1.We're Free 	04:20
2.Love Come Around 	04:01
3.Lovelight 	03:45
4.Ain't No Love In The Heart Of The City 	04:50
5.Only Cure For The Blues Is The Blues	 04:51
6.Get It While You Can 	04:30
7.Who Was I Foolin (featuring Jimmy Barnes and Nathan Cavaleri) 	04:35
8.The Killer 	04:03
9.Stop Listening To The Blues (Live at Blues on Broadbeach 2016) 	03:23

Bass – Jan Bangma (tracks: 1, 2, 3, 4, 7, 8, 9)
Drums – Jackie Barnes (tracks: 1, 2, 3, 4, 7, 8, 9)
Organ, Clavinet, Keyboards, Lead Vocals – Lachy Doley 
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Bass – Damien Steele Scott
Drums – Andrew Bignell
Guitar - Nathan Cavaleri
Guitar – Nick Panonsakis
Piano – Paul White
Vocals – Zkye Compson-Harris
Vocals – Jimmy Barnes

This album is a throwback to when soul and blues, seemingly only coming out of corners of north-east England (or Jeff St John killing it here), were organ-driven and meant as both dance music and drinking music.

Ingredients were simple, and easy to spot here: Hammond B3 providing both the sonic bed and a keen solo; a gritty voice that suggested decades of hellraising (but was probably just down to a few pints of Newcastle Brown and double packs of Woodbines then); guitar choppy and moving feets, but also beefed up like the post-Yardbirds bands getting heavy.

Lovelight comes on strong from the start, punching hard on the Hammond B3 and harder still on the groove in We’re Free as Doley – on keys and vocals – busts a lung. There’s even more force in Only Cure For The Blues Is The Blues and the swinging title track, while The Killer makes for the Deep Purple-meets-Muscle Shoals danceteria.

But Doley, who also smooths it out on a clavinet, isn’t afraid to get slow and smouldering in Ain’t No Love In The Heart Of The City and Get It While You Can (with Zkye Blue bringing a woman’s voice to the party) or to sit halfway between with the deep soul of Who Was I Foolin’, with Jimmy Barnes going ragged throat for ragged throat with Doley and Nathan Cavaleri firing out an organ-taunting guitar solo.

If you want to dig into the local roots of some of this ask your local record bar for Back On The Street Again, a compilation of funk/soul/psych rock from the days of flares, moustaches and Reschs. It’s a mixed bag for quality but a good companion to Lovelight. ---bernardzuel.net

Who is Lachy Doley? If you don't know now, you will soon, and I urge you to get in on the ground floor. Heading the "Lachy Doley Group", he mixes a base of blues with rock and soul like nothing else heard today. Glenn Hughes, yes, the Voice of Rock, called him the "greatest living keyboard player in the world today", and it is no surprise, based on Doley's contributions on Hughes last solo album, Resonate.

On his latest release, called "Lovelight", Doley really earns the praise. LDG is a "power trio", consisting of drums, bass, and Doley's Hammond organ (and vintage Hohner clavinet). His you tube videos have reached millions, probably because you need to see it to believe the sounds coming from his gear.

The album is great from beginning to end. You will never ask "why is there no guitar". Doley gives you all the sounds you need from his keyboard (complete with whammy bar on the clavinet). He is a strong vocalist as well, featuring a passionate voice that is made perfectly for his blues-soul sound.

The originals are well worth the price of admission, and he puts his own spin on "Ain't No Love In The Heart Of The City". Doley does a terrific cover of Bill Withers' "Use Me" on a previous record, so it makes sense to go back to the soul well for this one.

Australia's favorite son Jimmy Barnes guests on one song and we are introduced to Zkye Blue on another strong track. The album runs nine songs, and you will find yourself spinning it multiple times. ---Fielding Fowler, allmusic.com

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1 	A Woman 	4:02
2 	Cruel Cruel World 	3:53
3 	The Greatest Blues 	5:04
4 	The Strut 	4:17
5 	Give It (But You Just Can't Take It) 	5:51
6 	Into The Alone 	5:39
7 	Make Or Break 	6:06
8 	Mix Tape 	4:01
9 	The Killer 	5:42
10 	Can't Get Close To You 	5:59

Lachy Doley - Vocals, Hammond Organ, Keyboards
Joel Burton - Bass
Jackie Barnes - Drums

Keyboard maestro Lachy Doley has supported some of the best, including the awesome stadum band sound of Powderfinger and Wolfmother.

However, the Adelaide lad’s personal forte is full throated blues, with two solo records and five albums created with his band. In his fifth release Make or Break, Doley is ably supported by Joel Burton on bass and Jackie Barnes on drums.

The vibe of opener A Woman is pure psychedelic ‘70s. The mighty Hammond organ launches the song, with Doley’s fingers sliding around the keys before slamming into a stunning power chord. The incredible gnarly riffage which follows comes not from a guitar, but from a Hohner D6 Whammy clavinet.

Replicating a well wielded axe, the sound comes from Doley’s manipulation of the huge whammy bar which morphs the tone of the keys. The track has a huge impact, hammered home by long held vocal notes.

Cruel Cruel World takes a more soulful line with chunky riffs and super funky injects from the clavinet. It is an amazing instrument, which can spit out a staggering variety of tones.

Doley expresses his love for his chosen genre in rolling waves of keys in The Greatest Blues. The Strut is more up-tempo, while Into the Alone takes a cruisier line with very chill keyboards that tiptoe along. The title track makes its mark with keyboard wizardry that takes no prisoners, while the appropriately named The Killer conjures up menacing night scenes with its lurid lyrics, menacing riffage and licks that scream skywards. The record closes gracefully with the gentle tones of Can’t Get Close to You.

The combination of organ, clavinet and Doley’s huge vocal projection is extraordinary. Little wonder the album has shot to the top of the ARIA Jazz and Blues chart. ---Rory McCartney, bmamag.com

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