Close

Sydney Morning Herald/Spectrum
6 May 2006
THE FLOOD - The Late Late Show

Country rock bands - think only of the Dingoes - do it tough in Australia. They can be brilliant, the equal of anything that the US can offer, but there aren't enough gigs or punters. Consider The Flood, a hugely talented Sydney country-rock outfit led by singer-songwriter-guitarist Kevin Bennett (ex-Moving Pictures, Broderick Smith Band) and guitarist James Gillard (ex-Mondo Rock). Musically the band has found a near-perfect balance between commercialism (Hello Blue Sky topped the Australian country charts) and more left-field material (2003 is an ambiguous rumination on the events of September 11).The band's strength lies in great musicianship, well-crafted songs. Is that enough? The result is accessible, quality rock such as the tracks Leave Me Alone and Horses, and classy ballads like All For The Best, written in the knowledge that in Australia a group like The Flood need to find country and rock fans.

Bruce Elder - Sydney Morning Herald/Spectrum

Brian Wise – Rhythms Magazine
April 2006
THE FLOOD - The Late Late Show

The first time I saw The Flood in concert about six years ago I was surprised that the band did not have a much higher profile. I naturally assumed that they were relative newcomers. How wrong could I be? In a crowded Sydney pub, somewhere near Newtown (I think) I declared there and then that I had just heard the best Australian country rock band since The Dingoes. The intervening years have not really done anything to change that opinion.

Nashville-based Kevin Welch must agree because he has not only toured with the band but has recorded a live album with them and also contributes guitar on one of the tracks here. It is high praise indeed – and well-deserved.

It seems to me that the reason The Flood do fly under the media radar here is because they do not fit the moody, over-earnest, shoe-gazing, introspective mould of some allegedly alt.country bands, so they do not quite fit into a trend.

Musically, however, the members of the band are more qualified than most, having contributed to Australian music history through Moving Pictures, Icehouse, Chasing The Train, Mondo Rock, Goanna and others. Songwriter, main singer and guitarist Kevin Bennett is joined by bassist/singer James Gillard, keyboardist/singer Tim Wedde and drummer Steve Fearnley bring impressive credentials to the line-up. With three singers in the band the harmonies are as crisp and clear as you will hear on any overseas album. (I was amazed not to see this album riding high on the ARIA country chart).

Kevin Bennett’s ‘Australian For Broken Heart’ was a finalist for a Vocal Group/Duo of the Year Golden Guitar Award at Tamworth in 2005, while the band also received three top 10 judges selections for APRA Song, Vocal Group & Single of the Year. They also picked up the Tamworth 2006 Vocal Music Group Award.

This follows 2004 finalist nominations for ‘Paul Kelly’s Blues’ in the APRA Song and Vocal Group categories.

The rollicking ‘Hello Blue Sky’, the first single from this third studio album (with Welch as guest) typifies the band’s approach. They play no nonsense country rock, tinged with the occasional blues and Bennett’s soulful vocals.

The variety on the album is also a strong factor in its appeal. On the funky ‘Zevon Said’ Bennett pays tribute to an obvious hero while, on the other hand, a song such as ’Mayday’ could be a huge hit for The Eagles (not that I would ever curse Bennett with that comparison). In fact, ‘Horses’ also has a distinctive Zevon touch to its melody with Wedde’s strident piano setting the tone. The bluesy ‘Welcome To The Undertow’ contrasts with the folksier ‘Moon Going Down (in Charley Patton’s America)’ which leads to a thundering conclusion on ‘Oletta’s Rainbow’.

One hopes that The Flood gets some wider recognition here to encourage them to continue on their current journey, however one suspects that a lot of people will only pay attention if, like Kasey Chambers and Keith Urban, they make some impression in America.

Maybe the best career advice I could give them is to get out of the country! But it would be a pity to lose such a fine band.

Treasure them while they are still here!

BRIAN WISE

Kim Chesire – Country Update
March 2006
THE FLOOD - The Late Late Show

A new Flood CD is always a welcome addition to my music collection and this album is no exception. The current line-up is a leaner and to some degree more accessible version of the band.

It was a sad day last year when previous bassist Wayne “Killer” Kellett departed, and I’m sure that his unassuming charm will be missed by more than a few Flood Fans.

