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Pete Feenstra chatted to Ritchie Dave Porter and Debra Susan for his show on Get Ready to ROCK! Radio. First broadcast 25 June 2023.
Self release [Release date: 20.07.22]
Ritchie Dave Porter and Debra Susan’s ‘The Story So Far’ is a vibrant snapshot of a musical relationship that straddles rock, blues and southern rock, and burns with commitment, spontaneity and real honesty.
What you hear is what went down, with only the occasional subtle smoothing of an edge by producer and sometime drummer Michael Tingle.
I first came across Ritchie Dave Porter when he released his ‘Rocking The Blues’ album in 2014, which despite the familiar title was a surprisingly intimate affair crafted by a hugely original guitarist.
It was an album that focused on technique and tone and was driven by the kind of intensity that gives this new album its energy.
But there was also subtle restraint in an acoustic setting, which he then explored over 5 albums, with only an occasional switch to electric, while the rather more usual rock-a-boogie bluster is briefly evidenced here on ‘One Hell Of A Ride’.
He also has a unique conversational vocal style, which he doesn’t use on this album, giving pride of place to his partner and lyricist Debra Susan.
The result is a well balanced album which showcases Debra’s narratives and melodic bent, while Porter shines as both a soloist and tight rhythm player who always serves a series of contrasting songs.
Debra isn’t a natural blues singer. She prefers to hit a note and hold it steadfastly rather than explore the nuances of phrasing. It suits her unreconstructed narratives and Porter’s spiky guitar accompaniment as the duo strike a perfect equilibrium.
The opening ‘I Can Hear The Train a Comin’ features Porter’s trademark blustery guitar intro, while Debra sings the first of several leaving and train themed songs.
‘Lonely & Blue’ extends the bluesy feel complete with a familiar motif and a fleeting late night feel, on an album that otherwise bursts with vitality, lyrical spontaneity and incendiary guitar playing.
Such is Porter’s rhythmic intensity and piercing tones that he makes light of the fact that with only brief occasional percussion from producer Michael Tingle, he’s generating all the album’s power himself, whether on guitar or bass.
At times he sounds like Jimmy Page in a duo context. His mix of intensity, dexterity and the way he weaves in and around Debra’s vocal and then slips back into breathless rhythm, marks him out as a Page disciple, but someone with his own unique attack.
His playing isn’t just about the occasional string bends and sustained notes, as his full array of licks provide a ghost like conversational presence in the songs.
So while Susan explores several failed relationship narratives, he adds tonal and emotional colour and sparkling dynamics.
Perhaps only RDP could juxtapose a number of stop–start album titles, starting with ‘Working Class Blues Man’ and apparently finishing with ‘End Of The Line’, before a startling rebirth with ‘The Story So Far’.
And in many ways it is. Aside from the fact he’s teamed up with his musical partner and soul mate, he’s moved on from 5 acoustic album, and in reverting to his early career electric blues has ditched his Gibson SG for a Telecaster, which he tells us gives him: “ an icy stinging, cutting tone”, meaning he has no use for pedals.
It’s a brave step moving from acoustic to electric as well as changing guitars, but it works perfectly on a riff driven album, which if released on vinyl would jump out of the grooves.
The other significant thing about the record is Debra’s afore mentioned lyrical spontaneity, meaning her clarity of thought and emotion gives RDT the perfect platform to hone his tones and musically evoke a song’s subject matter.
Debra’ attacks her songs with gusto. It’s been said that “each individual “voice” has its own story, and personal history.” In Debra’s case her frisson comes from the frequent autographical nature of her songs.
‘Sugar And Spice’ is a real highlight, on which she gives one of her best vocal performances. The tone of Porter’s tremulous guitar comes close to resembling vibes on a sharp arrangement with a sudden finish.
‘I’m Leaving You baby’ finds Debra’s fragile vocal locking into the songs sense of anticipation and raw emotion of the song either side of Porter’s majestic bluesy opening, interwoven guitar part and full toned solo.
Everything comes together perfectly on ‘You Make Me Feel Bad In A Good Way’, as Debra’s double tracked hook leads to Porter’s slashed finale.
‘Broken Dreams’ has a subliminal Hendrix feel not far removed from ‘All Along The Watchtower’ on a trio outing. Porter doubles on guitar and bass with producer Tingle on drums, as they bring heft to another relationship song.
It’s one of longest tracks on the album with a slow build, as Porter ebbs and flows as a model of restraint, adding some punchy notes here and few note repeats there, but eschews the possibility of a big finish by satisfying himself with a final flurry on the outro.
He adapts a far tougher tone on the staccato riff-driven intro to ‘Simply Irresistible’, which is an aptly titled song on which the hook kicks in at barely over 20 seconds.
‘One Hell of a Ride’ is powered by a heavier stoner riff, which again evokes the reflective meaning of the title, as Debra belts out another goodbye message: “Got my bag packed gonna hitch a ride, gonna see you one last time.”
And then there’s the Zeppelin influenced ‘Sweat Treacle’, as RDP cuts loose to indulge in his Jimmy Page fixation on some licentious lyrics which evoke Zeppelin’s “lemon song,” with a passing nod to Howlin’ Wolf.
The consistent use of contrasting tempos and tones keep the album interesting and bring unexpected moments, especially on the tightly wrapped guitar tone and ethereal feel of “I Just Can’t Leave Your Memory Behind” which benefits from some subtle double vocal tracking on the chorus and Porter’s clean toned finale.
In restaurant terms it feels like you’ve been served with the main course and now here’s a subtle dessert. ****
Review by Pete Feenstra
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