Gwyn Ashton – Grease Bucket
It's been thirteen years since Welsh born, Australian blues rock musician Gwyn Ashton delivered his last, full-length electric power-trio offering, the acclaimed Radiogram.
But musical consideration has to be given to the fact that an electric power-trio is but one facet of Gwyn Ashton’s brand of contemporised, rootsy blues and rawer rock – solo, acoustic, and power-duo have all made their Ashton-ised mark in the past, and no doubt will in the future.
Grease Bucket, however, returns to the electric trio format, with Ashton in the company of a top-notch Aussie rhythm section formed from the talents of bassist Chris Lambden (Screaming Believers) and drummer Paul Wheeler (Icehouse).
The results are an album that woozily grooves and soulfully sleazes its greasy bucketful of blues across ten tracks that carry a 60s and early 70s vibe, and sound (you can almost smell the vintage equipment utilised).
The album opens with the 60s surf beat and fuzzed guitar tones (courtesy of a modified 1960s Japanese five-string slide guitar, no less) of 'Something That The Cat Dragged In.'
A mid-tempo stomper that grooves as much as it moves, the song also features a nifty little solo from Gwyn Ashton.
The funky and grooving 'Howlin’ At The Moon,' which comes complete with a thick and appropriately greasy solo and effective organ stabs, retains the mid-tempo pace, as does 'Evil Child,' which cleverly shifts from slow groove to Texas shuffle-swing (a wicked little solo from Gwyn Ashton and organ work from keys player Jesse Deane-Freeman are the added sprinkles).
The rhythmic and soul-sultry 'Green Light Blues,' with Adelaide singer Andrea Dawson adding some harmony lines alongside Gwyn Ashton’s vocal, features Ashton's best tone-growling solo of the album.
Following number 'When The Well Runs Dry,' with Dawson again in full harmony cry, is a heavy fuzz blues with Ashton on rap duty for the verses. As such it presents itself as the most interesting number of the album.
'Little Bit Of Crazy' sits a little too four-square in the mid-tempo groove, but Gwyn Ashton’s solo, along with his intro & outro licks, add some nice, six-string sparkle.
The psychedelic and woozy 'Somebody,' with a neat and repeating drum pattern, is a rhythmically grooving winner, as is pandemic boogie 'n' slide number 'Self-Isolation Blues,' with Messrs Ashton, Lambden & Wheeler in full swing (the fact it also carries a hint of Rory Gallagher is no bad thing).
There’s a subtle touch of Hendrix (also never a bad thing) at the start of 'Down & Dirty,' a slow and soul-sleazy number that sports a solo that’s as down and dirty as the suggestive lyric.
'Blues For The Tortured Soul,' built over a hypnotic rhythm from Lambden & Wheeler, is blues and groove in equal measure. Given the overall feel and sound of the album, it makes for the perfect closing track.
Gwyn Ashton’s fully independent, lo-fi approach has, with Grease Bucket, produced a groove-blues winner, and one of his best albums to date.
Additionally, given how incredibly prolific his songwriting has been recently (check out earlier standalone singles 'Lonely on The Run' (featuring Neil Murray and Mark Stanway), 'Get Outta Town' (featuring lead guitar from Richard Fortus) and 'Mississippi Moonshine Mama,' released earlier this year), there’s a bucketful more to come.
Ross Muir
FabricationsHQ
Gwyn Ashton merch & back catalogue: https://gwynashton.bandcamp.com/merch
But musical consideration has to be given to the fact that an electric power-trio is but one facet of Gwyn Ashton’s brand of contemporised, rootsy blues and rawer rock – solo, acoustic, and power-duo have all made their Ashton-ised mark in the past, and no doubt will in the future.
Grease Bucket, however, returns to the electric trio format, with Ashton in the company of a top-notch Aussie rhythm section formed from the talents of bassist Chris Lambden (Screaming Believers) and drummer Paul Wheeler (Icehouse).
The results are an album that woozily grooves and soulfully sleazes its greasy bucketful of blues across ten tracks that carry a 60s and early 70s vibe, and sound (you can almost smell the vintage equipment utilised).
The album opens with the 60s surf beat and fuzzed guitar tones (courtesy of a modified 1960s Japanese five-string slide guitar, no less) of 'Something That The Cat Dragged In.'
A mid-tempo stomper that grooves as much as it moves, the song also features a nifty little solo from Gwyn Ashton.
The funky and grooving 'Howlin’ At The Moon,' which comes complete with a thick and appropriately greasy solo and effective organ stabs, retains the mid-tempo pace, as does 'Evil Child,' which cleverly shifts from slow groove to Texas shuffle-swing (a wicked little solo from Gwyn Ashton and organ work from keys player Jesse Deane-Freeman are the added sprinkles).
The rhythmic and soul-sultry 'Green Light Blues,' with Adelaide singer Andrea Dawson adding some harmony lines alongside Gwyn Ashton’s vocal, features Ashton's best tone-growling solo of the album.
Following number 'When The Well Runs Dry,' with Dawson again in full harmony cry, is a heavy fuzz blues with Ashton on rap duty for the verses. As such it presents itself as the most interesting number of the album.
'Little Bit Of Crazy' sits a little too four-square in the mid-tempo groove, but Gwyn Ashton’s solo, along with his intro & outro licks, add some nice, six-string sparkle.
The psychedelic and woozy 'Somebody,' with a neat and repeating drum pattern, is a rhythmically grooving winner, as is pandemic boogie 'n' slide number 'Self-Isolation Blues,' with Messrs Ashton, Lambden & Wheeler in full swing (the fact it also carries a hint of Rory Gallagher is no bad thing).
There’s a subtle touch of Hendrix (also never a bad thing) at the start of 'Down & Dirty,' a slow and soul-sleazy number that sports a solo that’s as down and dirty as the suggestive lyric.
'Blues For The Tortured Soul,' built over a hypnotic rhythm from Lambden & Wheeler, is blues and groove in equal measure. Given the overall feel and sound of the album, it makes for the perfect closing track.
Gwyn Ashton’s fully independent, lo-fi approach has, with Grease Bucket, produced a groove-blues winner, and one of his best albums to date.
Additionally, given how incredibly prolific his songwriting has been recently (check out earlier standalone singles 'Lonely on The Run' (featuring Neil Murray and Mark Stanway), 'Get Outta Town' (featuring lead guitar from Richard Fortus) and 'Mississippi Moonshine Mama,' released earlier this year), there’s a bucketful more to come.
Ross Muir
FabricationsHQ
Gwyn Ashton merch & back catalogue: https://gwynashton.bandcamp.com/merch