“Las Vegas isn't known as city that is associated with cutting edge music. It's a place for over the hill acts making a killing catering to audiences who are taking a break between gambling sessions. But as per usual in any major city there is a small but vibrant underground scene where good things happen. Psychedelic rock quartet Trevor and The Joneses boasts not one, but two multi-instrumentalists and a swinging rhythm section. Their second album Take You to Stay is colourful trip to memory lane, signposted by acts like Love, Nazz, Jefferson Airplane and The Velvet Underground. They love to experiment - Breaking Bones is a clash of the East and West Coast guitar - and bring in a sitar played by Barnaby Gallagher...(continued)”

“...frying brain cells, hair follicles, and the odd pacemaker along the way. Boy howdy, what a way to wrap up a debut album. A definite scorcher and a very promising debut.”

“It’s a nice intermezzo, somewhat reminiscent of Chocolate Watch Band’s Stonesy swagger or Sky Saxon’s seminal Seeds output, particularly “A Faded Picture.” And the surprises keep on coming at us with the power poppy acoustic stunner ”Grooving At The Speed of Light” that bears a welcome resemblance to Sir Newcombe and BJM’s finest hours and ends in a blaze of six-string glory. Elsewhere, I also dug the greasy, sleazy snarl of “It’s Exhausting” (it was) and the party hearty blast of wholesome pop goodness emerging from “It’s Getting Early.” The band also pull out all the stops and flaunt their jamming, improv chops at the end of the album, with a couple of tracks clocking in at nearly 20 minutes: the bluesy headnodder “Show Yourself” is a tasty (and tasteful) Neil and Crazy Horse-styled guitar duel between Jones, Brien Thompson, and Joe Lawless that kicks asses and takes names, and then epic closer “Superslow” ups the guitar army attack on all your se”

“Sometimes spending too much time in the sun can be a good thing. Even Bruce Springsteen claimed “that’s where the fun is”, and Trevor Jones and his namesakes have been baking in the Las Vegas desert for about a year and now they’ve unleashed their debut album and you can be sure that “lightning” they speak of is probably white and of the liquid variety! The quintet rip through ten tracks with the reckless abandon of an untamed stallion in heat. Screaming guitar solos, spoken/shouted vocals, and a wicked sense of humor drip from every tune, with influences ranging from fellow desert-dwellers Green On Red to Camper Van Beethoven and the devil-may-care-but-I-don’t rowdiness of Anton Newcombe (Brian Jonestown Massacre), Paul Westerberg (the ‘Mats), and Iggy & The Stooges. Then just when we’re ready to put a serious hurt on our mojo, something starts happening and we don’t know what it is: Mr. Jones & his Joneses get all sentimental on us with the tender ballad “A Fam”

“Trevor and the Joneses = The Brian Jonestown Massacre + The Zombies + The Troggs + Blank Realm Trevor and the Joneses bring back 1960s garage rock combined with the product of over 40 years of evolution in psychedelic rock n’ roll. Trevor Jones delivers the right amount of pop and snot with his vocals in “Dig This,” which invokes nostalgia for the late Reg Presley’s (The Troggs) “Wild Thing.” Other numbers, like “Sneak” and “It’s Getting Early,” sound fast and edgy. My only complaint is the songs like “Show Yourself” and “Super Slow” are indeed super slow and seem to drag forever, making them better background sounds than full-focused jams. The slower songs might bore listeners not in states of expanded consciousness. Otherwise, this album invokes memories of the glory days of rock n’ roll—very engaging, with the right amount of grit. If you haven’t picked this up, you are missing out.”

“A group of boyish faces took the stage, but their performance proved them to be seasoned musicians, not amateurs. They’re a self-described garage band, but that label doesn’t do the savvy quintet justice. Trevor and the Joneses are an up-and-coming psychedelic rock group with a knack for grunge-laden guitar chords and explosive punk beats. Trevor’s modest demeanor juxtaposed his bold and pronounced vocals. “I wanna sneak ya around, in and out of sleazy bars downtown ... crawl inside your brain and turn it inside, inside out,” are some lyrics to “Sneak,” a song that got the crowd going. Other treasures included “Grooving at the Speed of Light,” a repetitive chant, and their last song, “Superslow,” a longer climactic piece. Although their set was short, lasting about 35 minutes, their performance didn’t seem rushed. Trevor writes the songs, but each member of the five-man band contributes to their elemental sound.”

