Toby Lee - Icons Vol.1
Let’s get one thing blues-straight before reviewing yet another collection of standards/ mix of an artist’s favourite songs – in six-string terms teenager Toby Lee is an extreme talent.
Checking just a selection of young Mr Lee's résumé brings an immediate understanding of how impressive and respected he already is – a 'Get Well Soon' jam for BB King posted on Social Media that caused a "new talent" viral explosion like few others; numerous TV and radio appearances; a starring role in stage musical School of Rock; playing BB King's Blues Club when only ten years old; joining Joe Bonamassa on stage at the Royal Albert Hall; a sponsorship with Gibson Guitars.
In short, none too shabby.
Toby Lee’s first release, Ten, was a covers and originals EP featuring singer Victoria Klewin and Laurence Jones (who also produced the EP for the then ten year old Lee – hence it's title).
Last year’s debut album Aquarius, with half the songs written or co-written by Toby Lee (and a couple of notable covers), spanned rockabilly, rock, old-time blues and blues rocking AOR in impressive fashion (check out the melodic slow-groove sway of 'The Search For Happiness' as a marker of musical maturity beyond years).
And so to Icons Vol.1, an album of Toby Lee’s favourite/ most influential guitarists.
Lee is far from the first to record such an album but it’s a smart move for a gifted young artist who has the chops (and then some) but is still developing in songwriting skills and vocality (Toby Lee can already write a song and hold a tune – that he will further develop both in the coming years however is not in doubt).
It also makes for a fairly quick in and out the studio exercise that’s both fun and a provider of quality cover material for the live sets.
On the studio subject, Wayne Proctor and co-producer Oli Brown (who adds his own guitar to five tracks and backing vocals on another) have, in tandem with Proctor’s excellent mix, given the album a full-toned sound and discernible live vibe.
Icons Vol.1 also wins out by having an interesting selection that doesn’t concentrate on the obvious (a few staples are included), but each choice is a merited inclusion.
Doyle Bramhall II’s 'Green Light Girl' opens the 11 track album in as feisty and punchy a fashion as the original, but then Toby Lee and studio band Alex Phillips (bass), Jon Trier (keys) and Wayne Proctor (drums & percussion) have intentionally kept pretty faithful to the originals (well, if it ain’t broke).
Lee however does the talking on the solos and guitar tone treatments (his psychedelic-tinged sound and flurry of notes on the Gary Clark Jr classic 'Bright Lights' is worth the admission fee on its own).
Then there’s the brave song choice decisions mixed with the more obvious.
Taking on any Hendrix number is almost always a case of the former but on 'The Wind Cries Mary' (a faithful homage right down to song length) Toby Lee proves he’s up to the six-string task with some delicate and subtle playing.
The more obvious choices are covered by a tasteful rendition of Gary Moore's 'Midnight Blues' and, for contrast, Stevie Ray Vaughan's piano rattlin’, guitar rock ‘n’ rolling 'The House is Rockin’,' which it most certainly is.
Joe Bonamassa’s 'The Ballad Of John Henry' is another strong offering, but by its very nature is also the best example of how Toby Lee is still developing as a singer.
Other highlights include Jonny Lang’s brooding and soul-sassy rock blues 'Still Rainin’' (featuring Lynne Jackaman on backing vocals and some classy, cryin’ licks from Toby Lee), an extended workout of Freddie King’s oft-covered instrumental 'Hideaway' and the fittingly titled 'The Bluest Blues,' where Toby Lee’s more considered vocal lends itself well to the pathos of the Alvin Lee classic (it also features some of Lee’s deftest playing and a truly striking solo; kudos also to the band for holding it all down and creating the supporting atmosphere).
Joe Bonamassa, who, like Toby Lee, was a guitar prodigy tipped for greatness (fair to say he succeeded) has called Lee "a future superstar of the blues." It’s a comment that is highly likely to become prophetic.
Indeed with a fair blues wind it’s not impossible that in the years to come Toby Lee will be mentioned alongside some of the Icons he pays homage to here.
