It is obvious Jones has been hanging out with Led Zeppelin lovers The Black Crowes, because there is bluesy guitar noodling aplenty on the album. When the band rock they do a fine job of it, but that is only one aspect of the album, as there is more variety on ‘You Gotta Go There To Come Back’ than on any of their previous offerings. There is an unexpectedly lo-fi approach to a couple of tracks and there are still the crowd pleasing acoustic sing-a-longs to keep packing them in at the Millenium Stadium.

The album kicks off with, ‘Help Me’, an epic track indulging in huge doses of Led Zep riffage. The Stereophonics tendency to occasionally sound like three blokes hammering away at their instruments has been cured by the thoughtful intricacies added to every song. This is particularly evident on following track, ‘Maybe Tomorrow’, where the blustering is tamed, and a more soulful vibe created by the addition of vocal support.

Jones has a Marmite voice that fans love and critics cite as the reason for finding the ‘phonics unbearable. He seems to have responded to this criticism by tempering the bellowing, with frequent contributions from backing singers and the addition of vocal effects. Jones restrains himself on ‘Getaway’, where the lo-fi melodicism approaches the understated effect REM generated on ‘Up’.

Lyrically the album is clearly demarcated between the perceptive and mindless. The blues rock-outs contain lyrics seemingly designed to keep the focus on the virtuoso guitar playing, during ‘High As The Ceiling’ Jones sings: “Come on get up high as the ceiling; Get up on the floor.” In contrast album closer, ‘Since I Told You It’s Over’ has the Rod Stewart balladeering growl in full coruscating flow: “I never ever meant to make you cry; If I could take it back you know I would; I want to burn up and die.”

Kelly Jones is making his debut as an album producer on this record, and he has done an exceptional job. The band is complimented by emotive string, piano, and organ embellishments that maximise the songs potential without overpowering the tune. ‘You Gotta Go There To Come Back’ is the sound of a band justifiably confident in their own abilities. World domination moves inevitably and deservedly closer.

Gavin Eves