Blues Blast Magazine Album Review: Adam Karch – Moving Forward

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This CD review was originally published in the March 2, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Adam Karch – Moving Forward

Disques Bros Records

www.adamkarchmusic.com

www.bros.ca

12 tracks / 44:37

Adam Karch produces knockout roots music and acoustic blues from his hometown of Montreal, and his latest album, Moving Forward, is his best work yet. Karch got an early start on his music career, first taking a leading role in bands as a teen and then releasing his first album when he was still in his early 20s. Through endless touring he moved further from his rock beginnings and developed his own acoustic fingerstyle sound; the handful of albums he has released over his career reflects this growth. Evidence of this is his 2014 release, Blueprints, which is an amazingly effective reworking of classic songs into an acoustic blues context.

Moving Forward represents a further movement along the same arc, and most of its twelve tracks are originals that were written last winter, when Adam was in a time of transition. The resulting music has a personal sound and thoughtful lyrics, and there are also a handful of cover tunes are just too cool. Karch provided the vocals and guitars for this album (as well as acting as co-producer), and he was joined in the studio by a few of his friends from Quebec: Marc André Drouin on bass and Bernard Deslauriers behind the drum kit.

Adam has a strong synergy with Marc and Bernard, and the listener will discover this as the trio comes together for the opener, “Seaside Venues.” This is slick acoustic rocker that allows to Karch to shine both with his fancy picking and his voice, which is strong and equal parts smooth and gritty. There are only a few of songs on the disc that include this trio, but in each case the backline of Drouin and Deslauriers really delivers the goods. This includes the blues rock of “Lil’ Black Dress,” the pop / soft rock of “The Contract,” and the laid back feel of two California country songs, “On a Cold Grey Sky and “Those Steady Lights.” By the way, Kim Richardson provides sweet vocal harmonies on that last one, which is a welcome addition to an already strong song.

The majority of the tracks on Moving Forward are solo acoustic numbers, and on some of these Karch’s friends sit in to help make the mood. Dimitri Lebel-Alexandre lends his pedal steel to the country blues of “Louis Collins,” and his tastefully restrained playing is quite a complement to Adam’s tricky picking. Also, Guy Bélanger brings his harp to a cover of Keb’ Mo’s “City Boy,” which wisely retains a similar pace and feel as the original, but with considerably less instrumentation. The listener will agree that this arrangement is a beautiful and simple accompaniment to the heartfelt lyrics. Towards the end of the song, Bélanger first makes himself heard with a lovely solo, and his wailing harp helps Adam bring this one home. This is definitely one of the standout tracks on the album.

There are a few other covers on Moving forward, including a re-do of one of Adam’s own songs, “Did You Get the Latest News,” which was originally released on his 2002 debut album, Crossroad Diaries. Then there are a few others that will definitely grab your attention when you look at the track list. Karch takes a successful run at Bob Seger’s 1981 hit, “Night Moves,” with a healthy serving of fancy fingerpicking and a steady beat. Then there is an acoustic country version of Warren Zevon’s “Werewolves of London” that features a fun break before the chorus is reprised one last time. In both of these popular tunes, Adam does a very respectable job with the vocals, which is no small feat as these songs were both originally recorded by vocalists with very distinctive styles.

Is there anything missing here? Well, if you were thinking you would like to hear a solo acoustic instrumental then you are in luck as “Somewhere in El Paso” is a clean showcase of Karch’s guitar work, and this song is a fine tutorial for young players who need to learn a thing or two about the use of dynamics and repeated forms.

After listening to the whole disc, there is no doubt that Adam Karch can cut a mean record, but he is also a solid live performer. On his website you will find gig dates for the first half of 2017, and if you are going to be in Quebec you will be happy as there are plenty of shows coming up. On his site you can also listen to samples of each of the dozen tracks on Moving Forward, and you will dig them if you are into roots music and acoustic country and blues. Listen for yourself and see what you think!

Blues Blast Magazine Album Review: Cécile Doo-Kingué – Anybody Listening Part 2: Dialogues

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This CD review was originally published in the July 7, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Cécile Doo-Kingué – Anybody Listening Part 2: Dialogues

Self Release

www.cdkmusik.com

12 tracks / 53:20

Cécile Doo-Kingué has got a lot going in her favor: she has a unique voice and killer guitar chops, a tremendous sense of musical history and social conscience, and mad songwriting skills. Making her own way in the world, she moved from the Big Apple to the City of Lights before choosing to ply her trade in Montreal, Canada. Her latest album, Anybody Listening Part 2: Dialogues, is the most compelling disc to make its way across my desk this year, and it has to be heard to be believed.

This record is a continuation of last year’s Anybody Listening Part 1: Monologues, which was a solo acoustic project. As you will hear, Dialogues was cut with a full band, and there are plans for a part 3, Communion, which will be a live album. Part 2 includes a dozen tracks, all of which were written by Cecilé, with the exception of one Hendrix cover. Five of these songs appeared on Monologues and have been rearranged, which provides a cool bit of continuity. Ms. Doo-Kingué handled the vocals (as well as a great deal of the guitar, bass, and percussion), and she was joined by a baker’s dozen of musicians in the studio.

The album gets a strong start with some raunchy slide guitar and distorted vocals on “Riot and Revolution,” a song of social unease. The backline of Fredy V. on bass and Anthony Pageot sets up a driving beat, and the backing vocals from Malika Tirolean and Fredy on the chorus are infectious. CDK’s guitar work is very tight, and her inclusion of Reveille in the middle of her solo break indicates that maybe it is time for mankind to wake up and start doing something.

After the opener, Doo-Kingué takes another shot at four of the tracks from Part 1, and they all take on a different character when being converted from an acoustic format to an electrified band sound. It is neat that these songs have subjects that cover a wide range of situations that we encounter in one way or another in our lives. “Sweet Talkin’ Devil” is a thumping southern rocker that describes carnal longing and temptation. This is a cool contrast from the social disconnection that is run down in the jazzy “Anybody Listening,” which features bass from Cedric Dind-Lavoie and guitar from Daniel Joseph, as well as backing vocals from Nadia Bashalani and Wayne Tennant. Then there is the dichotomy of the humorous lyrics and funky blues-rock of “Little Bit” and the heavy message of “Six Letters” which examines the dysfunction that led to the deaths of Trayvon Martin and Eric Garner.

These songs are very good, but the new material for Dialogues is also rock solid. The standout track of these is “Sunshine Lady” which has a lot going on in the guitar department. Doo-Kingué has a fine acoustic touch, and adds tasteful electric riffs as needed as well as a sweet solo towards the end to counter Tirolean’s backing vocal calisthenics. Cécile’s voice also shows a lot of character here, moving from a smooth tenor to falsetto with ease.

Cécile saved the lone cover for last, and it is a neat re-do of Jimi Hendrix’s 1967 classic, “Manic Depression.” Her arrangement is uptempo and includes some elements of the original, most notably the jazz style drumming and the doubled guitar and bass lines. But the vocal style and melody are cool departures from the original, turning a heavy rocker into a funkfest.

Anybody Listening Part 2: Dialogues is a bold project, and Cécile Doo-Kingué pulled it off well. Though it has varied musical styles and subject matter, this album works well as a whole and every track is intriguing. It will be interesting to see how the material from this disc and Part 1 will be interpreted on the stage for Part 3. In the meantime, Cécile has a very busy summer, with shows and festivals scheduled all over Canada – so see her website for details!