Jim Kirkpatrick – Ballad of a Prodigal Son
Unless you are a fan of the UK’s veteran melodic rockers FM, there’s every chance you are unfamiliar with guitarist Jim Kirkpatrick (an integral part of FM’s sound these last twelve years and seven studio albums).
If you are familiar with Jim Kirkpatrick however, you will be aware he’s not just an in-demand session player but a guitarist with a musical CV that includes membership in the Chris Bevington Organisation and time spent with Bernie Marsden’s band (and you’re not getting those gigs unless you have solid blues rock credentials and know your way around a six-string).
On solo album Ballad of a Prodigal Son Jim Kirkpatrick displays both those talents in fine style, as well as his more than capable vocals.
The guitarist has also called on an impressive list of talent to assist including Chris Bevington Organisation member Scott Ralph, bassists Chris Cliff & Neil Murray, FM band-mates Steve Overland & Jem Davis and original FM keyboardist Didge Digital.
There are also song co-writes with Scott Ralph, Bernie Marsden and singer songwriter Thea Gilmore, whom Kirkpatrick has previously performed and recorded with.
The album opening title track is a well-executed slice of blues rock reminiscent of early Whitesnake; Jim Kirkpatrick’s vocals are front and centre on this song and he sounds like he is really enjoying himself.
The number drops to a half time beat to introduce a guitar solo which is right on the on money for the genre.
Following track 'No Such Thing' builds from its short acoustic and harmonica intro to emerge as a dirty big, uptempo blues shuffle; the perfect soundtrack for a drive down the motorway.
'Ain’t Going Down Alone' lowers the tempo but not the high standard.
Another song reminiscent of early era Whitesnake, the slow burn number culminates in a great, melodically framed blues guitar solo.
Upbeat instrumental 'Blue Heron Boulevard' features slide guitar and unison guitar parts that recall the Allman Brothers at their best before the musical muscle of 'Be Hard With It' takes riff-driven, centre stage.
The latter, which is Bonamassa-esque in style, is another demonstration of great vocals, guitar playing and songwriting from Jim Kirkpatrick.
'Be Hard With It' also features a theremin, an atmospheric and oscillating addition to any modern blues/ rock number in the right (and left) hands.
'Skin & Bone' is bluesier and less riff-driven than 'Be Hard With It' but it’s another high-quality number ploughed from the same Bonamassa furrow as the preceding track.
'Always On the Road,' with its rock and roll swinging horns, draws highly favourable comparison with Sticky Fingers era Stones (which is no bad reference point).
The involvement of Bernie Marsden in the writing process also speaks loudly to the success of the number.
The blues influences are to the fore on '61 and 49' (which first featured on the Chris Bevington & Friends album Better Start Cookin') and following number, 'Talk to Me.'
The former, which draws on Deep South blues for inspiration, includes some exceptional backing vocals by Sarah Miller of the Chris Bevington Organisation.
The latter is a traditional 12 bar slow blues, but one that’s a good fit within the context of the album.
The John "Rhino" Edwards/Rick Parfitt penned Status Quo number 'Gravy Train,' which features Edwards on bass, sounds, unsurprisingly, very much like the boogie-driven original.
It’s also a great fit for the album, as well as being one of Jim Kirkpatrick’s favourite songs to play live.
'Brave New World' drops the Quo Train tempo but stands tall as the best number on the album.
Merging Robin Trower and Pink Floyd into a seven and a half minute, atmospheric blues setting, 'Brave New World' is another with a memorable chorus – and a face-melting solo.
The gospel-tinged, slow build ballad 'All You Need is All You Have' closes out the album but not before another outstanding solo has made its mark to remind of just how good a player Jim Kirkpatrick is.
It’s also, again, a very well executed number.
There is nothing particularly innovative on Ballad of a Prodigal Son but the album features exemplary performances by all concerned. It also sounds as if everyone has enjoyed being involved in this project (there’s a discernible musical joy in the playing and performances).