James Gillard is back on the bass, Kevin Bennett on guitar and the whole thing is a sleeker affair.

The sonic quality of the album is the first thing that struck me, Kevin Bennett’s voice would be a joy to behold on a landline from Timbuktu, but handed over to engineers Ted Howard and Jeff McCormack it’s a treat worth savouring.

The instrumentation is sparse, supportive and often quite sublime as it eases these superb songs deep into your subconscious. Exquisite harmonies, great arrangements, understated playing, and grooves to die for.

But it’s the songs that steal the show.

From “Horses” coming on like an outtake from Exile on Main Street, to “Hello Blue Sky” an infectious country romp, featuring Kevin Welsh, and live favourite “Zevon Said”, there are some real gems. Standout tracks are the ballads, a melancholy “Mayday” the McCartneyesque “All For The Best” and the beautiful haunting melody of “Leave Me Alone”

And finally the albums opening tour de force “2003”

This is Kevin Bennett at his absolute best, a kind of “biting the hand that feeds the current political ego” type of song. It’s a look at Australia’s desire to be part of America’s insidious global domination agenda and where that leads us, and it’s a sad and sorry tale to tell. I was in tears the first time I heard this and I’m sure I’m not alone. It’s difficult not to be moved by this plea for political sanity and a cultural identity, in a world awash with war mongering rhetoric and American corporate icons. It’s a triumph of combining great song writing and a thinking man’s conscience with one of Australia’s greatest singers and it burns deep into your soul. Sure it’s the late late show, lets just hope it’s not too late.

Quote:

“…powerful songwriting from Bennett…thought-provoking… great lead vocals from KB and excellent musicianship throughout…It’s already been hailed as their best release, and from this class act that’s a great recommendation.”

DIG'S New Music
Reviewer: Stuart Matchett
29/03/2006
The Late Late Show

One of the tracks ("Hello Blue Sky") on this Flood album won them "Best Vocal Group Performance" at the Country Music Awards in Tamworh in January this year. And that's a problem - and it shouldn't be. The problem is that some people might think The Late Late Show is a country album and therefore miss out on a great Australian album. Sure, there's some country influences and the various members of The Flood appear on a host of Australian country albums but this is a mature rock album in the vein of Bruce Springsteen.

Songs like "2003" are about Australia and our slavish relationship with the United States while "Zevon Said" uses a quote from Warren Zevon as its starting point.  Elsewhere there are stories of great characters as well as great advice. Kevin Bennett's songs are really strong but the band makes them even stronger.

The Late Late Show is a great Australian album and you should give it a good listen and discover a great Australian band.

Stuart Matchett, DIG

Bob Anthony Junior - Tweed Daily News
2 March 2006
The Late Late Show

Golden Guitar winners the Flood have always been regarded as a band of exceptional quality and depth though not strictly in the country vein.

This is their third album and arguably their best. It highlights the songwriting skills of lead singer Kevin Bennett and the musical ability of the band comprising Tim Wedde, James Gillard and Scott Hills.

The Flood is one of those bands who sits under the country umbrella but would be equally at home in the mainstream market if someone would simply give them a chance.

They have a very strong following for a group who has, until recently, not toured extensively.

At Tamworth each Festival, they pack out their gigs at the Tamworth Hotel and this year they finally gained the recognition they deserve by winning the Golden Guitar for Bets Vocal Group.

The album is an interesting mix of musical tempos with songs that both draw you in and have you singing in no time. From tender ballads such as All For The Best through to upbeat numbers like Horses or the current award winning single, Hello Blue Sky, Kevin and the boys handle them all with ease and conviction.

It is an album which will have broad appeal and even though it may not be country in the pure sense of the word, Kevin’s story telling ability suits the genre perfectly.

The Late Late Show is ideal to have in the car, or simply at home to relax with. I have found myself listening to it on my MP3 while out doing the yard work.

Rick Jenner - Capital News
March 2006
The Late Late Show

Well it’s official – THE FLOOD is definitely a country band because they just won the 2006 Golden Guitar for Group/Duo of the year – but for the ever-increasing throng of Flood devotees, the question of categorisation doesn’t come up.

