On his ninth studio album, Canadian blues icon David Gogo returns with another strong batch of material and this time it seems like he could really break into the mainstream. The opening track, “Bad ‘N’ Ruin” is a very strong track with a lot of really great guitar work and some nice vocals to boot. “Come On Down,” however, is one of the best and most exciting songs I’ve heard recently and is sure to land on the radio and become a hit. Damn, this is what the blues should feel like: fresh and rewarding.
The first single, “Call Your Name,” is another exciting track and is absolutely tailor-made for the radio; songs like this should continue to bring him more accolades. “Natchez Dog,” while interesting, is just not as strong as other tracks here that are phenomenal and amazing. It just seems to plod along with no real direction, and that puts a damper on the proceedings as a whole. 
Fortunately, the album rebounds very nicely with some exceptionally worthwhile tracks. “Kings” is another fantastic song and has some great riffing throughout. It’s already known that Gogo is a great guitar player; lots are familiar with him, and he could really be one of the greats if he could be pulled out of mediocrity.
His voice is very good and it gets a great showcase on a cover of the ol’ Atlanta Rhythm Section classic “So Into You.” This new version stays close and true to the original and hardly deviates. The vocals are great and the song really helps to enhance the overall mood of the record. Slow and breezy one minute, it shifts to haunting and textured the next.
A cover of the Ray Charles chestnut “Let’s Get Stoned” is intriguing but it doesn’t work as well as the ARS cover. It sounds fine and the vocals work well, but it just doesn’t have the feel it should have; it feels more forced than anything else.
“Looking For Clues” is another great track with some good organ running all around it and should be one of those other songs that finds itself on the radio and will allow Gogo’s name to get out to a much wider audience.
If there are those folks out there that are looking for a straight-ahead blues track, look no further than “Spare Me A Little Of Your Love,” a regular scorcher with no theatrics or anything too flashy. This helps it to work very well within the overall context of the album.
By this point in his career, Gogo knows exactly what he’s doing and since it works, why should he change?