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Halfway to Gone
Halfway to Gone


Lee Stuart: Guitars, Hammond, Keys
Danny Gollin: Drums, Vocals on track 10
Lou Gorra: Bass & Vocals

Addtional Musicians:
Billy Reedy: Additional Guitar
Phil Durr: Ridiculator
Scott Hamilton: Feedback

Recorded @ Rustbelt Studios
Produced by Produced By: Halfaway To Gone, Bob Pantella, and Robert Burrows
Mixed by Bob Pantella @ The Laundry Room
Engineered by Robert Burrows, Bobby Fostex, and Dave Allison
Mastered By Chis Gosseman @ Solid Sound
Art, Design by Mike Saputo

Reviews for Halfway to Gone...


My heroes are back with a new killer album. With a perfect mix out of good old fashioned Southern-Rock and modern Heavy-Rock, Halfway To Gone understands to kick the people's ass again and again. Ok... it's not hard to kick people's ass if you have a voice like Lou Gorra... this guy must have smoked two packs a day... hahaha... no shit... this voice is great, but it's not only the voice which makes Halfway To Gone to something special... it's also the way everything in this band works together... it's not often that you hear a band with that much groove and if I say GROOOOOVE I mean f**ing GROOOOOOOOVE..... a perfect album... thanx HTG.

April, 2004


5 out of 6 stars

If living dangerously ever needed a soundtrack, it would be this 'Halfway To Gone'. Imagine yourself speeding furiously across a dusty, blistering hot, lonesome highway. It is night and the only light to be seen is the rapidly fading billboard of the gas station you just passed. Five minutes ago you were thinking if you needed any gas but you decided not to pull over because on your car stereo 'Turnpike' was playing and somehow it seemed inappropriate to stop this slow, low & mean bluesy song mid-track. So you kept driving, thinking: "What the hellÓ".

The next track to come blaring out the speakers is 'CouldnĂt Find A Fight', an up-tempo uppercut of a song and you decide to rev it up some more. All the while thinking that the smoke-heavy, rather low bluesy voice of Lou Gorra is a perfect match for these mostly mid-tempo and ultra heavy rock songs. By the time you get to 'Slidin' Down The Razor' you know that this bunch's music is best described as a kind of down-tuned groovinĂ heavy metal with a Southern Rock feel. With that in mind I'm sure you can all imagine what the result of that sound is on the rendition of Deep Purple's 'Black Night'.

When your car finally starts slowing down the bottom line simply is that if you like your tunes somewhere in between Sabbath and Skynyrd it hardly gets any better than this. Now if only you would have stopped to get that gas some 40 minutes agoÓ

August 1st, 2004


Uncharacteristically in a genre where high volume is everything, Halfway to Gone has quietly become one of the greatest modern hard rock bands. The Jersey trio always had the rumble and crunch down, but its songwriting grows like mold on cheese every album. Bludgeoners like "Couldn't Even Find a Fight," "Out On the Road" and Hammer's Fallin'" ooze melody and soul without sparing the wattage, and the straight blues "Mr. Nasty Time" is a nice touch. Halfway to Gone is the band's best record yet, no question about it.

Michael Toland
May 10th, 2004


The blood brothers of the mighty Glasspack (or is it the other way around?) strike back in all cylinders, stirring some boozed-up hell and then some, with their third full length effort in all things raw! H.T.G., fronted by Lou Gorra of Solarized fame, manages to encapsulate on a silvery round disc all the energy and southern boogie in its deep fried variety that ardent fans all around this globe strive for on a pure daily base for a healthy living. As such, when you happily live in the double bottom of a tanker and smoke straight from the sludge tank. Opener "Turnpike" is a pure stomper, followed by Karma to Burn-esque "CouldnĂt Find A Fight" and the party goes on with flights of soling in abundance and a rhythm section that I wonĂt go the cliche to describe it as a virginĂs lower side but you still get the picture! Need I say more? "Black Night" is given a sublime treat with hammond & all (who said by who??) while "His Name Was Leroi (King Of Troi) " and "Mr. Nasty Time" follow the legacy of "Black Coffy" in trippy spaced instrumental jams on the blues moon dark side! Overall, their best effort so far. Varied with all kinds of grooves and moods lounging smugly in its throbbing heart! Special kudos to the amazing production (Rustbelt studios), to the artwork performed once more by Mike Saputo; amply titled "Pegasus On Acid" and finally to the ending sample! Just wicked! Groundbreaking? PleaseÓWas your cuppa of herbs and boiling water anything like that this morning? But you still crave for it hon! Now do yourself a favour. Think big; think Small Stone!

