Label: Provogue Records / Mascot Label Group
Release date: September 20, 2024
Production: Kenny Wayne Shepherd & Marshall Altman
Length: 32:15 min
Genre: Blues Rock
Rating: 8.5/10
Kenny Wayne Shepherd is yet another one of those white blues-rock fusion phenomena who, with his heartfelt talent, keeps that prehistoric genre called the blues relevant even in the post-millennium era. Precisely because Kenny’s blues is so often packed, with remarkable open-mindedness and ridiculous skill, into a fusion with other genres. Into the “melting pot” of this outstanding American singer-songwriter’s homegrown originality!
Kenny is Joe Bonamassa’s generation. His peer. A month younger. He was way quicker out of the gate than Joe with his debut, which dropped back in the mid-nineties, but Joe’s hyper-productive output caught up with him and overtook him in no time. Mind you, the two are noticeably different musical “beasts”. With Kenny you rarely find direct associations with Led Zeppelin; if anything, he more often cozies up to southern rock, even country. No two ways about it. Texas is Texas. But both of them, in the vision of their fusion, slog away first and foremost to make their compositions grab you! To a degree, and to put it bluntly: pop invasiveness!
The cunning of Kenny’s arranging remains one of the most appealing draws that make you want to sit down and really listen to his records. Maybe the latest one – “Dirt On My Diamonds Volume 2”, which followed its predecessor “Dirt On My Diamonds Volume 1” in under a year – is even a step up in maturity. Kenny is an exceptionally skilled, razor-sharp guitarist. In his tricks you can feel the inspiration of Stevie Ray Vaughan. Very thoughtful in his solo flights. He never wastes notes. He places them with great skill, yet at moments, in the same breath, he shows off incredible speed and precision, which is especially appealing and which, among other things, also points to Kenny modeling himself on Stevie Ray Vaughan.
Everything is subordinate to the composition. To character! From head to toe. So that it grabs the listener and holds on. Guides them and carries them along. This time there are eight tracks. With the ZZ Top cover She Loves My Automobile, which, given the choice and Kenny’s artistic makeover, closes out the album “Dirty On My Diamonds Volume 2” in a thoroughly sensible, pleasing and tantalizing way. The production is once again exceptionally organic and warm. The contrasts between the building blocks of the sonic picture are intensified and speak to you like a live gig recorded in the studio. The sound is hugely rich and full. The guitar playing remains its own chapter in the whole thing, and it’s what you come back to Kenny and his creations for. Again and again. This time is no different. Wit and judiciousness. In excellent mutual contemplation. Constantly. An element that is a constant for Kenny.
This time Kenny has delivered even more mature sophistication compared with the more thunderous, in-your-face predecessor “Dirt On My Diamonds Volume 1”. There’s more ‘groove’ and rhythmic playfulness with a pronounced funk character than on the predecessor. The second-to-last track, Pressure, brings the peak of Kenny’s fusion of funk, hard rock and blues on the new album. You wouldn’t be surprised if Lenny Kravitz raised an eyebrow listening to this one, and maybe Jay Kay from Jamiroquai too. All of it, of course, resolutely pulled off in Kenny’s own manner. Worth stressing that this time the integration of sax and trumpet is one of the main building blocks that put the absolute cherry on top, especially in the ‘groove’ arrangements, of intensifying the dynamic ‘flow’ of the record. When it comes to pulling off these moves, Pressure is definitely a winner.
The album kicks in right away. With I Got Woman, a perfect opener. ‘Groove’ kinetics and horns sneak in already there. The ‘groove’ undertone gets even more intense on the next one, Middle, driven by a funk bounce (backed with extra percussion). Then there’s the ballad-style bluesy My Guitar Cryin’, where, as the title says, the guitar literally wails, masterfully emphasized especially when room opens up for soloing. Every note played – its own emotion. Backed by the warmth of Hammond organs. Long Way Down is the noisiest point on the album, with a thunderously chopped lead phrase. Never Made It To Memphis speaks to you in a very similar way to the opening I Got Woman, which is why Kenny picked it as the first track of the vinyl’s B-side! An extremely catchy track that grabs your attention instantly and pins you down for the rest of the album. And the album stays captivating all the way to its finish with a brilliant ZZ Top adaptation. No two ways about it, the master remains the master.
Kenny Wayne Shepherd reigns with his latest release too, right at the top of the greatest masters of rock-and-blues genre fusion. All the trademarks are here, though the second part of the “uncut diamonds” tells a different story than the first part . So! Don’t expect a revolution. The expressive stake is clearly planted within the landmarks of the cross-genre scene. But it’s Kenny’s unique recipe. And that’s exactly what his audience wants. Expressive loyalty in artistry, which Kenny understands phenomenally well and sticks to in full on this gorgeous new original achievement!
Author: Aleš Podbrežnik
Track list:
1. I Got A Woman
2. The Middle
3. My Guitar Is Crying
4. Long Way Down
5. Never Made It To Memphis
6. Watch You Go
7. Pressure
8. She Loves My Automobile (ZZ Top cover)
Line-up:
Kenny Wayne Shepherd – vocals, guitar
Noah Hunt – vocals
Jim McGorman – keyboards
Joe Krown – keyboards
Zac Rae – keyboards
Joe Sublett – saxophone
Mark Pender – trumpet
Kevin McCormick – bass guitar
Chris ‘Whipper’ Layton – drums
