Why do so many blues guitarists mistakenly believe they can sing? Whether down to ego, self delusion or a dearth of suitable vocalists, those pesky bits with the microphone are often poorly developed in comparison to their well honed six string prowess. On his latest studio effort, Danny Bryant exhibits the kind of impressive touch and feel that's seen him lauded as one of the best British blues players of his generation. However, whilst his song writing is solid enough with the occasional moment of excellence, the material is let down by his decidedly ropey vocals, demonstrating why so many talented players should leave the singing to someone who can match the quality of their fretwork.
No one expects blues vocalists to sound like Pavarotti, or even replicate the super soulful tones of Robert Cray or fire and brimstone holler of Howlin' Wolf. Gritty and unrefined usually fits the bill nicely. Joanne Shaw Taylor, Simon McBride and Bryant's mentor – Walter Trout - have all shown you don't need a heavenly voice to deliver the passionate pain of downtrodden blues. More importantly, they can carry a tune. That's not to say Danny Bryant can't – but on tracks like 'Greenwood 31' he veers between whiny Bob Dylan warbling and gravel growling eruptions in much the same way a teenager's voice does during puberty. It's off putting, detracts from the music and is a constant problem throughout the album.
That's not to say there aren't some good moments, and 'Hurricane' is bookended by two cracking cuts. Bruised and battered opener 'Prisoner of the Blues' is a feisty way to start proceedings with some wonderful lead work searing and scorching all over the rhythm section's intense throbbing pulse. Moreover, final track 'Painkiller' is a slow burning treat in the moody and menacing John Hiatt mould, beginning with a dark acoustic guitar / piano intro and some eerie sound effects as Bryant recalls his guilt at being a woman's 'other man'. It's really atmospheric in it's dimly lit seediness, building to a knockout guitar finale that truly blazes. Elsewhere, the George Thorogood bar room blues of 'Devil's Got A Hold On Me' is a chest beating ballsy rocker that finds Danny's voice in it's most natural habitat, utilising a raw delivery that doesn't stretch his limited range too far. It ain't breaking new ground, but sometimes musicians need to know their limits and this is the kind of gas guzzling, no nonsense fare Bryant excels at.
It's a shame there aren't more hard hitting moments like that on the album, as three of the nine songs are stereotypical 'Still Got The Blues' ballads whose emotional impact is significantly castrated by Bryant's insufficient pipes. Aside from the fact that Gary Moore's done this kind of thing about a zillion times better, 'Can't Hold On', 'I'm Broken' and 'Losing You' feel like the same track presented in a slightly different way. The law of diminishing returns suggests one would have been sufficient. On the plus side, they do contain some very enjoyable soloing. Ironically, Bryant truly makes the guitar sing with a sumptuously sweet tone, dispatching instinctive, well judged passages that highlight why his playing is so well regarded.
It's an ongoing challenge for contemporary blues artists to transcend what's essentially quite a narrow genre, and Bryant's attempts produce mixed results. The title track has a 'Tunnel Of Love' Springsteen feel with it's glacial pop sheen, but the song isn't particularly strong and with the guitar taking a back seat the anorexic frailty of his voice – as it was on the stripped down ballads – is too exposed. 'All Or Nothing' is better, as synths play off against Danny's guitar to produce a rousing road anthem with a stirring chorus and lovely slide solo that's paced to perfection, with beautifully crisp melodic licks that serve the song perfectly.
Overall, it feels like Danny Bryant's poured every ounce of his creativity into producing an album full of songs that merely retread well worn ground. With Bonamassa's thrilling marriage of the old and new bringing blues back to the mainstream, Gary Clark Jr shooting off in a number of exciting directions and an army of hungry young pups exploding onto the scene, there's a lot of competition out there. As hard as Bryant's tried, this album will merely cement his reputation as a respected name on the overcrowded blues circuit. If he holds any aspirations of making the big leagues he needs to join forces with someone who can not only sing, but also help him create stronger material, because the more you listen to 'Hurricane,' the less compelling it becomes. Once you get past the impressive guitar work the material reveals itself as well performed, but ultimately unremarkable. To keep pace with the blossoming blues scene in 2013 any new album has to create a more memorable musical storm than this effort.
'Hurricane' is out now via Jazzhaus Records.
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No one expects blues vocalists to sound like Pavarotti, or even replicate the super soulful tones of Robert Cray or fire and brimstone holler of Howlin' Wolf. Gritty and unrefined usually fits the bill nicely. Joanne Shaw Taylor, Simon McBride and Bryant's mentor – Walter Trout - have all shown you don't need a heavenly voice to deliver the passionate pain of downtrodden blues. More importantly, they can carry a tune. That's not to say Danny Bryant can't – but on tracks like 'Greenwood 31' he veers between whiny Bob Dylan warbling and gravel growling eruptions in much the same way a teenager's voice does during puberty. It's off putting, detracts from the music and is a constant problem throughout the album.
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