Rating: 12 of 13

May, 2004


This third full length CD from these Jersey devils absolutely blows me away. They have refined the HTG sound to a definable, recognizable quality. They now have such a unique sound that listeners can now say that other bands sound like (or try to sound like) Halfway to Gone as a descriptive reference point. Every HTG disc I own gets played regularly. There are no weak tracks, and seeing HTG live is like a religious experience. I don't care where these boys hail from, in my heart and soul I fully accept them as thoroughbred southern boys, and as a card carryin' member of the Sons of the Confederacy I know the real deal when I hear and see it. They definitely play like they've got southern blood pumpin' through their hearts. HTG may be yankees on paper, but they're southern by the grace of god when they turn it up and cut loose the holy sacred stoner chords. Hit these smokin' tunes and hold them in as long as you can. Exhale and repeat. Lou Gorra growls and groans, blues and soul right down to his bones, while Lee on guitar and drummer Dan weave a stoner wreath of smoke rock riffs and beats as heavy and thick as the resin they leave behind on my CD player.

Glenn Tillman
May 15, 2004


Though this album will apparently be Halfway to Gone's last as a full-time thing (thanks to the usual day-to-day stuff, the band has downshifted into a sort of part-time status), it finds the band traveling at the top speed established by previous full-lengths. If it is the sound of a band slowing down, itĂs a band that chose to do so by slamming on the brakes while traveling at full speed.

If you loved the band's first two releases, youĂll certainly be delighted by this one as well. This album's appeal is subtler and less immediate than its predecessors, but I usually find the albums that I end up liking the most take a few spins to totally sink in, so IĂve got high hopes for this one. The bandĂs muscular, surprisingly-full-sounding-for-a-three-piece sound roars as astoundingly as ever and Lou GorraĂs throaty howl forcibly exorcises the demons of the life frustrations that inspire most great rock and roll which, letĂs face it, Halfway to Gone is making at this point.

When attempting to describe Halfway to Gone's sound, the initial impulse is to use the word "southern" because, well, it's the most accurate description. Surprisingly so, in fact, for a group of New Jersey boys - they did a straight cover of a Marshall Tucker Band song on their last album and it was really good. Nevertheless, I hesitate to use this description because of all the less-than-stellar stuff using similar descriptive terms that is being released under the "stoner rock" banner right now. What separates Halfway to Gone from those, and most other not-good bands, is the songwriting. These fellas know how to jam the standard rock elements together to form an unforgettable song, and they do it consistently. Don't take my word for it, though ű all youĂve gotta do is start at the beginning of the disc with the magisterial "Turnpike," which is as fine a tune as the band has conjured. I was hooked around the one-minute mark; if you discover similar results, youĂre home because there are plenty of other barbeque sauce-slathered delights to be had within.

Brian Varney
May, 2004


These good ol' boys shove it hard and heavy and I couldn't get enough of this new CD of theirs. In the sour vein "stoner"rock amplification, Halfway to Gone come forth and pile on a new lot of down-toned riffs and Southern fried rock in the likes of Five Horse Johnson, Dixie Witch and Alabama Thunderpussy. It has become apparent that Small Stone Records has become the new forefront of underground heavy rock with a roster of like-minded bands that will make your neck ache for weeks after listening to their music loud or live. Or both.

