Potter's Field (CD - 2004)

12 Stones' sophomore effort aims to capitalize on the recognition brought by Paul McCoy's memorable chorus cameo in the Evanescence monster hit "Bring Me to Life." It opts for a more powerful, guitar-heavy sound than their 2002 debut, and demands maximum radio-friendly compression from returning producer/mixer Dave Fortman. This approach should make thick-stemmed rockers like "Speak Your Mind" and "Far Away" quite palatable to loud rock audiences, or at least those who want more from the Creed fallout than Alter Bridge. For that's what 12 Stones offers -- urgent post-grunge rockers that follow a distinct and marketable formula. Loud lead riffs balance on introspective verses, which then burst into elegiac and/or bittersweet chorus melodies that get the hands in the arena a-wavin'. Fans of Nickelback and 3 Doors Down should be right at home here in Potter's Field. ~ Johnny Loftus

With 12 Stones' sophomore effort, both the band and Wind-Up are aiming to capitalize on the recognition brought by Paul McCoy's memorable chorus cameo in the Evanescence monster hit "Bring Me to Life." To that end, Potter's Field opts for a more powerful, guitar-heavy sound than the band's 2002 debut. Returning producer/mixer Dave Fortman (who also handled boards for Evanescence's Fallen) goes for maximum compression, which should ensure that thick-stemmed rockers like "Speak Your Mind" and "Far Away" are palatable to loud rock audiences. The thing is, this far into the post-grunge game, the old Alice in Chains-via-Creed model of loud lead riffs balancing on introspective verses that then burst through the fog into elegiac or bittersweet choruses is getting pretty tiresome. And yet, the initial measures of Potter's Field's first five songs are completely interchangeable. Riff, rest, roar, repeat. Likewise, 12 Stones' lyrics -- though they're probably more spiritual than, say, Nickelback's -- aren't convincing enough to mark McCoy or his mates' particular mental anguish as connectable. "I walk to the edge again searching for the truth," he says in the 3 Doors Down-ish "Stay"; "Last Song" is either an ode to a helpful girlfriend or a reference to the big JC. "I'm sorry for needing you to carry me." "Stay"'s plaintive lope is nice break from the album's chunky distortion-mongering, but overall Potter's Field is straightforward post-grunge formula. ~ Johnny Loftus

In the early 2000s, the proven success of Wind-Up Records acts (particularly Creed) positioned the label to develop a number of new artists, including the post-grunge band 12 Stones. The group's momentum was due in no small part to singer Paul McCoy's Grammy-winning guest vocal on "Bring Me to Life," the single that broke labelmates Evanescence into the mainstream. The wealth of experiences gained by touring with like-minded contemporaries Nickelback and 3 Doors Down primed 12 Stones to make POTTER'S FIELD, the group's follow-up to their 2002 debut. In their equally shared writing process, the quartet adopts a fierce melodic-yet-accessible approach, presenting a set of instantly memorable songs, including the hard-driving "Far Away" and the melancholy "Photograph." Although heavy power chords are the order of the day here, the uncertainty of "Stay" and the vulnerability of "The Last Song" show that 12 Stones can rock out with both heart and volume. minimize