Greig Taylor Band – Take a Left
Scottish singer Greig Taylor, who has a number of impressive projects & albums under his belt across the last fifteen years or so (GT Boos Band, Blind Lemon Gators, covers album Songbook 1, to name but three) has truly found his blues-hewn muse (soul, pop, rock and funk also play their influential part) with the Greig Taylor Band, who made an immediate impact with 2023 debut album The Light.
Now, following 2024’s three-track EP Big Dawg Blues, comes Take a Left, which, in terms of musicianship, and the breadth and quality of song composition, is the strongest album the soul-husky Taylor (think Joe Cocker without the gravel or flailing arms) has yet delivered.
Nor does it hurt that he has surrounded himself with a set of seasoned players who have established roots in the UK blues and rock scenes – former John Martyn & Big Dish drummer (and Taylor’s right-hand music man) Dave Cantwell, ex Marianne Faithful and current Countess of Fife guitarist Brian McFie, bassist Nelson McFarlane and keys player Kenneth Clark, the latter joining shortly after the release of the debut album.
It's also interesting to note a couple of earlier career highlights make their mark on Take a Left (as was the case with The Light and the EP), showing that Greig Taylor is happy to nod to what he has achieved in the past, while looking to an even stronger present, and future.
To that effect, the album is bookended by two fully reimagined makeovers that first appeared on Gatorville by the Blind Lemon Gators, 'Ain’t Got You' and 'Gravy Train.'
Here the former (originally a slide & blues harp lament) is a moody and pulsating slow blues that’s as addictive as the subject matter. Messrs Cantwell & McFarlane control the rhythmic pulse of the song, but the true heartbeat is Greig Taylor’s vocal, complemented by a tasty little solo from Brian McFie.
The rail track rattling 'Gravy Train,' this time around, is shaped as a fun, rockabilly number, complete with a cracking ivory tinkling solo from Kenneth Clark (the fact it will go down a treat live is borne out by the fact crowd noise has been utilised in the mix).
Between those two nuggets sit another eight, equally impressive songs, including the woozy blues of 'I’m a Ram,' the 70s affected funk of 'Consequences' and the outstanding classic rock and bluesy roll of 'Fast Women & Slow Horses,' which is a highlight of the album.
Announcing itself as another highlight is the suitably impressive title track, which is built atop a funky take on the Bo Diddley beat. Contemporary in arrangement, 'Take a Left' is further bolstered by a couple of cleverly implemented semi-psychedelic sections.
There are also three well-chosen covers to enjoy.
The grooving take of 'I Don’t Need No Doctor' (featuring a cool as solo from Brian McFie) takes its lead from the John Mayer version, while 'Sally Can’t Dance' (from the Big Dawg Blues EP) doesn’t stray too far from the Lou Reed original (some great bass lines here from Nelson McFarlane).
Pick of the three covers is 'None Of Us Are Free,' which eschews the rhythmic funk-soul arrangement of the Ray Charles version for a slow burn, gospel-blues realisation of the socially conscious number.
Featuring some great six-string play from Brian McFie, the song is not just another highlight of the album, it's also one of the best tracks Greig Taylor has laid down, due in no small part to his highly impassioned vocal.
The highly contemporised, gritty swamp-blues rock of EP track 'Big Dawg Blues' has also found a deserved place on the album.
As mentioned at the top of this review, Greig Taylor has already put together a pretty solid back catalogue, but he is particularly proud of Take a Left.
As he should be, because it stands as his best offering to date.
Ross Muir
FabricationsHQ
Take a Left is out now across all major streaming platforms.
Now, following 2024’s three-track EP Big Dawg Blues, comes Take a Left, which, in terms of musicianship, and the breadth and quality of song composition, is the strongest album the soul-husky Taylor (think Joe Cocker without the gravel or flailing arms) has yet delivered.
Nor does it hurt that he has surrounded himself with a set of seasoned players who have established roots in the UK blues and rock scenes – former John Martyn & Big Dish drummer (and Taylor’s right-hand music man) Dave Cantwell, ex Marianne Faithful and current Countess of Fife guitarist Brian McFie, bassist Nelson McFarlane and keys player Kenneth Clark, the latter joining shortly after the release of the debut album.
It's also interesting to note a couple of earlier career highlights make their mark on Take a Left (as was the case with The Light and the EP), showing that Greig Taylor is happy to nod to what he has achieved in the past, while looking to an even stronger present, and future.
To that effect, the album is bookended by two fully reimagined makeovers that first appeared on Gatorville by the Blind Lemon Gators, 'Ain’t Got You' and 'Gravy Train.'
Here the former (originally a slide & blues harp lament) is a moody and pulsating slow blues that’s as addictive as the subject matter. Messrs Cantwell & McFarlane control the rhythmic pulse of the song, but the true heartbeat is Greig Taylor’s vocal, complemented by a tasty little solo from Brian McFie.
The rail track rattling 'Gravy Train,' this time around, is shaped as a fun, rockabilly number, complete with a cracking ivory tinkling solo from Kenneth Clark (the fact it will go down a treat live is borne out by the fact crowd noise has been utilised in the mix).
Between those two nuggets sit another eight, equally impressive songs, including the woozy blues of 'I’m a Ram,' the 70s affected funk of 'Consequences' and the outstanding classic rock and bluesy roll of 'Fast Women & Slow Horses,' which is a highlight of the album.
Announcing itself as another highlight is the suitably impressive title track, which is built atop a funky take on the Bo Diddley beat. Contemporary in arrangement, 'Take a Left' is further bolstered by a couple of cleverly implemented semi-psychedelic sections.
There are also three well-chosen covers to enjoy.
The grooving take of 'I Don’t Need No Doctor' (featuring a cool as solo from Brian McFie) takes its lead from the John Mayer version, while 'Sally Can’t Dance' (from the Big Dawg Blues EP) doesn’t stray too far from the Lou Reed original (some great bass lines here from Nelson McFarlane).
Pick of the three covers is 'None Of Us Are Free,' which eschews the rhythmic funk-soul arrangement of the Ray Charles version for a slow burn, gospel-blues realisation of the socially conscious number.
Featuring some great six-string play from Brian McFie, the song is not just another highlight of the album, it's also one of the best tracks Greig Taylor has laid down, due in no small part to his highly impassioned vocal.
The highly contemporised, gritty swamp-blues rock of EP track 'Big Dawg Blues' has also found a deserved place on the album.
As mentioned at the top of this review, Greig Taylor has already put together a pretty solid back catalogue, but he is particularly proud of Take a Left.
As he should be, because it stands as his best offering to date.
Ross Muir
FabricationsHQ
Take a Left is out now across all major streaming platforms.