HTG find the cool spectrum of speed and slow, rabbit and tortoise, in their wake, which makes for a complete record, which should be played loudly in your '76 Mustang or next rumble down at the roadhouse. The best thing about bands like Halfway to Gone is the fact that they are the new glorious underground of rock, the loaded saviors of a bleak industry filled with bores, gaps and fits-every-foot music. I rue the day when this scene becomes big, but bands such as this deserve all the attention and cash they can get hold of. TheyĂd just use it on whiskey and weed anyway. Hell yeahÓ

Mark Whittaker
May, 2004


The Halfway To Gone formula is very simple: write hard-edged Southern rock songs with a stoner vibe and add a 40-a-day roar. However, having the necessary wall of bass and guitar sound counts for zip if the material is week, and it is in the songwriting department that HTG shine supernova bright.

Their previous album, 'Second Season', ranks as one of the greatest rock'n'roll albums of the '00's so far and it appeared they had reached their artistic peak, But amazingly, this, their self-titled third album, at least matches it in greatness. Each song is a mass of memorable hooks and riffs. 'Good Friend' punches like a nightclub doorman, Motorhead get the nod for 'Burn 'Em Down' and 'Couldn't Even Find A Fight' whilst 'The Other Side' is pure Skynyrd. But the biggest surprise, the slow jazzy blues of 'Mr. Nasty Time', is saved for last orders.

It may be lazy writing to sum HTG up as Sabbath meets Skynyrd and Motorhead, but if that is what it takes to persuade you to buy into them, then so be it.


Iann Webster
Issue 120 - May 2004


Rating: 5.0/5.0

Woah. Talk about your exponential improvement! The last time I heard from this band of Dixie rockheads was 2001Ăs HIGH FIVE debut. In the interim they released their sophomore disc, SECOND SEASON which inexplicably past me by without notice. Now that theyĂre back in possession of this self-titled album, all I can do is kick myself for missing out on their last one. Why? Because this album is far and away one of the best Southern rock albums that IĂve ever heard, and an improvement on their debut in every way.

Lou Gorra still growls, howls, and sings his way through the album while the band bashes out their utterly mesmerizing riffs. The main difference between this and the debut though is that the songwriting has tightened up considerably. Gone are the somewhat meandering instrumentals of yesteryear, in their place the band inserting some of the catchiest riff rock to come out of the US of A. Honestly, each and every song on here digs deep into you with hooks big enough to hang Moby Dick himself.

It helps that the band are adept musicians, despite the fact that they play a somewhat simple rock style. They are just as comfortable jamming on a classic rock riff (see the cover of PurpleĂs ˘Black Night÷) and they are noodling around in jazz territory (the lounge-lizard lovinĂ ˘Mr. Nasty Time÷). In betwixt thereĂs a bunch of awesome riffs and melodies to be heard, and a whole bunch of ass to be kicked. The sum of it all adds up to one of the best albums of the year so far, and one that will definitely still be getting regular spins on my player come ˘Best of 2004÷ time.

April, 2004


Over the course of two, very promising albums, New Jersey trio Halfway to Gone quietly abandoned the mangled carcass of stoner rock (the term's sell-by-date having unquestionably expired) to find themselves standing on the edge of simple retro-rock greatness in the early-Š00's. And with the release of their third, eponymous album in 2004, they appear to have arrived there. Even more than those prior efforts, Halfway to Gone manages to both maintain and fine-tune the group's diamond-edged, hard rock assault, which mashes equal doses of southern rock, heavy metal, and good ol' blues with surprisingly fluid grace. Whoever said hard rock can't benefit from a more refined studio touch never heard groove machines like "Turnpike" and "Hammer's Fallin'" (or friggin' Back in BlackÓhello!?), which handily defeat many snottier, louder, brasher competitors with their expertly balanced beauty and brawn. Furthermore, their controlled, cool confidence makes it easier for full-throttle, truly buck-wild stomps like "Couldn't Even Find a Fight" and the almost Mot¸rhead-esque "Burn Šem Down" to stand out when their turn rolls around. Conversely, Halfway to Gone are just as likely to ease right off the accelerator and coast into a bluesy instrumental such as "His Name was Leroi (King of Troi)" [sic]. "The Other Side" is another fine example of the latter approach, only this time with lyrics courtesy of vastly improved vocalist Lou Gorra. On the harder cuts, his oddly metallic tone of voice can sound remarkably similar to Stone Temple Pilots' Scott Weiland, but that's hardly a negative -- more of a curiosity, really. Drummer Danny Gollin assumes lead vocals on the Skynyrd-like "Out on the Road," and versatile guitarist Lee Stuart puts across a dominating presence throughout the album, only to impress just as much with his fine Hammond organ playing on "Mr. Nasty Time." The band's rather mundane cover of Deep Purple's "Black Night" could have probably been saved for last instead of forcibly snuck in four songs in, but that's obviously but a minor reservation among this album's wealth of positives.