They invariably perform to packed rooms at Festivals like Tamworth, and Kevin Bennett has long carried dual mantles as one of our finest vocalists and songwriters. The band itself doesn’t play the category game – just great music – and it so happens that a fair share of their songs sit well in the country perception – Paul Kelly’s Blues, Australian For Broken Heart, and of course their Golden effort Hello Blue Sky.

This album really cuts to the chase with some powerful songwriting from Bennett – no apologies and some real thought-provoking stuff like 2003 and Zevon Said – great lead vocals from KB and excellent musicianship throughout the crew. It’s already been hailed as their best release, and from this class act that’s a great recommendation.

  Close

The Age, Melbourne
November 2003
Review of Live Down Here On Earth

About eight years ago, Kevin Welch, Kieran Kane, Harry Stinson, Mike Henderson and Tammy Rogers formed Nashville's dynamic independent roots label, Dead Reckoning. They recorded and toured together and backed each other up on solo CDs. In recent years they've gone their separate ways, but Welch and Kane have kept the Dead Reckoning spirit alive with solo and duo tours (their Live in Melbourne CD, at the late, lamented venue, The Continental, is a classic).

Welch, an inveterate traveller, is back here on his fourth visit, backed once more by Aussie roots outfit The Flood (plus banjo ace Mark Collins). For a preview of their shows, try this just-released CD of their live Basement gig in Sydney a year ago.

The "title" track is a blues song from Welch's eponymous CD, Life Down Here on Earth. Fans will recognise other gems such as Beneath My Wheels and Millionaire (another title track from a CD he recorded with a Danish group). Welch and the gang also reel off a superb rendition of Queen of the Slipstream, while The Flood, led by guitarist/songwriter Kevin Bennett, move front of stage for Paul Kelly's Blues and Bound to Fall.

Capital News
October 2003
Review of "Live Down Here On Earth"

Before KEVIN WELCH arrived here last year to work on tour with THE FLOOD I joked with him now he had bands embedded all over the world, what with recording his most recent studio album (Millionaire) with a European combo and maintaining fluid line-ups in the US made up of various fellow DEAD RECKONERS. That also being the name of the co-op label he formed with Kieran Kane.

Having the pleasure of later seeing him perform with The Flood at The Basement, the very night this new album Live Down Here On Earth was recorded, my feeling was this was the band that fit the Oklahoma troubadour like a glove. Having heard a preview of the finish product I have no reason to change that opinion.

The one crinkle on paper might appear to be that The Flood have their own long haired singer/songwriter front man in KEVIN BENNETT and we know he is no slouch in either of those departments. Problem solved by the fact KB is also a fine electric guitarist and the band gets to stretch out and share the spotlight with the imported 'star' who really becomes a sixth member of an outstanding band with few peers anywhere.

This suits the deceptively laid back Welch just fine. He is a team player who can move front or sideways and on the night this album was recorded looked and sounded as happy to be with The Flood as they were with him. With KB's long-time duet partner JAMES GILLARD now on guitar, mandolin and harmonies, plus TIM WEDDE on keyboards, WAYNE KELLET bass and STEVE FEARNLEY (drums) what is not to like? I seem to remember another original member MARK 'BUCKY' COLLINS was also on deck that night and this recording should elevate the band to the world stage - they'll be fighting off visiting troubadours requiring their services.

The two Kevins should be able to retain their services. Cut to the album, the band gets to showcase two of their own songs, Paul Kelly Blues and Bound To Fall. Welch reprises a few (Happy Everafter, Me & Billy The Kid, etc) and naturally the (near) title track, but also gives a nod to his sometime duet partner Kieran Kane, performing his Eight More Miles.

Together with the great live recording the two did in Melbourne a few tours ago (recorded on the second tour by Kane and Welch, not as revisionist publicity has it, the first) Live Down Here On Earth should make everyone rejoice that over the years we have been able to document a few magical occasions of US/Australian interaction.

Much more to come with an extensive tour from mid October to early November with the two Kev's and band. It will take them down the East Coast plus a few forays inland and I imagine you will find a full listing somewhere else in this magazine. More important for me to say in the limited space available don't miss it if you are anywhere near and if you are not then still try and get there. It is all happening down here on earth after all.

