A group of musicians who appear fully committed, fully focused, and more importantly, who seem to be fully embracing their music.

Irrespective of which genre/sub-genre you principally immerse yourself into, there's something rather heart-warming in listening/watching a group of musicians who appear fully committed, fully focused, and more importantly, who seem to be fully embracing their music. If these positives are indeed evident (and are genuine) then a wider, eclectic fan-base may just be enticed, then established, leading to a greater success and longevity. I truly believe that Cosmic Mercy is a prime example of this (somewhat sweeping) theory of mine.

Based primarily in the San Francisco area, Cosmic Mercy have recently released their third album 'Enjoy The Ride'; it supplants their 1999 debut 'Crying Island' and its 2012 successor 'Tears In The Rhythm'. I'm proud to say that all three albums are now embedded within my collection and will be played on a regular basis. As with most bands, the line-up has understandably fluctuated over the years, however, as with most bands, there have to be constants. With Cosmic Mercy, these constants are Ken Sealy (lead guitar, vocals) and Eric Cragin (guitar, vocals). These two stalwarts are now ably supported by John Rogstad (bass guitar), Michael Oliver (drums), and Neal Roston (keys, vocals). Together they create music that straddles numerous sub-genres of the Rock world, but predominantly it's Classic Rock, Blues, Funk and lengthy Progressive passages that make this album worthy of your attention.

'Enjoy The Ride' comprises of eight songs with a further two (laudable) bonus songs that bring the opus over the fifty minute mark, and I can assure you every minute is utilised with consummate musicianship. Opener 'Do The Right Thing', the contemplative 'The Division Plan' and the beautifully prophetic 'Bigger Picture' are my particular favourites. Each one incorporates light and shade, varying tempos and unperturbed vocals which deliver socio-political lyrics that are contemplative rather than sermonising. 'Shopping Malls' has a more edgy, up-tempo vibe, whilst 'Welcome To LA' exudes late sixties Psychedelia. 'Those That We Touch' is another soothing piece not to be ignored. The remainder of the album comprises of instrumental compositions, of which 'Harmless, Unless Provoked', 'Guess It's Really Over Now' and the superb 'Step And A Half' perfectly epitomize the calibre of these talented individuals.

If you're an admirer of artists akin to The Allman Brothers, The Doors, Pink Floyd, Dire Straits and even Medicine Head (remember them?), and you appreciate that live, impromptu-type delivery, then this is for you. Enjoy the ride!

Dave Crompton