Robby Krieger And The Soul Savages
All-instrumental quartet Robby Krieger And The Soul Savages are described as "psych rock soul" but truth be told there’s a lot more going on than that on their self-titled debut, including funk, jazz and fusion.
Led by famed guitarist of The Doors, Robby Krieger, this highly talented band of musos also feature Kevin Brandon (Aretha Franklin, Michael Jackson, Beyoncé) on bass, Ed Roth (Brothers Johnson, Joe Walsh, Annie Lennox) on keys, and Franklin Vanderbilt (Lenny Kravitz, Chaka Khan, Stevie Wonder) on drums.
The band, then, clearly has an impressive CV (and the chops), but how does the album stand up?
Pretty darn well, is the answer.
Opener 'Shark Skin Suit,' a funky/soul number with roots in jam bands, carries a curious retro feel, although the production is very much up-to-date (you can imagine this being played in a hipster bar).
Ed Roth contributes effective Hammond & synth lines on the track, which has a quirky, fun vibe throughout.
'Samosas And Kingfishers' opens with a cod-Indian feel before transforming into an early Santana-type number (without the multiple percussion parts) with a touch of stoner rock.
The track meanders along pleasantly with Robby Krieger contributing the main melody and a woozy-sounding solo.
'A Day in L.A.' opens with Kevin Brandon contributing an impressive, funky bass-line and Roth & Krieger trading lines before the melody is introduced on piano.
This track has a coherent structure and as such sounds like less of a jam than the preceding numbers.
'Kilzoni' veers into acid-jazz territory but is highly effective in its implementation (it's also another that ventures into hipster territory in places); 'Contrary Motion' then ups the funk quotient whilst also managing to evoke memories of early jazz-fusion albums.
Slow funk number 'Never Say Never' drops the tempo and features Ed Roth shining on the Hammond.
Robby Krieger takes the melodic lead while an impressive Rhodes solo proves, if further proof were needed, that Roth has some serious jazz funk chops.
Krieger then contributes a solo straight from the 70s before a return to the main theme. A true highlight.
'Bouncy Betty,' with a bebop type riff interspersed with some solo sections, is pleasant enough but doesn’t stray too far from the bebop path; more thought has gone into 'Ricochet Rabbit,' which sits in smooth, jazz funk (almost Shakatak) territory with highly effective piano contributions from Ed Roth (the star of the debut show).
Another album highlight comes calling in the shifting shape of 'Blue Brandino,' which contains a strong unison riff by Roth/Krieger, some nice tempo changes by Franklin Vanderbilt, and effective solo passages.
Hammond led closing number 'Math Problem' is equally impressive, with clever off-beat phrasing, an insistent bass part from Kevin Brandon, tasty solos from Robby Krieger plus some time changes and staccato parts.
The latter brace make for a strong conclusion to what is an impressive album, but while the approach of having well-thought out structures & compositions alongside studio jam styled excursions certainly helps show-off the band's chops, such contrast doesn’t necessarily hone in on a specific, target audience (although it will inevitably be picked up by curious Doors fans).
However, there is some seriously good playing here along with some genuinely innovative ideas, leading to the anticipation of a second album where Robby Krieger And The Soul Savages may well find their true voice.
Nelson McFarlane
FabricationsHQ
Led by famed guitarist of The Doors, Robby Krieger, this highly talented band of musos also feature Kevin Brandon (Aretha Franklin, Michael Jackson, Beyoncé) on bass, Ed Roth (Brothers Johnson, Joe Walsh, Annie Lennox) on keys, and Franklin Vanderbilt (Lenny Kravitz, Chaka Khan, Stevie Wonder) on drums.
The band, then, clearly has an impressive CV (and the chops), but how does the album stand up?
Pretty darn well, is the answer.
Opener 'Shark Skin Suit,' a funky/soul number with roots in jam bands, carries a curious retro feel, although the production is very much up-to-date (you can imagine this being played in a hipster bar).
Ed Roth contributes effective Hammond & synth lines on the track, which has a quirky, fun vibe throughout.
'Samosas And Kingfishers' opens with a cod-Indian feel before transforming into an early Santana-type number (without the multiple percussion parts) with a touch of stoner rock.
The track meanders along pleasantly with Robby Krieger contributing the main melody and a woozy-sounding solo.
'A Day in L.A.' opens with Kevin Brandon contributing an impressive, funky bass-line and Roth & Krieger trading lines before the melody is introduced on piano.
This track has a coherent structure and as such sounds like less of a jam than the preceding numbers.
'Kilzoni' veers into acid-jazz territory but is highly effective in its implementation (it's also another that ventures into hipster territory in places); 'Contrary Motion' then ups the funk quotient whilst also managing to evoke memories of early jazz-fusion albums.
Slow funk number 'Never Say Never' drops the tempo and features Ed Roth shining on the Hammond.
Robby Krieger takes the melodic lead while an impressive Rhodes solo proves, if further proof were needed, that Roth has some serious jazz funk chops.
Krieger then contributes a solo straight from the 70s before a return to the main theme. A true highlight.
'Bouncy Betty,' with a bebop type riff interspersed with some solo sections, is pleasant enough but doesn’t stray too far from the bebop path; more thought has gone into 'Ricochet Rabbit,' which sits in smooth, jazz funk (almost Shakatak) territory with highly effective piano contributions from Ed Roth (the star of the debut show).
Another album highlight comes calling in the shifting shape of 'Blue Brandino,' which contains a strong unison riff by Roth/Krieger, some nice tempo changes by Franklin Vanderbilt, and effective solo passages.
Hammond led closing number 'Math Problem' is equally impressive, with clever off-beat phrasing, an insistent bass part from Kevin Brandon, tasty solos from Robby Krieger plus some time changes and staccato parts.
The latter brace make for a strong conclusion to what is an impressive album, but while the approach of having well-thought out structures & compositions alongside studio jam styled excursions certainly helps show-off the band's chops, such contrast doesn’t necessarily hone in on a specific, target audience (although it will inevitably be picked up by curious Doors fans).
However, there is some seriously good playing here along with some genuinely innovative ideas, leading to the anticipation of a second album where Robby Krieger And The Soul Savages may well find their true voice.
Nelson McFarlane
FabricationsHQ