Newcastle Herald & Central Coast Herald
October 2003
Review of Live Down Here On Earth
by Darrell Croker

I WAS in Kevin heaven when I found out about this album. One of my favourite American performers, Kevin Welch, teaming up with my favourite Australian band, the Kevin Bennett-fronted The Flood. This is probably the album of the year for alt-country and roots fans, but it deserves a wider audience. Welch and Bennett are two of the most accomplished songwriters going around. And Welch and The Flood are killer live acts individually and dynamite together.

They do justice to their own songs, accomplishing what live albums should by adding an intimacy to songs from studio albums. And they rev up some great cover versions. Strap yourself in for Joe Ely's Me And Billy The Kid. Fans will recognise the pun in the title and Life Down Here On Earth is included in the set, a little reminiscent of The Band or Leon Russell in full flight. But they need no comparisons to other artists. In years to come both acts will be duly acknowledged for their body of work and this ffort is complementary of their canon.

It was recorded live at The Basement in Sydney in September last year. Welch needed a backing band for last year's Gympie Muster and the guys followed up that with the Sydney gig. They've been back touring together recently, playing at the Terrigal Country Club in mid-October. According to keyboardist Tim Wedde they tried in vain to get a Newcastle date but couldn't secure it. More's the pity, but at least I've got this album. So should you.

Rhythms - Issue 135
October 2003
Review of Live Down Here On Earth
by Keith Glass

This is the second live album from Australia by Welch. First came Live in Melbourne with duo partner Kieran Kane, now with this recorded at Sydney's Basement late last year. The Flood is a local combo that fits the Oklahoma troubadour like a glove. He twists, it turns, and together they create a warm, comfortable sound that belies the recent nature (at time of recording) of their union.

The group takes the spotlight for 'Paul Kelly's Blues' and 'Bound to Fall' but throughout Kevin Bennett and his gang are given space to show that they understand perfectly the roots rock-country territory Welch occupies. With a crack rhythm section, keyboards, a couple of guitars and guest Mark Collins on banjo - some great harmonies too - they have it covered.

Welch reprises a few off his last album ('Millionaire' and Van Morrison's 'Queen of the Slipstream'), drops in Kane's 'Eight More Miles' and some earlier classics such as 'Happy Ever After' and the (near) title track 'Life Down Here On Earth'.

Timeoff Magazine, Brisbane
September 2003
Review of Live Down Here On Earth

Recorded last spring at The Basement in Sydney and backed by Australian band The Flood, this live recording brings together songs from Welch's solo albums, his album with Kieran Kane and even a Van Morrison classic.

Welch's open highway country songs are reworked here, with 'Beneath My Wheels', 'Eight More Miles' and 'Happy Ever After' given more of a carnival feel, all seven musicians adding their own flavour.

The humble Welch even hands over the stage to The Flood for a couple of songs showing that while the two parties are from different countries, they share the same musical heritage. For a bunch of guys who had only been playing together for one week, this is an impressive document and only bettered by actually being there on the night.

Country Update August 2003
Review of "Live Down Here On Earth"
by Denise Torenbeek

Anyone who isn't a fan of Kevin Welch's music hasn't heard him perform live - and the same can be said of The Flood and Kevin Bennett. Their Tamworth Hotel gigs every festival are legendary, and invariably packed to the max. This live album was recorded on the last night of Kevin Welch's 2002 Australian tour, in Melbourne. A tour which began at the Gympie Muster, where The Flood were introduced to Kevin Welch as his backing band, and if this CD is any proof it was a "marriage made in Heaven". It is the mark of a great songwriter to put you in the mind of someone else in a place you've never been.

Both Kevins share a world-class ability to write superb songs and deliver them flawlessly. Here they swap vocals on twelve stellar tracks, inc Beneath My Wheels, Millionaire and Life Down Here on Earth (all title tracks from KW albums); Annalise Please and the provocative Witness appear courtesy of just Kevin Welch and guitar. The Flood returns with Paul Kelly's Blues, the quirky Bound to Fall, the exultant Billy the Kid and a gorgeous version of 8 More Miles featuring KB on the mic, glorious guitar sounds, and great harp from piano virtuoso Tim Wedde. The encore is Happy Ever After, and if the crowd at that gig weren't, well, I bet they were smiling for a week or so! A re-union tour is scheduled for late 2003 to promote this album. Don't miss a gig at a town near you.