“Las Vegas rock-and-rollers Trevor and the Joneses are spreading their name across the United States and beyond with their 'ton of fun' single 'Grooving at the Speed of Light' from the album There Was Lightning. Forming only one year ago as a small garage-rock band, Trevor and the Joneses began their career performing at intimate venues, such as pubs, clubs and cafes in Vegas up to three times a weekend. Inspired by a plethora of award-winning rock bands such as the Brian Jonestown Massacre, The Replacements, Oasis, The Violent Femmes, Neil Young, Talking Heads, Tom Petty and The Heartbreakers, Nada Surf and Vicky Cryer, Trevor and the Joneses worked to incorporate a large variation of rock styles to form their own unique sound. Trevor and the Joneses - Grooving at the Speed of Light Lead singer Trevor Jones says that from a young age, the band members had been surrounded by music. The artists that they had listened to growing up then inspired the formation of the band. ”

“The songs played were off their debut album, There Was Lightning. Although the Vegas natives formed the band just more than a year ago, the group already has the potential to be the next wave to hit the shores of obscure and respected indie rockers. Catch them again March 10, when they open for the Warlocks at Backstage Bar & Billiards on 601 Fremont Street. ★★★★☆”

“'Most of us grew up on classic rock and started playing music in some form as kids in different parts of the country, [whether it was] Nevada, Idaho, Michigan, Indiana, California, or Alabama. [Personally], Dad had been recording cassette tapes of tons of FM rock radio from the 70's and onwards. I got to hear a lot of stuff that they weren't, and still aren't playing on the radio anymore,' he says. Following in the footsteps of their idols, Trevor and the Joneses embarked on a touring spree within their hometown and surrounding areas to get their name into the public spectrum. The band successfully played over fifty shows within the year, before the release of their first studio album. Playing live seems to be the most enjoyable way for the band to get their music across to the people, but Jones notes that it is difficult to pinpoint what is helping to spread the music the most. ”

“Praise Jesus 12-String Christ for the fury and temerity of nasty, grimy, paisley-printed rock ’n’ roll. The kind of garage rock that Trevor and The Joneses play unabashedly, unpoetically, almost rudely if it weren’t so goddamn inspiring, the kind of rock ’n’ roll that makes you feel jacked up, not offended on the sonic level, when you hear 24 guitar strings played simultaneously. And what’s more, it has a tambourine. A goddamn tambourine. Played by a kid who looks like a character in a ’90s film about the Lower East Side of Manhattan, who joined the band to play nothing but tambourine and in turn plays the living shit out of it. I could write this entire page about him alone. But that would miss the point: Trevor and The Joneses has released an album. And it’s awesome.”

“'We've passed out hundreds of CDs all over the place...and we keep the various inter-web sites pretty up to date with shows, news and such [for our fans]', he says. As of late, one of the band's most catchy tracks seems to be 'Grooving at the Speed of Light'. This catchy classic rock track derives feelings of nostalgia for the classic upbeat rock of the eighties to the early noughties - reminiscent to the feel-good tune in The Violent Femme's 'Blister in the Sun', and drawing upon unique tambourine work parallel to songs such as 'Who?' by Brian Jonestown Massacre. Jones says the upbeat nature of the track correlated to the mood that the band we're in on a particular given day. 'I wrote all those songs at the beach while I was living in California ... I wanted to go for a more positive message.' 'It was stream of conscious, although I'm pretty sure I was "thinking happy thoughts"', he says. ”

“There Was Lightning, the first full-length by Trevor and The Joneses — Trevor Jones, guitar/vox; Chris Montijo, drums; Dale Gilbert, bass; Joe Lawless, guitar; Kendall Franklin Jr., tambourine — comes almost a year after the band formed. Since then, Jones estimates the act has played about 50 shows, sometimes performing three times in a weekend, indiscriminately tackling everything with a stage and a microphone. “We’ve said no to nothing,” Jones says. “I love playing music. If I could do it every night I would, but playing in the same city makes it weird. There are all kinds of nooks and crannies all over the place. [Some people] only go to their bar. Some people think it’s weird, but we want to reach everyone we can.””

“The 'happy thoughts' within the track seem to have transferred to the fans of the album There Was Lightning. To large demand, Trevor and the Joneses are planning to tour across the 'left side of the slab of land' from their hometown to play to eager US fans this coming autumn. It may be a little while before Trevor and the Joneses hit Australian shores, however the band's long term outlook is plenty more music like Grooving At The Speed of Light. Within the coming years, the band aspires to be 'in the recording studio, several albums deep'. Trevor and The Joneses are playing in Las Vegas for the month of August.”

“And they filled one of those crannies on a recent Saturday night, for free, to few more than friends, in the lo-fi cavern of Motor City Cafe. The titular member and nearly sole writer of all things Joneses, looking less like an exuberant ringleader and more like a GameStop employee, played from the darkest, only unlit corner of the stage, barely more than a fuzzy silhouette, hardly more a part of the overall stage presence than the glare of an overhead lamp. But by the second, maybe third, song, it’s hard to give a flying fuck about how Jones looks onstage. Everything coming off of his fingers sounds like Andre the Giant and a triceratops beating the hell out of each other, thundering and vicious and Ritalin-focused wee-dlyee-dlyee-wee-dees, precision-cut chaos from a harbinger of squeal.”

