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It’s incredible to think that ‘Waiting For Good Luck’ – the new album from Cambridge hard rock outfit The Treatment – comes ten years after the five-piece released their debut album ‘This Might Hurt’. Does that make them the elder statesmen of the New Wave Of Classic Rock? Original members Tagore Grey (guitars) and Dhani Mansworth (drums) must have had a baptism of fire as teenagers when they were plying their trade, especially when they found themselves opening on the huge Kiss/Motley Crue USA co-headliner tour in 2012; imagine the gnarly stories they have to tell from that tour?! So, ten years after first announcing their arrival on the scene, The Treatment deliver album number five: ‘Waiting For Good Luck’.
What can you expect from ‘Waiting For Good Luck’? More of the same no-nonsense, high-energy, unashamed rock ‘n’ roll that The Treatment are known for. An album that works better the louder it goes; so do crank it up. The second album to feature Tom Rampton on vocals, and he has slotted in perfectly alongside the OG’s Tagore Grey and Dhani Mansworth, along with the younger Grey brother; Tao Grey, and new bassist Andy Milburn. Rampton’s rasping vocals will always bring The Treatment some AC/DC comparisons and coupled with the blues-boogie shuffle of tracks like ‘Rat Race’, ‘Take It Or Leave It’, and ‘Hold Fire’ it’s not too much of a stretch to mention AC/DC; although the backing vocal harmonies on ‘Rat Race’ are, however, born and bred in Sheffield and head-Lep Joe Elliott must surely be looking on with a nodding glance of appreciation.
‘Lightning In A Bottle’ has a fantastic Aerosmith strut to it, especially on the dual-guitar work from the Grey brothers, and Dhani Mansworth just happens to be one of the best non-fussy drummers since ‘Smith’s Joey Kramer; always keeping it simple, and never overplaying, his contribution is vital. Thanks to the subtle, groovy bass licks throughout and some killer vocal hooks ‘Tough Kid’ also has an Aerosmith vibe in small doses, but when the crunching dual guitars combine for effect, it’s back on AC/DC territory. ‘No Way Home’ oozes class with its soft shuffle barroom blues and its infectious guitar tones. ‘Devil In The Detail’ is a stunning mix of beefy riffs and guitar solos, huge radio-friendly hooks, and soaring vocal melodies that spark memories of UFO; one of the highlights on the album. Another highlight would be the boogie-woogie piano-laden ‘Barman’, which might just be the best track that The Quireboys never wrote. Such a fun few minutes that is going to sound immense once the band are able to play it live. Fans of Billy Duffy’s guitar playing? Then closing track ‘Wrong Way’ should have you purring with delight.
If you have ever witnessed The Treatment in a live setting, then you’ll know that they simply don’t just take the stage – they assault the stage, and have been doing just that for some time now, despite a handful of changes in personnel. Capturing that lightning-in-a-bottle energy and replicating it in a studio setting is a difficult task but with the experienced pair of Laurie Mansworth (producing) and Kevin Shirley (mixing) on hand for guidance, the band has gone some way to reproducing that energy.
Available now through Frontiers Music, more information here.
These guys are very talented. Music rocks. Wish them all the best. Sur