
January-February 2005 Newsletter
• BB King & Magic Slim Show •
• Jimmy Thackery show •
• Hawkeye Herman •
• CD Reviews •
• Rockford Arts Council Grant •
• Election Results •
• Upcoming Events •

CD Reviews
• Kenny Wayne Shepard • Roomful of Blues • Corky Siegel • Charlie Musselwhite •

Kenny Wayne Shepherd
The Place You’re In
Reprise Records
www.kennywayneshepherd.net
11 tracks/42:09
Kenny Wayne Shepherds’ five year
recording hiatus is finally over. Older, wiser and more mature now, he has
delivered a fine rock guitar album than is somewhat more detached from his blues
roots than I expected. The album is predominantly written by Shepherd and most
of the vocal work is now done by him, too. The guitar riffs are more
professional and controlled than his first three albums, but while controlled
the axe is also more beefy and muscular. His riffs sound like a lot of the
classic rock riffs of the past 40 years but they are nicely packaged. If you
like rock guitar albums, then this will be right up your alley. I enjoyed it
but was surprised that it was almost completely done in a mainstream rock style
and not really a blues album, which disappointed me some. Let’s briefly look at
each of the tunes from start to finish…
The album begins with a tune
called “Alive.” Kenny sings on the track, which was a big change for me since I
was used to Noah Hunts gritty vocals. But Kenny’s come a long way and both his
singing and guitar work are nicely done. This is a song about love and
relationships with women as are many of the tracks on this album. The lyrics
are sometimes a bit weak but the classic guitar work salvages this song and most
songs. “Be Mine” is his next cut. Big, driving guitar riffs a la his boyhood
hero Stevie Ray Vaughn abound here. Kenny again sings, but his guitar work is
the key to this piece.
Third up is a tune called
“Spank.” Guest vocalist Kid Rock joins Kenny singing this one. It is the most
pop-like of the heavy guitar based tunes, and I am sure Kid is there to help
Kenny sell a few more albums. But Kenny’s guitar come through and makes this
one for me despite the poor lyrics. “Let Go” is more restrained all around.
Hunt is backing Kenny up on the vocals. This sounds more like the driving
ballads of some of his earlier albums.
Kenny’s vocals on “Ain’t Selling
Out” are pretty weak but the driving guitar and drum beat get your foot
tapping. I thought I was back in the 60’s with the song’s intro. The tune is
very retro but a little weak overall. Noah Hunt sings on the next track,
“Believe.” This is a big, ballady rock song that features Kenny on both
electric and acoustic guitar. The acoustic intro mix reminds me of the music
from some of the well-sound tracked 1960’s westerns. Hunt’s vocals are still
head and shoulders better than Shepherds in my mind, but Kenny’s guitar work is
great.
The title track is next.
Shepherd sings lead here and the sound is more gutsy and direct. He gives us
more of a view here of what he can do vocally. On “Hey What Do You Say” Kenny’s
vocal work is also more passable. This is a slower song reminiscent of earlier
Zeppelin ballads with big guitar riffs between the verses. The background
vocals featuring band members and Stephanie Sprull give the background sound a
more spiritual uplifting.
“Get it Together” has Kenny
getting more gritty again. The guitar and vocals are both more earthy. But as
in some other songs, the vocals seem to get less emphasis in the mix as the song
progresses. Noah Hunt gets to lead the singing on “Burdens.” He seems more at
ease with the lyrics and can take the weakly written material and deliver on it
better than Shepherd can. The song again reminds me of late 70’s/early 80’s
rock.
The album closes with an
instrumental called “A Little Bit More.” Shepherd’s stinging guitar pierces the
driving beat and caps off the album nicely.
If you like big rock guitar
albums, this CD will please you. Shepherd must have been weaned on old rock
bands like Journey, Traffic and Led Zeppelin because his guitar work is a blend
of the old flavors from many of their albums. Kenny’s becoming a better master
chef because he has blended many nuances of guitar work into this album. The
lack of any truly blues song will disappoint some, but Kenny’s overall musical
growth is apparent. Let’s hope it does not take him five more years to release
another album.