Fourteen years on from his similarly blues affected but lighter in rock weight debut album Changed Priorities, the prodigal son has returned with a blues rock belter.
Nelson McFarlane & Ross Muir
FabricationsHQ
If you are familiar with Jim Kirkpatrick however, you will be aware he’s not just an in-demand session player but a guitarist with a musical CV that includes membership in the Chris Bevington Organisation and time spent with Bernie Marsden’s band (and you’re not getting those gigs unless you have solid blues rock credentials and know your way around a six-string).
On solo album Ballad of a Prodigal Son Jim Kirkpatrick displays both those talents in fine style, as well as his more than capable vocals.
The guitarist has also called on an impressive list of talent to assist including Chris Bevington Organisation member Scott Ralph, bassists Chris Cliff & Neil Murray, FM band-mates Steve Overland & Jem Davis and original FM keyboardist Didge Digital.
There are also song co-writes with Scott Ralph, Bernie Marsden and singer songwriter Thea Gilmore, whom Kirkpatrick has previously performed and recorded with.
The album opening title track is a well-executed slice of blues rock reminiscent of early Whitesnake; Jim Kirkpatrick’s vocals are front and centre on this song and he sounds like he is really enjoying himself.
The number drops to a half time beat to introduce a guitar solo which is right on the on money for the genre.
Following track 'No Such Thing' builds from its short acoustic and harmonica intro to emerge as a dirty big, uptempo blues shuffle; the perfect soundtrack for a drive down the motorway.
'Ain’t Going Down Alone' lowers the tempo but not the high standard.
Another song reminiscent of early era Whitesnake, the slow burn number culminates in a great, melodically framed blues guitar solo.
Upbeat instrumental 'Blue Heron Boulevard' features slide guitar and unison guitar parts that recall the Allman Brothers at their best before the musical muscle of 'Be Hard With It' takes riff-driven, centre stage.
The latter, which is Bonamassa-esque in style, is another demonstration of great vocals, guitar playing and songwriting from Jim Kirkpatrick.
'Be Hard With It' also features a theremin, an atmospheric and oscillating addition to any modern blues/ rock number in the right (and left) hands.
'Skin & Bone' is bluesier and less riff-driven than 'Be Hard With It' but it’s another high-quality number ploughed from the same Bonamassa furrow as the preceding track.
'Always On the Road,' with its rock and roll swinging horns, draws highly favourable comparison with Sticky Fingers era Stones (which is no bad reference point).
The involvement of Bernie Marsden in the writing process also speaks loudly to the success of the number.
The blues influences are to the fore on '61 and 49' (which first featured on the Chris Bevington & Friends album Better Start Cookin') and following number, 'Talk to Me.'
The former, which draws on Deep South blues for inspiration, includes some exceptional backing vocals by Sarah Miller of the Chris Bevington Organisation.
The latter is a traditional 12 bar slow blues, but one that’s a good fit within the context of the album.
The John "Rhino" Edwards/Rick Parfitt penned Status Quo number 'Gravy Train,' which features Edwards on bass, sounds, unsurprisingly, very much like the boogie-driven original.
It’s also a great fit for the album, as well as being one of Jim Kirkpatrick’s favourite songs to play live.
'Brave New World' drops the Quo Train tempo but stands tall as the best number on the album.
Merging Robin Trower and Pink Floyd into a seven and a half minute, atmospheric blues setting, 'Brave New World' is another with a memorable chorus – and a face-melting solo.
The gospel-tinged, slow build ballad 'All You Need is All You Have' closes out the album but not before another outstanding solo has made its mark to remind of just how good a player Jim Kirkpatrick is.
It’s also, again, a very well executed number.
There is nothing particularly innovative on Ballad of a Prodigal Son but the album features exemplary performances by all concerned. It also sounds as if everyone has enjoyed being involved in this project (there’s a discernible musical joy in the playing and performances).
Fourteen years on from his similarly blues affected but lighter in rock weight debut album Changed Priorities, the prodigal son has returned with a blues rock belter.
Nelson McFarlane & Ross Muir
FabricationsHQ