When the big fella’ opens up his chest and lets fly with that lusty, rumbling voice, even then it’s like he’s pulling back on the reins in fear of what might happen to innocent bystanders_ it’s that potent. Which might be why he tends to keep a lid on things, really only cutting loose on a couple of numbers, the rocking Road Of No Return and the deeply moving My Old Man’s Coat. Rory Ellis is one of those quintessential Australian singer-songwriters with buckets of talent, heaps of stories to tell, and impossible to pigeonhole. He’s got bluesman in him, some soul belter, red dirt country and home grown folkie. The songs tend to move at an amble, as if the man just won’t be rushed. But songs like Domestic Overload, Up Stumps and the splendid I’m Not Gone speak of a restless spirit. Ellis is buttressed by the magnificent guitar playing and production of Dave Steel. Special treats include Kerri Simpson singing on two tracks, and the man whom Ellis most resembles in vocal style, Chris Wilson on harmonica. Steel’s old Weddos mate Mark Wallace adds accordion to a few tracks Review By Jeff Glorfeld, The Melbourne Age, March 2006 ★★★★/5

Here’s one to gently blow away Sunday morning cobwebs. From the opening title track, Ellis brings his stories to life with rich, deep vocals and polished guitar work. Music styles range from the singer-songwriters signature “Urban Folk” through to rumbling blues and countrified bluegrass. Longtime Ellis collaborators fill out the big sound, including multi-instrumentalist Dave Steel, Sandy Brady on bass and John Parry on drums. There’s no mistaking the harmonica work of Chris Wilson on the ominous ‘Road Of No Return”. The interplay between his harp and the didgeridoo of Glen Romanis builds the track to a thrilling climax. A touch of gospel infuses ‘Bojangles’ (about the old St Kilda nightspot) with Kerri Simpson on backing vocals. A quieter, pensive mood echoes through I’m Not Gone’. Shifting between rootsy influences and tales of humour, pathos and sentiment, this is Aussie songwriting at its best. There are so many great lines: ‘Cause’ I’m a hardened soul/ with a weakened heart’ (‘The Rushes’) and ‘saw the lights through our red eyes/ talked the cheap end of white lies (‘Old Friend’). Of Melbourne’s infamous urban criminals from the ‘The Underworld’- ‘they make us cringe but hey/ hey make the news.’ True stories of love, mates, life on the road and on the streets, and childhood memories combine on this beautiful album Review By Chris Lambie, Forte Magazine, Jan 2006

Since I started writing album reviews I don’t think I’ve ever longed for an album to be released quite as much as I longed for this. Seeing Australian singer/songwriter Rory Ellis give a taster of things to come on this record at his live shows just heightened my anticipation. So, when he called to say it’s in the mail, the postman couldn’t come quickly enough. Was it worth the hype……..damn straight! This guy oozes ability. His songwriting is personal and brings to life the places he’s seen and things he’s experienced. The lyrics paint such a vivid picture that you are just transported into his world. You are seeing the things through his eyes and feeling the things that he felt. The musical backdrop only enhances the imagery conjured up by the lyrical content, and one of the main reasons you feel this imagery in such an inspiring way is Rory’s vocal delivery. He has one of the most expressive voices I’ve ever had the pleasure of listening to. The style of his writing and composition is delivered with a vocal of a man who has definitely lived his songs. Weathered and gravelly for a number of songs, his voice then suddenly becomes sultry and soul filled to bring out different qualities in the material. The brilliant ‘Road Of No Return’ is an instant standout with its infectious groove, lap steel guitar licks and quality use of the Didgeridoo to end. However, once you have listened to this record a number of times you’ll grow to love every track. The one that is really sitting at the top of the tree for me at the minute is the fantastic ‘The Underworld’. Rory has written a number of songs about his brushes with the gangster culture of his native Melbourne, and this is another. In true Rory Ellis style, he draws on the experiences and paints the picture, with minimal acoustic guitar accompaniment to just highlight the atmosphere. It is these brilliant individual pieces of work combined that make this album very special. I thought it would take a lot to top the last album. I’m still not sure which one would win if I had to seriously choose. What it does demonstrate though is that Rory Ellis is producing material of such a high standard that his last two records have fallen into my favourites of all time. This man needs to be heard, he needs to be noticed and he deserves to have a lot a success. Not many artists can consistently release material of this quality. If he doesn’t make a very big name for himself in this industry, it’ll be a huge crime. Please see that it happens, you’ll be very happy you did. Review By Phil Daniels, Folking, UK, July 2005

Drysdale’s favourite son returns with the follow-up album to his previous releases, 2000’s debut Ride and his live in the studio album, Road Of The Braver Man in 2003- a record rich with old school country twang and spirit. Recalling Ellis’ time spent in the underworld of 1980’s Melbourne specific to his time experiencing first hand, the madness of these times. Rory Ellis has a booming voice, which resonates throughout The Rushes and along with his acoustic guitar; the big man stamps his authority over some very soulful storytelling. These are tunes that fuse together engaging tales about Ellis’ time spent or more ‘surviving’ in the hardest and most dangerous of times, and the total package and feel of the album recalls another of Melbourne’s finest blues musicians, Chris Wilson ( who incidentally provides his signature harmonica sound throughout the recording). The Rushes is of the intended meanings enhanced musically by the involvement and former Ellis collaborator, Dave Steel (Weddings Parties Anything), a prolific producer of the past 20 years, having worked with artists ranging from Archie Roach and Ruby Hunter to Tiffany Eckhardt, Steel provides a range of instrumentation to The Rushes in order to frame certain parts of the album-not overpowering the essence or spirit by Ellis, but giving them added texture and space to breathe, with his use of the Dobro, lap steel, mandolin and electric guitars. Road Of No return chugs along like a fast moving blues train with Steel’s interchangeable guitar sounds working their way into Wilson’s frenetic harmonica solos, which then expand into some impressive didgeridoo by fellow Dave Steel cohort Glenn Romanis. Ellis eases into the track Underworld, exploring his eclectic past, his vocal moves from a rumble to a growl and is helped along by Steel’s delicate use of the piano and threatening movements on electric guitar. This is an impressive body of work by Rory Ellis and complements the blues and roots music of 21st century Australia nicely. Review By Nick Argyriou, InPress Magazine, March 2006