DANNY BRYANT
British blues guitarist/vocalist Danny Bryant returns with a new studio album, 'Blood Money', his third consecutive release to be produced by Richard Hammerton, and what we have here is a record full of vintage analogue charms, delivered in the context of some competently performed, if largely unadventurous, classic blues. It's no surprise to read that Bryant's long wanted to make such an album, ever since he began his "musical journey 20 years ago as a 15 year old boy who fell in love with his parents' record collection." There are prominent nostalgic flavours in both his songwriting and the delivery of such; so much so that his retro intent shines through in each and every bar of music.
The album provides plenty of foot-tapping/head-nodding moments, although that's inextricably bound to Bryant's unadventurous approach, adhering as he does to tried-and-tested compositional paradigms drawn from the blues genre's traditional crux. Sure, there's some varied pacing between songs, and a little rhythmic disparity, but it's largely easy listening blues. As such, there's little challenging about his music. That would be missing the point, though. It's all about his penchant for blues of yore, and that materialises not only through his fretboard proclivities for retro riffage and soloing, but the succulent, warm tones of both his rhythm and lead sounds. Further still, the instrumentations have been loaded with sonic layers that convey a nostalgic yearning for the past, with some vintage keys added here and there. Not only that, but Walter Trout and Bernie Marsden show up for guest spots on a couple of tracks, which completes the retro circle that is pivotal to Bryant's musical journey on 'Blood Money'.
Overall, while 'Blood Money' is a solid album, and a very likeable one at that, with a great guitar/vocal performance from Bryant, it lacks any kind of edge within the pastiched stylings of its self-imposed, narrow parameters. I know that will excite many out there; those whose idea of the blues should be one of generic stagnance. My own listening tastes, however, are a little more demanding, and it would've been nice if Bryant's songs had taken a few more innovative chances to ground his music more in the twenty first century. Those who want innovation with their blues, and want to feel invigorated by a small number of contemporary players who are forward thinking enough to redirect and reinvent the genre's age-old traits, then look no further than Wilson T. King, who I would go as far to say is the single most important musician to emerge in recent years; he's as important for the blues now as Hendrix was decades ago. A controversial statement? Not at all, the man's a true musical iconoclast and has reinjected the blues with all kinds of ingenious and imaginative idioms. Bryant, however, is all about playing it safe. And, fair enough, there's currently a market for that, and blues fans who want to play it safe themselves with their ear fodder, then Bryant's 'Blood Money' will fulfil that need.
The album provides plenty of foot-tapping/head-nodding moments, although that's inextricably bound to Bryant's unadventurous approach, adhering as he does to tried-and-tested compositional paradigms drawn from the blues genre's traditional crux. Sure, there's some varied pacing between songs, and a little rhythmic disparity, but it's largely easy listening blues. As such, there's little challenging about his music. That would be missing the point, though. It's all about his penchant for blues of yore, and that materialises not only through his fretboard proclivities for retro riffage and soloing, but the succulent, warm tones of both his rhythm and lead sounds. Further still, the instrumentations have been loaded with sonic layers that convey a nostalgic yearning for the past, with some vintage keys added here and there. Not only that, but Walter Trout and Bernie Marsden show up for guest spots on a couple of tracks, which completes the retro circle that is pivotal to Bryant's musical journey on 'Blood Money'.
Overall, while 'Blood Money' is a solid album, and a very likeable one at that, with a great guitar/vocal performance from Bryant, it lacks any kind of edge within the pastiched stylings of its self-imposed, narrow parameters. I know that will excite many out there; those whose idea of the blues should be one of generic stagnance. My own listening tastes, however, are a little more demanding, and it would've been nice if Bryant's songs had taken a few more innovative chances to ground his music more in the twenty first century. Those who want innovation with their blues, and want to feel invigorated by a small number of contemporary players who are forward thinking enough to redirect and reinvent the genre's age-old traits, then look no further than Wilson T. King, who I would go as far to say is the single most important musician to emerge in recent years; he's as important for the blues now as Hendrix was decades ago. A controversial statement? Not at all, the man's a true musical iconoclast and has reinjected the blues with all kinds of ingenious and imaginative idioms. Bryant, however, is all about playing it safe. And, fair enough, there's currently a market for that, and blues fans who want to play it safe themselves with their ear fodder, then Bryant's 'Blood Money' will fulfil that need.
LABEL:
FORMAT:
Jazzhaus Records
Album
BLOOD MONEY
Review by Mark Holmes
RUNNING TIME:
48:29
RELEASE DATE:
29th January 2016
TRACK LISTING
1) Blood Money
2) Master Plan
3) Slow Suicide
4) Unchained
5) On the Rocks
6) Sugar Sweet
7) Fool's Game
8) Holding All the Cards
9) Just Won't Burn
10) Sara Jayne
2) Master Plan
3) Slow Suicide
4) Unchained
5) On the Rocks
6) Sugar Sweet
7) Fool's Game
8) Holding All the Cards
9) Just Won't Burn
10) Sara Jayne
COUNTRY OF ORIGIN:
UK
"The album provides plenty of foot-tapping/head-nodding moments, although that's inextricably bound to Bryant's unadventurous approach, adhering as he does to tried-and-tested compositional paradigms drawn from the blues genre's traditional crux."