  Close

ABC Website July 2003
Review of "The Flood"
by Jo Printz

Sydney five-piece band The Flood have been around for a few years, but only about 12 months with their current line-up, and this self-titled album is their second...a secret track on this CD reminds us of their first effort, The Ballad of KB. The group has a musical pedigree to die for in this country, with former Mondo Rock bass player James Gillard, singer/songwriter and guitarist Kevin Bennett, possibly best known by the general public for his time in the 80's rock band Moving Pictures, as well as keyboardist Tim Wedde, drummer Steve Fearnley and bass player Wayne Kellett...who between them have probably played along-side every Australian rock and country act of the last 20 years. It's no wonder they're known to regularly attract audiences of other truly appreciative local musicians.

The Flood have been compared to some of the greats - Bob Dylan, The Band, Tim Buckley, The Rolling Stones, John Prine, Creedence Clearwater Revival, Crosby, Stills, Nash and Young... and more recent 'alt-country' bands like Wilco and Whiskeytown. Which is all well and good - but they're distinctly Australian too, proclaimed most strongly in tracks like Queensland and Paul Kelly's Blues. There's a touch of 'Axiom' in the first track on the album, Felt Like Mine, and fun to be had with You Might Be There. This is true 'roots' music - a little blues, a little country, some soul, and a truckload of rock! Keep an eye out for them in the live music listings, but settle in with this CD in the meantime...

Rolling Stone
May 2003
Review of The Flood
by Jeff Apter

There's echoes of Wilco and The Band in the second LP from these Sydney-based minstrels, but they give everything a local twist, without getting all John Williamson on us. The primo cut is 'Paul Kelly's Blues'.

Green Guide, The Age, Melbourne 24th April 2003
Review of "The Flood" by Mike Daly

This Sydney based country/rock outfit is led by veteran singer/songwriter /guitarist Kevin Bennett (ex-Moving Pictures, Broderick Smith Band) and guitarist James Gillard (ex-Mondo Rock), with keyboard player Tim Wedde, plus bassist Wayne 'Killer' Kellett and drummer Steve Fearnley.

They will tour with Kevin Welch later this year, coinciding with the release of a CD the United States troubadour recorded with the band at Sydney's Basement club on his last visit.

The influences of Welch and his Dead Reckoners compadres are strong on The Flood's eponymous debut CD, while the band also acknowledges Dylan and John Prine, all elements assimilated into typically tough country fare, featuring Bennett's incisive writing, raw vocals and guitar.

Highlights are the loping 'Bound to Fall' with Mark Collins on banjo, and the terrific "hidden" track, The Ballad of KB.

Northern Daily Leader 15th March, 2003
by Anna Rose

The piece de resistance was Sunday night at the Unity Hall Hotel, Balmain, where the faithful flock once a month. Superb singer-songwriter Kevin Bennett out front of The Flood - a stripped back, exquisite version of the band, with the gorgeous Tim Wedde on keyboards and accordion, Wayne 'Killer' Kellett on bass guitar, and drummer Steve Fearnley.

Missing in action from the line-up was James Gillard, who was either "communing with the Dalai Lama", or perhaps he too was on the road with LK. No offence to James, who is always easy to listen to, but the band simply rocked the place without him. I've never been to a Sydney pub before where the entire place turned out to see the band. Usually you get the music crowd and the drinking crowd at opposite ends of a pub.

Simply a very good album from one of the best bands around.

At the Unity Hall, even the blokes out the back playing pool were singing along with KB's songs - word for word. They were obviously regular "church" goers. "It's almost a religious experience", one punter said. "We all turn up for church every month - and even the security guys on the door love the band."

This gig is also a meeting place for professional musicians. Singer Bernie Segedin, who we caught a set or two of at a pub in The Rocks area on Saturday afternoon, turned up to The Flood gig and jumped up to sing harmonies with Kevin Bennett. What a bonus! This man has a great voice - and with KB's dulcet tones, it really was a treat for the aural orifices. With choice music around like that, you wouldn't be dead for quids, would you?

