Hailing from Cape Town, Pebbleman are a four-piece hard rock band with a blues twist. Formed in 2011, the band have released two albums to date – 2012’s Life Inside A Dream and 2014’s Call Of Fate. Now back with a third offering, Superfied, the band are picking up where the pandemic forced so many musicians to leave off, offering up a well-produced set that draws on the likes of Dan Reed, Red Hot Chilli Peppers, Buddy Guy and Led Zeppelin. As you might expect, therefore, strong guitar playing and soulful vocals are very much the order of the day, and the band have both the chops and the attitude to pull it off.
The album opens with the hotwired blues riff and thunderous drums of Searching. With soulful, yet funky vocals, it’s a musically heavy track with a strong melody, and it sets the scene for the album nicely, not least thanks to an absolutely stinging lead from ace guitarist Rich Pryor. Despite its energetic title, Let’s Go Crazy is a radio-friendly number – part Dan Reed, part Kris Barras – and its chorus is custom made for audience participation. Next up, the title track sees the band up the ante as vocalist Jesse Jordan adopts a harder-edged delivery and the band lay down the funk behind him. Recalling pre-Californication RHCP, it’s an addictive track and it’s easy to see why the band named the album for it. Similarly, I Don’t Care has a sparky delivery, albeit with a stronger blues’ focus, further emphasised by the deft addition of keys. It also has one hell of a chorus and, if you’re not already singing Let’s Go Crazy in the shower each morning, then this one will surely do the trick. The first half of the album concludes with the epic Edge Of Nails. A luxurious showcase for the band’s skills, and Rich Pryor’s in particular, it’s a slow-burning number that climaxes with a soaring solo although, amidst the musicianship, the band remember the importance of a strong melody, and the track emerges as one of several album highpoints.
Opening side two, the gritty blues riff of the similarly lengthy Motherless Child is nailed by Kevin Gibson’s taught beat and Rob Stemmet’s throbbing bass. It initially makes for one of the album’s hardest tracks, only for the band to head off in an unexpected progressive direction in the middle. They bring it all home for the conclusion, and you’re left somewhat in awe at the way the band twist and turn, all the while maintaining a coherent flow and a tight grasp on melodies that make you want to sing from the first moment you hear them. Having set the pace, the band head back into funkier territory on the light-touch Pretty Little Lies. An airy track with plenty of pop nous, it evaporates in the face of the prowling blues of Don’t Tell Me, which is a more typical blues piece elevated by the imaginative percussion of Kevin Gibson. It also boasts a strong vocal performance and plenty of attitude, making it a sure fire favourite when the band hit the stage. It’s followed by a good time blues track, High Alert, which has a bouncy rhythm and guitar licks reminiscent of Robert Cray. Meanwhile, Jesse Jordan moves deftly between smooth croon and a harder edged approach, keeping the listener hooked. It leaves the crunchy riffs of Set Me Free to see the album out on a high. A lengthy track with Zeppelin vibes and exemplary guitar work, it’s a showstopper and, for all that the album as a whole is very strong, it’s clear that the band saved the best for last.
With a range of influences from funk and soul to hard rock and blues, Pebbleman have some serious chops. However, while their musicianship is never far from the surface, the band are astute enough to not let it overshadow the songs, and the album is packed with memorable hooks. Boasting strong performances, plenty of energy and a sequence that flows as neatly as a live set, Superfied is a very impressive offering and, if there’s any justice, will further shine a spotlight on the myriad amazing bands residing in South Africa. 9/10
