Swagger by Ian Siegal

Personnel: Ian Siegal - Mandolin, Slide Guitar, Guitar, Percussion, Vocals, Banjo Matt Schofield - Mixing, Banjo, Guitar, Guitar (Rhythm) Andy Graham - Bass Martin Lewis - Saxophone British blues has not been hugely fashionable of late. Ian Seigal is one of those characters who, in a different time, would have been seen as something of an avatar. This is blues for those who hate the blues. There is nothing worn-smooth in its professionalism here. There could be no complaints, either, under the Trades Description Act with the album's title. Each track indeed bounces and sways with great alacrity. The balance of originals and covers is just right; Don Covay's "I Don't Know What You Got (But It's Got Me)" and the rollicking, all faders open take on Little Richard's "I Can't Believe You Wanna Leave", both are tremendous fun and were not originally intended for the album. John Lee Hooker's "Groundhog Blues" is handled with élan, too. That said, it is with the originals the meat of the matter lay: The title track, "Swagger" has the vibrancy and excitement of early Feelgoods. Humour is here, also; the light-hearted misogyny of "Catch 22", with lines such as "the genuine article, unnaturally blonde"; the Memphis soul of "Mortal Coil Shuffle" and the country blues of "Curses" offer standout moments. The playing throughout is exceptionally tight. Route one is often avoided and it blasts like Beefheart as often as Big Bill Broonzy. There are also many moments of restraint with banjo, mandolin and picked acoustic. Using such a traditional form, it's inevitable that there will be some clichés swilling around, but with all the album's close-mic'ed vocals, raunch, honesty and a soupcon of the Gentleman amateur's passion about it, Swagger is a most endearing release. by Daryl Easlea "I don't walk, I swagger," boasts U.K. soul and blues singer/guitarist Ian Siegal on the opening title track of Swagger, the follow-up to his successful Meat & Potatoes debut. And for the rest of the disc he does just that. It's a confident, eclectic set that veers from acoustic folk to early-'60s R&B and Tom Waits-styled excursions through poetic swamp blues, but somehow never loses focus. Credit Siegal, whose deep, raspy voice mirrors that of Howlin' Wolf (he even imitates Wolf in the first tune) and adds gutsy depth to songs split between originals and obscure covers. He grinds and growls through "Catch 22" and "God Don't Like Ugly" as if he's just discovered Waits' Heartattack and Vine period, but that represents just one facet of Siegal's influences. He's most accomplished at taking the blues at the core of his sound and, like the Waits of old, processing it into songs that are blues-based, but not in the traditional sense. Even John Lee Hooker fans will have difficulty identifying Siegal's cover of "Ground Hog Blues" in the more upbeat, almost lively reading it's given here. The acoustic guitar flies around lyrics that are set against an entirely different melody as his rhythm section pushes the beat and Siegal lets out an unexpected scream that is truly startling. Little Richard's "I Can't Believe You Wanna Leave" is dusted off for a coy cover helped enormously by Martin Lewis' '50s-styled honking sax. "Curses" and "Horse Dream (Swamp)" are the album's longest and most impressive tunes. The former features free-swinging, bizarre beat poetry ("his mind is like a soup dish, wide and shallow") played atop a raw second-line backbeat that's both unsettling and driving. Siegal's slide guitar slithers and moans and his overdubbed banjo adds further earthy weirdness to the set's most gripping track. Similarly, "Horse Dream" rides an ominous organ, bringing a Doors vibe to words that are shadowy and somewhat obtuse. Clearly, Siegal is pushing the blues envelope, but doing it in a natural, unpretentious way that opens up new possibilities to what is generally considered a relatively stagnant musical genre. Those willing to take the plunge will be rewarded with an impressive collection created by a guy talented and innovative enough to swagger as he walks through a fresh take on roots music. ℗ 2007 Nugene Records