“The live show, decidedly garage rock aurally, doesn’t match the more involved, introspective psychedelic sound Jones went for on There Was Lightning. “The album still represents our sound,” Jones says. “But I wrote all those songs at the beach while I was living in California … the next [album] will be more of a group effort in writing the songs.” Jones swings for fences in different eras and genres, rattling off bands and mostly getting it right: Oasis, Brian Jonestown Massacre, Nada Surf, Tom Petty and the Heartbreakers, Louis XIV. “I’ve been a straight-up rock fan my whole life,” Jones says. “It so happens the songs I write lend themselves to that. I have music that’s less fun, so we don’t do those songs live. This stuff is happier. I wanted to go for a more positive message.””

“Lightning is a testament to its own genre, a commentary as much as a proclamation. The album-opening “Dig This!” clack-cracks its way into a finger-scorching guitar intro, followed quickly by a shaming of pop music (“How did it come to this?/If that’s what passes for music then dig this!”), followed again by more shredding. “’Superslow’ is probably the most fun to listen to and play, because it’s 10 minutes long, and because it’s crazy, and I’ve always wanted to make a song like that,” he says, talking about his favorite songs on the record. “Track 3 [“A Familiar Way”] might be the best one. It’s more … revealing about me, talking about personal things. The second verse talks about wanting to leave with nowhere to go, leave and come back with nothing to show. But in the last two minutes, the guy’s found his way.””

“As the Jan. 26 Motor City show wears on, the first and only non-musical rock ’n’ roll thing of the night happens: A girl walks up to the stage and hangs a pair of panties on Lawless’ microphone. It doesn’t look like it belongs in front of the nearly stoic, seldom bantering musicians ripping the shit out of their instruments. But that doesn’t matter. What matters is what the band’s here for, tonight, at this eastside hole in the wall: to present an audience with a powerful piece of art. During a lull at the beginning, Jones says the only thing that matters at this moment. “We’re Trevor and The Joneses. And we just made a record.” Goddamn right you did.”

“Most bands working in the psychedelic tradition sound alike, as if cribbing the same records. However, this Vegas group sonically acknowledges owning a Flaming Lips disc. In opener “Dig This,” frontman Trevor Jones boasts about being odd rocker out: If that’s what passes for music/Well, then dig this. Recorded at Brian Garth’s now-defunct Chrome Werewolf studio, Lightning strikes hard, fast, delivering 10 loose, melodic tracks. “Grooving at the Speed of Light” will reaffirm your love of music. ★★★★☆”

“When Trevor and the Joneses set out to record their first full-length, they didn’t know they’d be the last band to set foot inside Chrome Werewolf. In less than two years, that Downtown studio—owned and operated by sound engineer and local musician Brian Garth—tracked more than 50 bands, including The Big Friendly Corporation, Close to Modern and his own Black Camaro, before closing its doors late last year. Garth, a political science major at UNLV, says the studio began to consume his time, and that he’s now refocusing on school and his health. It kind of blew up on me,” he says, “Like, holy sh*t, this is bigger than it really should be. I’m really honored and humbled by that, but … I had to put it aside for the time being. “I’ll always be a musician, I’ll always be the guy from Black Camaro,” he continues. “But I also want to be the guy that can get you off of your drug charges or the guy that can help you out with your immigration status.” ”

“Trevor and the Joneses ended the studio’s run on a high note with first LP There Was Lightning. The record is loaded with psychedelic grit and visceral guitars, exploding from its opener, “Dig This!,” to its final track, “Superslow.” If you’re new to the local scene or if you haven’t heard what Chrome Werewolf helped put out, There Was Lightning is a fine place to start. Give it a spin at trevorjones.bandcamp.com or on iTunes or Spotify.”

“Trevor and the Joneses, is scheduled to release a new album in about two months, its all done but the final gloss over and distribution. Have to say, this was a very dynamic band, playing their original renditions during their set, with people loving them. Their playing style was probably best described by Voodoo Stick of Rockin' With the Warriors as "Acid Rock for right NOW. Not from the sixties or 70's, but for right now, this time...this era.". Quite a compliment, and well deserved. ”

“Your drummer has to cancel last minute, you can’t hear anything through the monitor and you smashed a finger two nights before your show. What’s a musician to do? Drink whiskey, of course. That actually wasn’t a cure-all for Trevor—of new local band Trevor and the Joneses—at his band’s Neon Venus show this past Saturday. But liquor did help the lead singer ease into his flippant, psychedelic-punk persona. And Vegas could use some more of that. The set started out slow—the small Downtown art theater’s 50-seat venue stayed shy of 15 heads most of the night—but after a short intermission to numb the wound, Jones returned with newfound moxie. His Lou Reed-meets-Pete Shelley impression in full-force, original song “Sneak,” Black Rebel Motorcycle Club’s “666 Conducer” and The Mighty Lemon Drops’ “Inside Out” showed off some definite potential.”

"Trevor and the Joneses rock with a psychedelic swagger."