Grand Records [Release date: 04.11.2022]
Before we get on to the album review, there’s something we need to clear up. Calling the current incarnation of Dr Feelgood a tribute act is just too harsh. Whist some have pointed to the absence of any original members since irreplaceable frontman Lee Brilleaux died in 1994, it is a fact that three of today’s line up joined the band in 1983, two of whom were recruited from Brilleaux’s Southend back yard.
They have surely earned their spurs by now (even if there have been some comings and goings along the way). The band has toured relentlessly, keeping the rhythm n’ blues flame burning brightly and delivering live shows in the spirit of the band’s electrifying, pioneering days back in the 70’s.
Nevertheless that tribute accusation can’t have been helped by a few too many releases of covers, collections, reworks and live material. The most recent album of predominantly newly recorded original material was Brilleaux’s last album, ‘The Feelgood Factor’ in 1993.
Until now, that is. Guitarist Gordon Russell’s return to the fold seems to have prompted a return to the studio. He and vocalist Robert Kane (an incumbent of a mere 23 years) have penned 11 new tracks and smashed them out in a few days at SS2 in Southend, produced by their one-time bassist, Dave Bronze.
There’s a lot to like. It’s immediate. A Feelgood hallmark, right there. On first spin, the album bristles with Russell’s sharp and wiry, sometimes low and dirty guitar riffs, driven everywhere by Kevin Morris’s insistent, snapping snare. Phil Mitchell is right on the money in the rhythm department and Kane, with just a hint of reverb, nails the vocals.
But give the album a few more plays and there’s plenty more going on here. From the opener ‘Don’t Pull Your Punches’ with its rockabilly-like rhythms to the closing good-time instrumental of ‘Last Call’, reminiscent of something like ‘Oyeh’ from their debut all those years ago.
‘Mary Ann’ was the album’s lead track And that makes sense. There’s a great hook on the vocal and a smooth solo from Russell on the outro. But there’s other nuggets elsewhere here that shine a little brighter.
The best moments might be on ‘Put The Blame on Me’ that bring an edgy, staccato riff, the tone of which the band has made its own. Add in Kane’s blistering harmonica work in tandem with the guitar solo and we have a classic Feelgood track.
Or maybe it’s ‘Put Your Money Where Your Mouth Is’ with the rawest of infectious riffs, crack of drums and sharp lyrics. Then again it could be the swaggering ‘Blues Me’ with Kane in fine form on both vocal and harmonica duties.
Other top treats include the delicious slide guitar party of ‘Keep It Under Cover’ and Kane’s rich, mellow vocal on the slower blues of ‘I Need A Doctor’.
An enjoyable, entertaining set of livewire tracks well produced and well played by a band who still do it their own way. Welcome back to the studio, boys. Don’t leave it so long next time. ****
Review by Dave Atkinson
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Power Plays w/c 9 December 2024
In this sequence we play ‘The Best of 2024′ GRTR! reviewer selections
Featured Albums w/c 9 December 2024
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