Ed Rivadavia
April 13th, 2004


I have been down with Jersey mudriff tyrants Halfway to Gone since picking up their first release, a two-song split with Alabama Thunderpussy, at an ATP show, about 666 years ago. So, even tho I would normally frown upon any record featuring a winged horse on the cover- unless it was Dio, maybe- IĂm gonna give Šem a pass on the German power-metally design scheme, cuz the tough-as-nails stoner-boogie crunch on this, their third full-length rekkid, is bad ass, Bronson. Stylistically, HTG lean a little heavier on the blooze pedal here than on their last, album, 2003Ăs ˘Second Season÷ (Small Stone), but itĂs still a no-nonsense, heads-down chugfest, with tracks like my new theme song, ˘King of Mean÷, and the raging opener ˘Turn Pike÷, cominĂ on likeMountain trying to out-roar the din of revving Harleys at an Angels rally. Chief Goner Lou GorraĂs raspy outlaw bellow is the perfect word-made-flesh for these hairy motor-beasts, and even on side-trips like their hammerinĂ Hammond-peppered cover oĂ Deep PurpleĂs ˘Black Night÷ (heavier on the Purple than on the Deep, natch) and closing chicken shack freakout ˘Mr Nasty Time÷, they still sound like a deadly accurate dope-metal band with amps cranked to ˘stun÷. The Status Quo of stoner rock, then? Fuck yeah, man. They even got the denim vests, and everything. Prepare to bang yr head til it falls clean off.

April 1st, 2004


I liked HALFWAY TO GONE's (did you ever notice some band's names don't do well in the possessive form? Sheesh...) last album, 2002's "Second Season." It was just that, having seen them live once, there was some of that... what can you call it... hmm... onstage fury that it didn't quite capture. Consider that minor problem solved. This new self-titled rip-roarer on Small Stone takes it's raw, haggard production & uses it to drag the listener around by the scruff of the neck for 41 minutes until you're left in a bloody pulp outside the bar room door. Yeah, bro', this has got that kinda sound that makes you think of something like COC's "Wiseblood," laced with a Southern-Skynyrd shot-o-Jack and primed for a heavy metal fight. Opening with the crushing "Turnpike" (not a Ram Jam cover, Mr. Shermann), we're treated to in-your-face Gibson chords from Lee Stuart laying down a concrete foundation for Lou Gorra to hang his raw vocals on like a grizzled-but-comfortable slouch hat. This album is seriously "car" material because it's consistant as hell from beginning to end, and the band's songwriting is the strogest it's been on any of their 3 releases by far. Still, much as I'm won over by the blistering metallic riffdom HTG has penned on this disc, when the cover of Purple's "Black Night" hits, I'm a stone-cold goner. I mean, can you imagine how cool it is when Lee lays down his geetar long enough to take a Lordian run through a jazzy Hammond work-out? Icing on this cake of a rock killer. No stoner cloners here, this is just bringin' the rawk and Jesus, the harmonica in "Good Friend" is fine as it gets.

March, 2004


On this already third longplayer USAs own HALFWAY TO GONE gained some pounds. Not in the body fat meaning, but in the art of the performance. Everythings a bit heavier, the drums punch more, the riffs cut through walls and Lou Gorras charismatic, warm throat gets to one even more. Their mixture of SOUTHERN/BOOGIE ROCK along with HEAVY guitars and a massive beat, nether before left such an impression on me. From the heavy opener TURNPIKE over the fast COULDNĂT EVEN FIND A FIGHT to the great DEEP PURPLE covertune BLACK KNIGHT (comes with some fine hammond parts and cool leads) right to the SKYNARD praise THE OTHER SIDE, this motherfucker just rocks. Somehow it seems HALFWAY TO GONE have undergone a refreshing of the core, not that the two predecessor albums HIGH FIVE and SECOND SEASON didnĂt convince, but this new one really kicks it. If youĂre into the likes of SCISSORFIGHT, FIVE HORSE JOHNSON this blood is definitely for you. All that is taken to your living room, car whatever in a killer literally fat sound.

