Start With The Soul

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Album Information

Total Tracks: 13   Total Length: 46:38

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John Morthland

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John Morthland has been writing about music since the days of electronically rechanneled stereo and duophonic sound. His name has darkened the mastheads of Roll...more »

01.11.10
From raunchy deep blues to pure classics, Alvin Youngblood Hart is master of them all
2006 | Label: Ryko/Rhino

This third album by the renegade modern bluesman, and the first produced by Jim Dickinson, is arguably still Hart's best. If there was ever any question, he makes clear with "Fightin Hard," the defiant, guitar-shredding opener, that he is nobody's purist. But with the raunchy, deep-blues closer "Will I Ever Get Back Home," he leaves no doubt that he could be, if he wanted.

In between, he and his power trio — expanded to four or five players and a couple backup singers for some tracks, shrunk to Hart alone for the solo blues "A Prophet's Mission — brings an arena-rock aggression to a blues-rock sound, with a bit of the garage thrown in for good measure. He transforms the bubblegum soul of Cornelius Brothers and Rose's "Treat Her Like a Lady" into rocking r&b with Detroit guitar and Memphis horns, disguises the rage of "Once Again" with sly talking/singing, shows his mettle as an experimental/improvisational guitarist with "Porch Monkeys' Theme" and the surfish "Electric Eel," rechannels Chuck Berry on "Back to Memphis" and salutes country corn with "Cowboy Boots."

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They Say All Music Guide

Guitarist Alvin Youngblood Hart dedicates his third release Start With the Soul to, among others, the late Thin Lizzy leader Phil Lynott. This isn’t just lip service, as you can immediately hear when the opening roar of “Fightin’ Hard” comes blaring through. Hart doesn’t go out of his way to appeal only to blues followers. He has the natural ability to fuse twangy country, Hendrix, funk, and reggae into his Delta blues style without regard to genres. Start With the Soul is unlike other releases from artists who at the beginning of their career display an acoustic Delta approach only to end up incorporating a very commercial soul sound for the sake of reaching a wider audience or receiving minuscule radio airplay. The choice of cover versions is revealing; Chuck Berry’s “Back to Memphis,” Cornelius Brothers and Sister Rose’s 1971 hit “Treat Her Like a Lady,” and the Sonics’ mid-’60s garage rocker “The Hustler” lose none of the vigor of the originals. Credit should be given to the legendary Memphis producer Jim Dickinson for capturing the gritty sound critical to this kind of undertaking.
It will be interesting to see where Hart goes with future releases. – Al Campbell

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