Newcastle Herald & Central Coast Herald March 2003
Review of "The Flood"
by Darrell Croker

THE masters of alt-country have finally released a follow-up to their brilliant debut album. It's not as if the boys have been lazy. Two of the band, Kevin Bennett and James Gillard, released the independent album Two last year. And the band is constantly booked, which is why they haven't played locally yet although Bennett and Gillard appeared at a Songwriters Unplugged night at the CBD Hotel in Hunter St late last year.

There's also a hidden 11th track, The Ballad Of The Ballad Of KB, a subtle reminder of the first album. You won't hear better ballads than Paul Kelly's Blues or House On The Hill. But there's something for everybody, including a Dylan-esque Bound To Fall.

Remember the first time you heard Crosby, Stills, Nash and Young or The Band or Creedence or even our own Axiom? The Flood have paid their dues. They pack out Tamworth country music festival gigs as easily as Balmain pubs so dip your toes in the water.

Sunday Herald 23rd Feb. 2003
Review of "The Flood"
by Keith Glass

In short, Australian soul and the in-crowd/muso's faves from inner-city Sydney deliver a fine second album here. Engineers Trent Williamson and Mark Collins get a great sounding space between the instruments, while the latter also picks a mean banjo on a few of the standout tracks, all from the pen of lead singer Bennett except the rocker Queensland, co-written by Collins.

With James Gillard on guitars, mandolin and great harmonies, Tim Wedde keyboards, Wayne Kellett bass and Steve Fearnley drums, this is a fabulous band that could make anything sound good -- but luckily here has choice stuff to work with. Country, soul, rock -- it is all of these; and intriguing pieces such as Paul Kelly's Blues and the stretched-out closer No Highway help make this a welcome addition to any roots music collection.

  Close

Country Goss
2001

Here's a band who know their rock'n'roll and country history backwards and have managed to assimilate all these influences into something fresh and distinctive.

The Flood hail from Sydney, but listen to their music alongside that of The Jayhawks, Wilco, Calexico, Whiskeytown...the leading lights of the so called 'Americana' sound - and you'll be hard pressed to find a stylistic and attitudinal difference.

The Ballad of K.B. contains 12 songs that are the staple of the band's live shows. Give it a few spins and listen to songs like "Don't Look Back at Me", "Mary", "Hippie Johnnie Stirfry", "For Good This Time", "Bank", "It's Funny" and "The Ballad of K.B.".

Those into history will want to know that The Flood have been around for around 5 years and come together with an impressive array of credentials...

Country Music Australia
2001

The Flood are Kevin Bennett, Mark Collins (no longer with The Flood), James Gillard and Doug Bligh (no longer with The Flood) and together they make sweet music. The voice of Kevin Bennett is surely one of the natural wonders of the world! Unique, charged with emotion and feeling, Bennett's voice has to be heard to be believed and this 12 track CD (The Ballad of K.B.) is a great introduction. All of the songs, bar one, were written by Bennett. This is an independent release (probably done on the cheap) that will rival most big budget CDs by the major labels.

Entertainer Live Music
March 2000

I have never gotten into the country music scene, but this CD (The Ballad of K.B.) changed my opinion of it completely.

There is a definite rock-takes-on-country flavour in the songs on the album, with one or two songs even featuring some nice blues sounds.

The album is very catchy and includes some terrific guitar playing, amid drums and incredible male vocals, some of which sound a lot like Bryan Adams.

Standout songs on The Ballad of K.B. includes the foot-tapper, "Bank", the dance-floor bopper, "It's Funny", plus the nice and slow, "Milk".

This is definatley a CD to add to your collection.

Rated: 9/10 by Elizabeth O'Grady

Northern Daily Leader
March 2000

The Old Testement flood is a pervading influence in Western culture. Even in the rock'n'roll era Bob Dylan has soaked his career with this and other biblical images. To use The Flood as a name for a band then pays homage and identifies with a significant tradition in contemporary music.

Fortunately, the lofty ambitions of this talented five-piece line-up are not misplaced and Dylan is as good a reference point as any from which to begin a review of The Ballad of K.B.. Dylan and The Band had of course one of the most famous live albums in contemporary music, Before The Flood.

The Ballad of K.B. is a vehicle showcasing the soaring vocals, song-writing skills and guitar playing of Kevin Bennett, the amazing picking and slide guitar of Mark "Bucky" Collins and the tight rhythm of Doug Bligh and Chris Haigh (Mark, Doug and Chris are no longer with The Flood).