Thomas Schubert
March, 2004


What do you get with this 3rd Halfway to Gone CD? ALL THE FUCKING WAY TO GOOD MOTHERFUCKER! Small Stone are an independent label that look like there are seriously on the way up, all the while delivering some mighty fine rock N' friggin roll, and this could well be the best Small Stone release thus far (and considering the other fine bands on the label that's a whole heap O' praise indeed!) It is generally accepted that one should open your album with a righteously rockin' tune, and sweet mother of Ted Nugent the H.T.G boys do not slip up here...holy buggering Shite!!!!! 'Turnpike' is ALL ABOUT THE ROCK with riffs, attitude and bad ass southern hospitality to spare, HOTDAMN, y'all are in fer a high ol' time with this disc! So the scene is set, Track 1, 'Turnpike' comes to an end and what do these hyped up boogie chiefs do, they go and up the rock ante with the second tune, 'Couldn't even find a fight' which leaves you giddy with excitement and pounding your fists in the air as if your arms were welded to a set of full bore steam pistons...HELL YEAH!!!!!!!!!!!! LETĂS FUCKING GO!!!!!!!! (If the album stopped here it's still be more rock than the common man deserves) 'Couldn't even find a fight' is charged with a savage, propulsive boogie riff that will get you off your fat ass before you can say electrodes on the nut sac! All the way through this tune you keep pinching yourself thinkin'"I gotta be dreaming??? I gotta be dreaming??? nothing sounds this sweet???" Not only are you awake, but also 'couldn't find a fight's' thundering power chords will keep you lucid for the next few weeks. You've gotta hand out some righteous praise to Lee Stewart's screaming banshee of a Gee-tar as it swings, grooves, knocks back a six pack or three, head butts the bouncer, and then bloodied and unbowed, delivers up some 200% proof riff moonshine that proves unequivocally that the south not only will rise again, IT HAS. But there 'aint just one hero in this rock epic, Lou Gorra on bass and Dan Gollin on sticks are that tight a rhythm section you could ride em like a submarine... these brothers know hardcore redneck boogie like Tracy Lords knows head.

In a all honesty by the time you get to track four, the mighty 'Slidin Down The Razor' you are physically drained, the H.T.G boys are dragging you through some back wood swamp at Godspeed all the while howling at the moon like amphetamine crazed wolverines. Then it just gets silly, a man needs a freakin' moment to breathe ferchristssake, but NO, they then bust out with a bonafide cover of Deep PurpleĂs mighty 'Black Night' and yer grinning like a Cheshire cat eatin' on tuna pussy, by now you are solid gone brother! SOLID GONE!!!!!!!!!!

But along the way you also get some sweet as pie soulful rhythms... 'aint nothing predictable here, NOTHING!!!!!!!!!!! This is the ultimate Southern fried, Boogie-metal, good times, shit kickinĂ album, BAR NONE!

Halfway To Gone are heavier than a Horse's cock and twice as mean, so approach this disc with caution as it 'aint no light beer, this Sucker is some high octane, poleaxe a buffalo, granite-hard, rocking home brew. To choose highlights on this CD is as pointless as a cheap pencil this is ALL-good buddy. If you groove on Speedealer, C.O.C, Raging Slab, Skynryd, 60 Watt Shamen, Circus of Power etc, this Halfway To Gone album is for you.

