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Hear the lead track "Ain't That Loving You" now: Great playing, good taste and a deep faith stacked high in the blues spills out generously on Ronnie Earl and the Broadcasters intimate new album The Luckiest Man.
The reliable smooth Chicago texture of Southside Stomp a staple feel on any Earl and the Broadcasters album is set against the deep warmth of Jims Song written and performed by Earl for the memory of bandmate and bassist Jim Mouradian. We were in thralled, if that includes drinkin' all day.
You better believe Earl and the Broadcasters are digging deep on this recording. Written by Nashville's Pat Mc Laughlin and featuring veteran session-man Charlie Mc Coy, the song yodels, slides and two-steps through the country music foothills, peaking with the raw emotions of a lifestyle that's increasingly rare. In my opinion Gordon channels the spirit and Chi-town style of early J. (Big Boy) Brown's guttural bleats and squawks that put a big smile on your face.
Produced by Swedish blues guitar player Staffan Astner, Afternoon in Paris promises the right mix of groovy blues and soulful jazz (with a touch of Swedish folk melody) and shows Yana Bibbs musical range, influence and depth. Whilst wrote Blues fans would be wise not to overlook. On my first listen (and my opinion has never changed on repeated listens), this is the Duke Robillard I experienced in 1984 in Bucks County, Pennsylvania, at B. The recording techniques draw from old-school, sparse mike placement and modern recording equipment that will give you an idea how the masters might sound today. Take that and how damn much younger Duke sounds vocally.
The Knee High Fizzle takes a jaunty run through rockabilly references, with Chevy Casanova illuminating more uptown touches, complete with lively saxophone from Vincent Henry.
Always a sucker for a bit of Yakety Sax (or yakety axe), I Got Em Too is a favoured romp.
One Mo Bo, a Bo Diddley homage, doesnt progress beyond its implicit limitations, and The Goldtooth Shuffle isnt much more than a groove, albeit a fine one, extended to three minutes. As Jim would say when he first met someone: Im the luckiest man you know and I dont even know who you know.Most are not songs that have become hits as covers over the years, but ones that deserve re-discovery, like the opening track, Guitar Slim's "Quicksand," which immediately gives you the idea of what promises.Sugar Boy Crawford's "Overboard," sung by drummer Mark Teixeira, makes an old chair dancer's foot tired of tappin'.Blasting out the set in ten days, Breit called upon friends to provide select overdubs, but what we have here is essentially Breit concocting his own experiments in vintage sounds much like Neil Young once did (in a different vein) with the Shocking Pinks. While one digs (and really, no other word is as appropriate) what Breit has done with this recording, after four or five songs it tends to blend into one extended jam of righteous coolness.Cmon, Let Go combines the mood of after-school cartoons (think ) with Velvet Underground Sweet Jane riffs.