Ross Muir
FabricationsHQ
Checking just a selection of young Mr Lee's résumé brings an immediate understanding of how impressive and respected he already is – a 'Get Well Soon' jam for BB King posted on Social Media that caused a "new talent" viral explosion like few others; numerous TV and radio appearances; a starring role in stage musical School of Rock; playing BB King's Blues Club when only ten years old; joining Joe Bonamassa on stage at the Royal Albert Hall; a sponsorship with Gibson Guitars.
In short, none too shabby.
Toby Lee’s first release, Ten, was a covers and originals EP featuring singer Victoria Klewin and Laurence Jones (who also produced the EP for the then ten year old Lee – hence it's title).
Last year’s debut album Aquarius, with half the songs written or co-written by Toby Lee (and a couple of notable covers), spanned rockabilly, rock, old-time blues and blues rocking AOR in impressive fashion (check out the melodic slow-groove sway of 'The Search For Happiness' as a marker of musical maturity beyond years).
And so to Icons Vol.1, an album of Toby Lee’s favourite/ most influential guitarists.
Lee is far from the first to record such an album but it’s a smart move for a gifted young artist who has the chops (and then some) but is still developing in songwriting skills and vocality (Toby Lee can already write a song and hold a tune – that he will further develop both in the coming years however is not in doubt).
It also makes for a fairly quick in and out the studio exercise that’s both fun and a provider of quality cover material for the live sets.
On the studio subject, Wayne Proctor and co-producer Oli Brown (who adds his own guitar to five tracks and backing vocals on another) have, in tandem with Proctor’s excellent mix, given the album a full-toned sound and discernible live vibe.
Icons Vol.1 also wins out by having an interesting selection that doesn’t concentrate on the obvious (a few staples are included), but each choice is a merited inclusion.
Doyle Bramhall II’s 'Green Light Girl' opens the 11 track album in as feisty and punchy a fashion as the original, but then Toby Lee and studio band Alex Phillips (bass), Jon Trier (keys) and Wayne Proctor (drums & percussion) have intentionally kept pretty faithful to the originals (well, if it ain’t broke).
Lee however does the talking on the solos and guitar tone treatments (his psychedelic-tinged sound and flurry of notes on the Gary Clark Jr classic 'Bright Lights' is worth the admission fee on its own).
Then there’s the brave song choice decisions mixed with the more obvious.
Taking on any Hendrix number is almost always a case of the former but on 'The Wind Cries Mary' (a faithful homage right down to song length) Toby Lee proves he’s up to the six-string task with some delicate and subtle playing.
The more obvious choices are covered by a tasteful rendition of Gary Moore's 'Midnight Blues' and, for contrast, Stevie Ray Vaughan's piano rattlin’, guitar rock ‘n’ rolling 'The House is Rockin’,' which it most certainly is.
Joe Bonamassa’s 'The Ballad Of John Henry' is another strong offering, but by its very nature is also the best example of how Toby Lee is still developing as a singer.
Other highlights include Jonny Lang’s brooding and soul-sassy rock blues 'Still Rainin’' (featuring Lynne Jackaman on backing vocals and some classy, cryin’ licks from Toby Lee), an extended workout of Freddie King’s oft-covered instrumental 'Hideaway' and the fittingly titled 'The Bluest Blues,' where Toby Lee’s more considered vocal lends itself well to the pathos of the Alvin Lee classic (it also features some of Lee’s deftest playing and a truly striking solo; kudos also to the band for holding it all down and creating the supporting atmosphere).
Joe Bonamassa, who, like Toby Lee, was a guitar prodigy tipped for greatness (fair to say he succeeded) has called Lee "a future superstar of the blues." It’s a comment that is highly likely to become prophetic.
Indeed with a fair blues wind it’s not impossible that in the years to come Toby Lee will be mentioned alongside some of the Icons he pays homage to here.
Ross Muir
FabricationsHQ
Purchase Icons Vol.1, on CD or digital, direct from https://tobylee-icons-volone.myshopify.com/