You don't need to be a fan of southern Boogie to like this as after you buy this album yĂall will be. Christ I live in North London and I suddenly got a hankerin' for grits, barbequed 'coon meat, and a need to whittle some. (Listen to Mr. Nasty and weep at its simplistic beauty, if you remain unmoved, check your pulse because thereĂs a good chance youĂre already dead)


Jason De Lorme
March, 2004


New Jersey via Dixie rockers Halfway To Gone return with their 3rd disc for Small Stone Records. The self-titled "Halfway To Gone", follows up 2002's "Second Season", almost as if to signify a new beginning in the band's evolution from the twangy, southern fried instrumental guitar band into the full-on, well-oiled rock and roll machine we always knew they were. More focused and energized than their previously released materials, this perhaps is their breakthrough from "Great live band but so-so on disc" to "Great fuckin' band!"

"Turnpike" is a slow chugging riff machine that pretty much bowls you over from the outset, and it only gets better from here on in. "Hammer's Fallin' " finds a sweet, loose southern groove and pairs it up with Lou Gorra's new and improved bluesy vocal drawl, while "Slidin' Down The Razor" tears it up like only Halfway To Gone can, taking the tempo, and Gorra's Weiland-esque vocals down in to the gutter.

Last time around, Halfway to Gone showed off some of their roots and chops convincingly covering Marshall Tucker's "Can't You See". This time around, that sentiment has gone out the window with a rousing cover of Deep Purple's "Black Night", proving once again that this band is NOT fucking around in the least, especially once the psyche-Jersey blues of "LeroiÓthe King of Troi" and "The Other Side" kicks in. This is what "High Five" should have sounded like had they the dough, or the production skills of Monster Magnet's Bob Pantella at their disposal, as they do on this one.

The band ups the ante in the speed department as well as they rip through "Burn Em Down" and "King Of Mean", showing they can go toe to toe with any fucking band out there right now while "Mr. Nasty Time" closes out the disc, sounding like the soundtrack to last night's "last call", as they bust out some authentic, sleepy bar-blues accompanied by some wicked keyboard work by Lee Stuart. Halway to Gone have outdone themselves once again.

As always, top notch packaging by Small Stone, featuring the stunning art of almost in-house graphic dude Mike Saputo. Grab it now over at the Small Stone site. $12.

Nick Muc
March, 2004


If you've been a longtime reader of Bully, you know that we're pretty big fans of Halfway To Gone's southern-groove metal. Still to this day, they are one of the most underrated bands in heavy music. Hopefully that status will change with the release of their self-titled third album.

What's apparent from the first note of "Turnpike" is that this disc is much, much, much heavier than Halfway To Gone's past efforts. Some of this is an obvious outgrowth of the amount of touring that the band has been doing over the past few years. The sound has far more adrenaline and punch than High Five or Second Season. Being the road dogs that they are, they pull it off beautifully on blistering rockers such as "Couldn't Even Find a Fight," "Good Friend", and a badass cover of Deep Purple's "Black Night". What you're hearing on this disk is the live energy and attitude we saw on full display the last time HTG rolled into New York City.

The southern rock influences are still ever present in their sound, especially on "Good Friend" and "Out on the Road." Lee Stuart's guitar playing never ceases to knock you down with equal doses of groove and Skynyrd phrasings. Bassist Lou Gorra's vocals are still bluesy as all hell, as are his lyrics that cover the downside of fistfights, being on the run, and hitting rock bottom. But the southern stylings have been relegated to the background here to serve up something more akin to a straight up power groove. "Slidin' Down The Razor," "Burn 'Em Down" and "King of Mean" shows a much more belligerent Halfway to Gone than we've heard in the past (if that is at all fathomable). The guys also included a few of their trademark instrumentals that run the gambit from lazy southern groove on "His Name Was LeRoiÓ(the King of Troi)" to an Allman Brothers jazz experiment on "Mr. Nasty Time." We've yet to hear a bad album from these guys and considering the quality of each of their discs (especially this latest effort), that's pretty amazing. If you still - still - haven't taken notice, wake up to what these guys are doing. Heavy, groovy, and powerful as a six foot, 260-pound trucker on crack looking to bust open someone's head with a lead pipe.

