It sounds dated today, but at the time to it sounded pretty pro to me, and maybe comfortable being built on Stevie Ray Vaughan's rhythm section, especially "Shape I'm In", though now it seems a pale imitation of SRV's "If The House Is A Rockin". Also, "Paradise Cafe" sounds like the Spin Doctors rehashing "Glory Days". Sexton's "Sweet Nadine" and "The Famous Jane" are pretty par for a girl-name songs, with competent character creations, and Sexton's "Always Believed In You" tries with some snappy riffs. But Bramhall's tribute to fallen comrade "See What Tomorrow Brings" conjures Jimi Hendrix's ghost in the bargain. Bramhall's "Sent By Angels"**** unsurprisingly goes way past flirting to slow-dancing with adult contemporary, though done so well it should have been huge. And I still can't find anything wrong with the layered droning riffs of "Living In A Dream"****, and Sexton's dense and foreboding "Too Many Ways To Fall"*****. The lyrics of the latter go off the rails by the time the "they might be on the fire escape They might be down the hall" verse comes along, but it still sounds powerful. "Living In A Dream" and "Spanish Moon"**** are actually team efforts, which may explain the high riff-density and heaviness, and maybe why they're two of the best tracks. So much glossy Guitar Player blues has been made by now it's hard to see past it, but a few songs do rise above that legacy and their time.
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