Review: Debbie Bond and The TruDats – That Thing Called Love
Posted on: Thursday, Feb 27, 2014
Debbie Bond and The TruDats – That Thing Called Love
(Blues Root Productions: BRP1301)
This is the third album from Debbie and her band and unexpectedly it is a live album; I say unexpectedly because the original plan was to go to the Nashville radio station WRFN and record a live session for their Mando’s Blues Show. But, the band were re-directed to Rob McClain’s OmegLab Studio deep in the mountainous hills somewhat West of Nashville, in fact the studio is no more than a large tented open area (think M*A*S*H); but, upon hearing the finished session it was soon realised by all that the musical furrow they were indeed ploughing captured such a wonderfully intimate, emotive and elusive atmosphere, that the recording was destined to become a live album.
Of the fizzing nine numbers on the album there are only two covers, “Feed My Soul”, by Wendell Holmes; on which, Debbie’s seductive vocals dance beautifully along with the bubbling, bobbling and almost ephemeral electric piano from Rick Asherson, while a low alluring saxophone courtesy of Tom Pallardy, breezes in and out under a slow steady backbeat. The other “You’re My Kind Of Trouble”, is a storming and rollicking foot-tapper, Debbie’s distinctive swinging guitar work drives the whole proceedings along while upbeat drums and lively driving and rolling electric piano underpin Debbie’s emotive and compelling vocals that are very much in the Emmylou Harris ‘sensitive and wounded soul’ vein.
In a more jocular mood is “Steady Rolling Man”, this is a shoulder shufflin’ rollicking New Orleans / ragtime stroller that is led by a particularly jaunty piano and a breezy, reedy saxophone, over the top of an almost salvation army drumming experience from Dave Crenshaw, Debbie’s fruity and juicy vocals soar beautifully above it all. One number, “Tarragona Blues”, is an exuberant feel good thank-you to her many fans in Spain, its infectious and sultry swaying Bossa Nova rhythms’ are simply captivating; the last number on the album is an extended version which features even more of the simply scintillating hip swinging drum work from Ray Robinson and highly expressive foot-tappin’ percussion work from Jonathan Blakney that really brings the number to pulse racing life.
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