Kenny Wayne Shepherd – Dirt on My Diamonds Volume 1
Five-time Grammy-nominated guitarist Kenny Wayne Shepherd has underlined exactly why he is a multi-nominated musician on latest studio album Dirt On My Diamonds Volume 1.
Blending blues with a contemporary and modern edge, Shepherd (vocals, guitar) and his band – long-time music partner Noah Hunt (vocals, rhythm guitar, percussion), Chris Layton (drums), Kevin McCormick (bass) and Joe Krown (keys), have delivered an absolute winner.
Dirt On My Diamonds Vol. 1 fuses the essence of blues with modern, top-notch sonics (initial sessions were at the legendary FAME Studios in Muscle Shoals, Alabama) accompanied by socio-political lyricism and stories of love, loss and redemption – yet it’s a purposeful and positive album, as Shepherd himself said on pre-release promotion: "I didn’t want this record to be dark or dreary, there’s not a lot of incredibly heart-wrenching or difficult subject matter… my goal is always to make music that makes people feel good, regardless of what it’s about."
The opening title track is a down-tempo blues riff-fest, complete with a horn section.
The vocally impressive KWS (singing better than ever) delivers a strong chorus section which builds towards the first solo, complete with Hendrix-esque Univibe.
More rock than blues, the number is driven on by the equally impressive rhythm section of Layton & McCormick.
Following number 'Sweet & Low' has a clever jazz big band opening section before exploding into another delicious blues lick. There’s nothing particularly innovative in the song style but the delivery is top notch (Joe Krown contributes some great keys parts on Hammond and piano), as is the sound (for the third new material album in a row KWS is partnered by producer Marshall Altman, who has done a sonically excellent job).
Top class stuff.
Blending blues with a contemporary and modern edge, Shepherd (vocals, guitar) and his band – long-time music partner Noah Hunt (vocals, rhythm guitar, percussion), Chris Layton (drums), Kevin McCormick (bass) and Joe Krown (keys), have delivered an absolute winner.
Dirt On My Diamonds Vol. 1 fuses the essence of blues with modern, top-notch sonics (initial sessions were at the legendary FAME Studios in Muscle Shoals, Alabama) accompanied by socio-political lyricism and stories of love, loss and redemption – yet it’s a purposeful and positive album, as Shepherd himself said on pre-release promotion: "I didn’t want this record to be dark or dreary, there’s not a lot of incredibly heart-wrenching or difficult subject matter… my goal is always to make music that makes people feel good, regardless of what it’s about."
The opening title track is a down-tempo blues riff-fest, complete with a horn section.
The vocally impressive KWS (singing better than ever) delivers a strong chorus section which builds towards the first solo, complete with Hendrix-esque Univibe.
More rock than blues, the number is driven on by the equally impressive rhythm section of Layton & McCormick.
Following number 'Sweet & Low' has a clever jazz big band opening section before exploding into another delicious blues lick. There’s nothing particularly innovative in the song style but the delivery is top notch (Joe Krown contributes some great keys parts on Hammond and piano), as is the sound (for the third new material album in a row KWS is partnered by producer Marshall Altman, who has done a sonically excellent job).
Top class stuff.
'Best Of Times,' with Noah Hunt on verse vocals, mixes it up with some synth bass and a funky verse including more wah wah and a brass section. The chorus is another winner and the guitar solo doesn’t disappoint.
It’s worth mentioning at this point that the solo sections, and the songs themselves, do not overstay their welcome – self-restraint and emphasis on the songs is paramount here, making the concise album (8 songs, 35 minutes) even stronger.
'You Can’t Love Me' drops the intensity level and introduces a bit of Americana.
KWS contributes guitar parts reminiscent of Eric Johnson while his vocal sounds slightly like John Mayer (indeed the song could be from a Mayer album). This is no bad thing and certainly increases the commercial appeal.
'Man On a Mission,' with Noah Hunt on lead vocals, is a funky, soul number with yet another catchy chorus and a great middle 8. The focus is, again, on the song (every band member plays to their strengths and doesn’t over-play) with KWS’s short but sweet solos the icing on the cake.
A rocking version of Elton John’s 'Saturday Night’s Alright For Fighting,' again vocally fronted by Noah Hunt, fits in remarkably well (you can imagine this going down a storm live).
The band deliver the classic with both intensity and a respectful nod to the original; KWS plays out the number with another impressive solo and everyone in the band sounds like they are having a ball.
'Bad Intentions' lives up to the name with a sleazy, slow riff and KWS delivering another impassioned vocal.
He then ramps it up further with a blistering mid-song solo and a wicked run of licks as the song heads to its conclusion.
'Ease My Mind,' with a pulsating and moody rhythm part that’s part 'Black Velvet' part 'Voyager' (Ronnie Montrose/ Gamma) is by far the longest number on the album, clocking in at nearly seven minutes.
On the early lyric mention of "make my old guitar sing" KWS proceeds to do just that, taking the opportunity to shine with both hands (literally).
The initial solo is relatively reserved with the guitar on a clean sound. However, as we move towards the run out KWS introduces more overdrive and really goes for it – to great effect.
An appropriate closer to a wonderfully impressive album (bring on Vol. 2).
Dirt on his Diamonds perhaps, but these eight gems shine brighter than most – a highly accomplished and varied album of superior blues rock that gets the nod here at FabricatiosnHQ for Album of the Year in that genre.
Nelson McFarlane
FabricationsHQ
It’s worth mentioning at this point that the solo sections, and the songs themselves, do not overstay their welcome – self-restraint and emphasis on the songs is paramount here, making the concise album (8 songs, 35 minutes) even stronger.
'You Can’t Love Me' drops the intensity level and introduces a bit of Americana.
KWS contributes guitar parts reminiscent of Eric Johnson while his vocal sounds slightly like John Mayer (indeed the song could be from a Mayer album). This is no bad thing and certainly increases the commercial appeal.
'Man On a Mission,' with Noah Hunt on lead vocals, is a funky, soul number with yet another catchy chorus and a great middle 8. The focus is, again, on the song (every band member plays to their strengths and doesn’t over-play) with KWS’s short but sweet solos the icing on the cake.
A rocking version of Elton John’s 'Saturday Night’s Alright For Fighting,' again vocally fronted by Noah Hunt, fits in remarkably well (you can imagine this going down a storm live).
The band deliver the classic with both intensity and a respectful nod to the original; KWS plays out the number with another impressive solo and everyone in the band sounds like they are having a ball.
'Bad Intentions' lives up to the name with a sleazy, slow riff and KWS delivering another impassioned vocal.
He then ramps it up further with a blistering mid-song solo and a wicked run of licks as the song heads to its conclusion.
'Ease My Mind,' with a pulsating and moody rhythm part that’s part 'Black Velvet' part 'Voyager' (Ronnie Montrose/ Gamma) is by far the longest number on the album, clocking in at nearly seven minutes.
On the early lyric mention of "make my old guitar sing" KWS proceeds to do just that, taking the opportunity to shine with both hands (literally).
The initial solo is relatively reserved with the guitar on a clean sound. However, as we move towards the run out KWS introduces more overdrive and really goes for it – to great effect.
An appropriate closer to a wonderfully impressive album (bring on Vol. 2).
Dirt on his Diamonds perhaps, but these eight gems shine brighter than most – a highly accomplished and varied album of superior blues rock that gets the nod here at FabricatiosnHQ for Album of the Year in that genre.
Nelson McFarlane
FabricationsHQ