The Flood's frontman Bennett's previous album was called "Two of Everything In The Carpark" (just like Noah's Ark). One song from that album, Mary, is also included on "The Ballad of K.B." but it is a shame that the tracks Unconditional Love and Every Good Thing were also not carried over.

Their inclusion would have "The Ballad of K.B." being hailed as a classic. As it is, it's about as good an album that has been released for some time.

The name The Flood fits with the rootsy blues, country-rock the band plays. It's the flood of the music of Dylan's Crash on the Levee (Down in The Flood) or that might flow under the Tallahachi Bridge in Bobbie Gentry's Ode to Billy Joel.

It's the flood flowing through John Fogarty's Bayou and creating Neil Young's Rust. It wets the toes of Lowell George's Little Feat. It's the flood of Ry Cooder's River Rescue and that courses through Keith Richard's veins. It's the flood infusing the wordplay of John Hiatt, John Prine or Lyall Lovett, or a Tom Springfield ballad. It's also the flood in the creeks of the Pilliga Scrub of the north-west were Bennett grew up.
The album starts with Don't Look Back at Me, the song that had the band nominated as a finalist in the CMAA Country Music Awards of Australia for best vocal group or duo.

The title also recalls the biblical story of Lot's wife.The Flood's Don't Look Back starts off by presenting the stories of the gospels as the ultimate road movie.

"Jesus came, he rode the sun, with a highway song for everyone to sing. Said don't look back at me." The song then transfers to a personal mode and acts as an introduction before the album sweeps through to the coda of the title track, The Ballad of K.B.

Don't Look Back sets a brilliant standard of lyricism that continues throughout, and, yes the flood eventually comes, "When the rain came..."

The only non-Bennett song on the album is the touching Tear Stained Eye, which merely acts to reinforce Bennett's extraordinary vocals. If you need any further evidence of this, then catch the band live and track down the old Chasin The Train albums or get a copy of The Stetsons' Their most successful record...ever! on which Bennett sings the classics The Dark Side of the Street and She Thinks I Still Care and Collins displays his wonderful skills.

When The Flood played in Tamworth during the recent Country Music Festival it was interesting to note how well their songs stood up against the cover versions they performed.

Only a Dylan classic You Ain't Goin' Nowhere, John Prine's Angel From Montgomery and the Faulkneresque Ode to Billy Joel could be considered superior.

If you are interested in the Pilliga Scrub meets the lower 40-acre of Ode to Billy Joel via Lyall Lovett's Texas or Sydney meets Randy Newman's Baltimore then this is the album for you.

If you like great singing and great playing of intelligent songs, thenthis is the album for you.

Now, if only The Flood would put out a live album featuring all the classics in their repertoire.

I'd say amen.

The Courier-Mail
August 1999

....here's another to add to the list, Australian band The Flood and their debut album, The Ballad of K.B.

The sound is built around the songs of Kevin Bennett and his warm, smoky singing voice, and like many country-meets-roots rock bands, would have as much appeal in the city as the bush.

Adding to the mix is the tremendous guitar and banjo playing of Mark Collins (no longer with The Flood), who provides some of the tastiest slide guitar this side of J.J. Cale on "Sunshine".

It is a pity there's no place for something like this on urban commercial radio in Australia, although surely a song like "For Good This Time" would be more refreshing than another flogged-to-death Eagles oldie.....

Rolling Stone
June 1999
by Jeff Apter

Urban cowboys explore Dingoes country

Masterly country-blues combo The Flood have a major identity crisis. They're better known in Tamworth than in centres urban, but their true grit is a world away from the land of akubras and drizabones. They're more John Foggerty than John Williamson, if you get my drift. And while The Ballad of K.B. may have been produced for next to nothing, it's dotted with million-dollar tunes.

The lead off track, "Don't Look Back at Me" sets the tone: it's marked by deadley harmonies, frontman Kevin Bennett's stinging guitar and soul-deep vocals. This woebegone, blues-stained style then seeps into such tales of lovers and losers as "For Good This Time" and "Mary", making The Ballad of K.B. more the soundtrack for life-scarred urbanites than line-dancing cowpokes.