The Stomp’n Ramblers – Kick’n Stones
The Australian blues scene welcomes a promising duo with “Kick’n Stones”, the debut album from The Stomp’n Ramblers. Owen Mancell and Ryan Stone, both hailing from Sydney’s Northern Beaches, laid the foundation for this project during the pandemic when they were still playing together in The Blind Pilots. What began as exchanging song ideas via text messages while Mancell lived near Brunswick Heads and Stone on the Northern Beaches ultimately resulted in a collection of eleven tracks that combine the essence of traditional blues with contemporary storytelling.
For their debut, the duo deliberately chose a minimalist lineup: Mancell on slide guitar, stomp box and vocals, complemented by Stone’s harmonica. This stripped-back approach demands discipline and authenticity from the musicians, something “Kick’n Stones” regularly achieves. The recordings took place primarily at Damien Gerard Studios, one of Sydney’s most renowned studios, with additional work at The Factory Studio in Mona Vale. Russell Pilling, who previously worked with Hoodoo Gurus and The Church, handled the final mixes and captured the duo’s raw energy effectively.
The influences of Sonny Terry & Brownie McGhee, The Backsliders, RL Burnside and Muddy Waters are clearly audible, but The Stomp’n Ramblers manage to translate these traditions into something distinctly their own. The opener “Unkind” immediately sets the tone with rasping slide guitar and guttural vocals reminiscent of the glory days of Delta blues. “Train” excels through its hypnotic rhythm and the way Stone’s harmonica and Mancell’s guitar intertwine, like two old travellers who know each other’s stories. The title track, “Kick’n Stones” demonstrates the duo’s ability to translate contemporary frustrations into authentic blues motifs.
“Buried In A Bottle” ranks among the stronger moments on the album, with Mancell’s voice finding a perfect balance between rawness and warmth, like whiskey warming from within. The track proves that the duo is not only technically proficient but can also create emotional depth. “Reap What You Sow” and “Politician” demonstrate that the duo isn’t afraid of social commentary, with “Politician” particularly standing out through its sharp lyrics and compelling groove.
However, “Kick’n Stones” doesn’t escape some pitfalls that often characterise debut albums. With eleven tracks, the album may be slightly too ambitious; a selection of eight or nine songs could have strengthened the material’s impact. Some mid-tempo numbers like “Vanity” and “The Wall” lack the compelling urgency of the stronger tracks and sound somewhat too similar to each other. The production, while competent, sometimes opts for a slightly too polished approach where more rough edges could have enhanced the duo’s authentic character.
“Way Back Home” and “Last Kiss Goodbye” close the album on melancholic and introspective notes, respectively. Particularly, the closer shows that Mancell and Stone are capable of displaying vulnerability without losing their blues credentials. It’s an impressive achievement for a duo that elsewhere on the album primarily emphasises energy and groove.
The Stomp’n Ramblers deliver a solid statement of intent with “Kick’n Stones”. The album proves that traditional blues in the right hands can still be relevant and engaging without compromising with modern production styles. For a debut album, the duo displays impressive musical maturity and a clear vision of what they want to achieve. The experience both have gained performing with acts like Dallas Frasca, Sons of the East, and Nathan Cavaleri is clearly audible in the confident execution.
It’s an album that grows with repeated listening, where details in the guitar work and subtle nuances in the harmonica become increasingly noticeable. For lovers of authentic blues with a modern twist, “Kick’n Stones” is recommended. With this debut, the duo has laid the foundation for what could become an interesting career in the Australian blues scene. At the same time, the album reveals there’s still room for growth, particularly in finding more variation within their sound and daring to take more risks in arrangements. (7/10) Foghorn Records)