Ken Wohlrob
March, 2004


Veteran road warriors Halfway to Gone have been out on the highways honing their musical chops for quite awhile now, beating grateful audiences over the head with their unique brand of southern bone slamming rock. Its paid off: 'Halfway to Gone' is their best album to date, capturing and distilling everything they've done on their previous albums and presenting it in an adrenalin-charged, booze-soaked package that would make even the most pious of nuns throw the horns.

As usual, the songwriting is tight and the sound is big and rich, much like their second album, Second Season. Fans of heavy southern-style blues based riffs will dig, which is basically anyone into Skynyrd, the Allmans, and Marshall Tucker in the classic camp and later Corrosion of Conformity, Damnation Gulch, Suplecs, and Dixie Witch in the newbie arena. 'Turnpike' is what the Halfway dudes are all about: crunching heaviness and irresistible riffing. They're not afraid to throw us a few curves in the form of a cover of Deep Purple's 'Black Night' with its retro keys and tasty guitar solos courtesy of guitar teacher Lee Stuart. Brother Dan is solid on the drums and throws in the vocals on 'Out on the Road.' The vox may need a little spit n' polish, but they positively drip with a certain rough Americana vibe that shows allot of promise. It's hard to believe that HTG's demo from a few years ago didn't have any vocals, because bassist Lou Gorra didn't want to do it himself. His turn at 'Can't you See' on Second Season demonstrated that he had a quality set of pipes, and 'Halfway to Gone' shows that he's just gotten better with time. The album ends on a weird note with 'Mr. Nasty Time,' a trip to a 60s blues "Nite Klub," the kind where the spaced-out organist wore a cape while flying high on controlled substances.

Halfway to Gone are not out to change the face of rock, but if you liked their previous efforts you'll love this one. Its definitely more of what you love 'em for. I'm heartened by the fact that people seem to feel fairly neutral about the album at first, but are drawn back again and again for repeat listens. Growers like that tend to withstand the test of time, so that you find yourself listening to the album years down the line. Well, it couldn't happen to a nicer group of guys.

Kevin McHugh
March, 2004


Last week I wrote a Halfway to Gone review that wasn't just plain dead wrong, it was the wrong CD all together. Matter of fact the only song on the Self Titled Halfway to Gone CD that I actually heard was Black Night, which I listened to when I got home late from work after a few beers and saw the Small Stone package sitting on my desk. Black Night is my favorite Deep Purple tune so of course I had to see if H2G did it justice! Which they of course did. However, when people started asking me if I had the wrong CD then I started to wonder...well, to make a long story short- it was in fact the wrong CD and somehow someoneĂs production demo got mixed up with the H2G CD, the result of which Koi and a few others saw. My most sincere apologies to the band and anyone that might have gotten the wrong idea of what Halfway to Gone sounds like!

Anyhow, H2G is a southern drenched hard rock guitar outfit with some wicked tight tunes. From the upbeat 'Burn Em Down' to the soulful heavy overdriven grooves of 'Turnpike', these guys are 100 percent high energy hard southern guitar style rock and roll.

Some of the material on this self titled beauty reminds me of later Corrosion of Conformity, heavy driving riffs with busy moves, but still retaining that evil blues overtone. Definitely fits in with Blind and later era COC. Other bands I could see these guys sounding like musically to some people would be Suplecs. These songs have nicely done gritty blues based vocals and I could imagine these guys on tour with Dixie Witch because they share a definite love for guitar, soul and good times. Hard blues southern rock just done right, plain and simple.

Check out Halfway to Gone if you dig the soulful guitar styles of classic rock bands. I am filing this CD somewhere near Dixie Witch around the corner from Raging Slab and COC, and even though these guys aren't doom-- they DO have some pretty damn evil sounding changes and grooves from time to time:) This CD just rocks period

Rob Wrong
March, 2004

Album Tracks

  1. Turnpike
  2. Couldn't Even Find a Fight
  3. Hammer's Fallin'
  4. Slidin' Down the Razor
  5. Black Night
  6. Good Friend
  7. His Name Was LeRoi ... (the King of Troi)
  8. Burn 'Em Down
  9. The Other Side
  10. Out on the Road
  11. King of Mean
  12. Mr. Nasty Time

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