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Historically, when a band has somewhat spare studio time whereas recording an album, they knock out a B-side or two. That’s, in the event that they’re not utilizing these treasured hours to bask in extracurricular actions lengthy related to the occupation.
Whereas John Corabi, David Lowy and buddies have been ending the recording of final 12 months’s Lifeless Daisies album of originals Mild ’Em Up, although, they felt sufficiently impressed by the heritage of their environment in Fame Studios, Muscle Shoals, Alabama, to jam a number of blues numbers whereas the temper took them. It may not be probably the most unique thought ever to happen to a band, and anybody who has endured less-than-inspired blues-rock covers in public homes throughout the nation will know that the style’s easy allure doesn’t all the time make for thrilling leisure. However the outcomes rely upon the eagerness and finesse put into the efficiency.
On that entrance, Lookin’ For Hassle hits its mark as typically because it misses with this 10-song set of requirements. They rip into Muddy Waters’ I’m Prepared with all of the hard-rock gusto and crunching backside finish you’d count on from The Lifeless Daisies, with guitarist Doug Aldrich letting rip in satisfying fashion to ice a satisfyingly stodgy cake. That’s an instance of the chunka-chunka strategy to blues rock working.
It’s much less profitable on their rendition of Little Pink Rooster – maybe as a result of we’re finest used to it being achieved at a sluggish, swaggering tempo, rushing it up doesn’t do loads for it. Equally, their studying of Freddie King’s Going Down is a stirring one due to a feisty rhythm part and a ravenous vocal from Corabi, resembling ZZ Prime wired on jailhouse stimulants. But whereas Lead Stomach’s Black Betty is laced with full of life harmonica, everyone knows the Ram Jam model, and whereas The Lifeless Daisies’ chugging tackle it could in all probability work at 10pm in a liquidly refreshed membership setting, on report it’s forgettable.
Once they add gospel-ish backing vocals to a bouncing cowl of John Lee Hooker’s Growth Growth it has a sure rock’n’soul strut, however it’s only a contact too Jools Holland-y in comparison with the sharp pugilism of the unique.
Nevertheless, two extra winners emerge within the form of a stomping overhaul of Robert Johnson’s Crossroads, and maybe the album’s brightest spotlight, a resonantly soulful stab at B.B. King’s The Thrill Is Gone, which comes into its personal by way of some brilliantly emotive guitar licks and Corabi’s angst-racked vocal supply.
