Peppers, Hot Pink Turtle and Uthanda (the group’s funky groovy side) not to mention Stevie & The Saints, Glenn Kaiser Band and Stevie Ray Vaughan (bluesy aspect).   

The previously noted album attributed to Max Blam Jam, for whatever reason, sat in the can and never saw the light of day- that is until January of 2018 when Roxx Records released it under the appropriate title Blow Up Man.  Re-mastering attributes to Rob Colwell of Bombworks Sound and layout and new cover art Scott Waters of No Life Til Metal.

Lead off track “I Wasn’t Ready” represents all things Max Blam Jam: Cesar Ceregatti providing the up-tempo funk based bass backbone, Dan Ceregatti establishing the groove laden timekeeping low end and Glenn Rogers bestowing a guitar sound that while not hard rock or metal projects nonetheless.  Tying everything together is Brian Khairullah’s pure and silky smooth classic tenor vocal abilities.  It sets the stage for what is to come…

In a similar musical vein but at the more tempered pace, “Burning Deep Inside” highlights added elements of mirthful dance groove while further playing up the refuse to go away radio friendly hooks.  All the while Khairullah lowers his register in lending a soulful element to his delivery.  Instrumentally, a spacious bass solo gives way to Rogers’ stretch of torrid lead guitar.

One of my favorites is “Desert Flower” from how it slows impetus further with its relaxed traditional blues sentiments.  Full on emotion runs high its five and a half minutes, as Rogers reveals a reserved side to his playing – plenty of slide guitar and gritty licks and chops – that could not be more of a far cry from his speed metal and thrash days with Deliverance.  Fans of Glenn Kaiser Band and Stevie Ray Vaughan are certain to embrace this one!

The politically incorrect entitled “I Love My Gun” (and more on this later) takes a direct as it gets and no-nonsense approach.  With its stern if not pointed demeanor, the song emanates a darker bearing while maintaining the blithe bass guitar driven sensibilities.  I even like the spoken word borderline rap vocals at the halfway point.

Another choice cut is “Standing Alone”, again elevating the bluesy sentiments within an atmospheric if not borderline ballad based setting- pace slows to a mid-paced crawl as emotion (once more) is taken to the next level.  Rhythm guitars maintain a fitting ethereal feel and lead guitars draws upon the GNR and Bride school of soloing.

“Everybody (Needs Love)” impresses as an up-tempo blues based groove rocker.  It entices with the classic rock nuances to the rhythm guitar tones, but can even things out upon procuring the sauntering refrain interwoven with airy vocal harmonies.  I can see mid-period Bride doing something along these lines.

“Wild Billy” represents Max Blam Jam at its inspired best.  The song starts its first minute moody and tepid, gradually maneuvering until heavier rocking guitars nudge in and push things ahead at the more impertinent tempo, with impetus peaking for the shouted feel to the curtly done refrain.  I cannot help but be reminded of Red Sea.

Album revisits its up-tempo groove rock ways with “Apathy’s Child”.  The song literally dances its distance, pronounced from the funk flavored rhythm guitar that sets the joyous tone but also pointed in terms of the churlish ‘I don’t care’ harmony vocals that decorate the back end.  Vocally, things descend to the borderline somber and gravelly (but still very good) side of things.

A fitting return to blue rock territory, “Rescue Me” starts tempered and reserved to grainy guitars only to gradually gain momentum as said guitars build to a forward place in the mix.  Brash and bold is the feel the rest of the way, as a cool shuffling bass presence lends to the excited momentum and soloing sounds like something off an old Rez Band album.

“Because” might be one of the albums more basic and straightforward cuts, but it is also one of its finest as a six minute acoustically driven ballad.  I appreciate the generous portions of melody that rise to the surface, as manifest in the distant keyboards accenting the backdrop and heartfelt essence overall.  Song peaks as it unveils the following line: ‘I love you just because’.

Obviously, I do not own an original copy of Blow Up Man to offer comparison but production sounds fine for (what I assume) is a self-financed album recorded in the early nineties.  Re-mastering brings out all the fine details in the form of more than adequate guitar, punched up bass and even balance of vocals and keyboards.  In the end, there is nothing in which to complain.

I might describe lyrics as subtly Christian in touching upon life, love and social issues.  “I Love My Gun” starts out humorously about an individual struggling to learn how to use his new gun:

My aim was atrocious when you first came to town
I couldn’t hit the side of a barn or even Jimmy Brown
But after firing off then, or fifteen thousand rounds
Well, I can hit surfers all the way from downtown

But later it takes the form of a warning or the importance of exercising prudence:

We joined the hippest social clubs back in the day
Like Soldier of Fortune or NRA
I was obsessed with you; drove me to jealousy
Those silly men in blue tried to take me away from you
Now it will be twenty years or more alone, without you

“I Wasn’t Ready” is written from the standpoint of a soul that is searching:

Remember when pleading in darkness, far from the light
In blackness repenting, for fear of the night
I was waiting.  All my life seemed so frustrating
Looking for an answer to take away my misery

Was so empty.  Was a man who tried to tell me
Winters heart melts in the heat of the soul that strives for breaking free
Every single day, everything they’d say
As night turned to day, found myself still trying to find a getaway

“Standing Alone” builds upon similar themes:

I can’t feel your presence, all I feel’s emptiness inside
It makes me wonder all about the sins I hide
Shattered scenes of a vision, that held you in my mind
Slips through my fingers, like the sand at the end of time
Time never waits, don’t say it’s the end

God please don’t forsake me
Heart like a stone, I stand all alone
Lord please don’t forget me

“Apathy’s Child” talks of the company that you keep:

Weeps tears in anguish where sorrows flows
But you don’t hear or see it, becoming deaf and blind
Preferring selfish comfort, drink from the cup of wine
Of self-destruction

You’ve been acting funny, you’ve been wasting time
You ain’t got no wisdom, stop bleeding mine
Looking for an answer to relieve your pain
Just reach out your hand to receive the same, it could be the answer

There are some that suggest Blow Up Man sounds a bit ‘samey’ with repeat listen, and I can understand the point in light of style classification when what you see is what you get with Max Jam Blam: again, ‘crunchy funky blues groove with an affinity for the soul’.  That, however, is where the albums true strength resides in that I find there is more than enough variety in terms of groove based tracks, traditional blues rockers and heavier material (not to mention that lighter) to keep my full attention.  It does not hurt either in that Glenn Rogers pulls-out-all-the-stops guitar wise in not proving a one trick thrash pony from how his playing lends to the blues and groove based sounds at hand.  Credit Khairullah in terms of a vocal performance mostly smooth but at times can trend towards the lower register.  If a fan of any of the styles presented or artists noted then Max Blam Jam and its first and only album Blow Up Man will not disappoint.

Review by Andrew Rockwell

Track Listing: “I Wasn’t Ready” (4:32), “Burning Deep Inside” (4:42), “Desert Flower” (5:39), “I Love My Gun” (4:24), “Standing Alone” (4:22), “Everybody (Needs Love)” (3:48), “Wild Billy” (3:54), “Apathy’s Child” (4:38), “Rescue Me” (3:51), “Because” (5:47)

Musicians
Brian Khairullah - Lead Vocals
Glenn Rogers - Guitars
Cesar Ceregatti - Bass
Dan Ceregatti - Drums