By Monk
It is positively amazing, and re-affirmingly so, the number of young guitarists, and particularly British ones, who have emerged over the past decade or so to prove that the blues is not only alive and well but as relevant and vibrant as ever – in fact, more so than at perhaps any time since the late Sixties. One of the most prolific, and impactful, exemplars of this assertion is Troy Redfern, dubbed Britain’s “king of the slide guitar” and an artist who encapsulates the full diversity of the blues’ generic mien within the space of just one album…
I say prolific because in the plague year that was 2020 Redfern released no fewer than five albums – although he has subsequently slowed down in relation to such a prodigious level of output by taking advantage of the lack of live gigs to ensconce himself in Wales’ infamous Rockfield Studios and absorb the historic atmosphere created by the likes of Queen and Led Zeppelin (something highlighted by the fact that drummer Darby Todd used one of John Bonham’s kits during the recording sessions).
Kicking off with a wail of Hendrix-style feedback, Redfern wastes absolutely no time in getting down to business, proving almost immediately his ability, and willingness, to push the boundaries of the blues to the absolute limits with the almost punk ‘n’ roll, rockabilly-infused romper stomper of ‘Scorpio’, which is as ferocious in its pace as its gnarly attitude. Pausing only for another shot of tequila, it’s straight into the barroom boogie of ‘Waiting For Your Love’, which struts and swaggers with the savvy sass of a western movie hero on his way to take down an entire legion of bad guys.
Continuing to blur the lines between old-fashioned blues and other musical miens, Redfern then buys us a ‘One Way Ticket’ to a psychedelic road trip which sees ZZ Top pulling over to the gas station to pick up a hitch-hiking Alice Cooper, on the condition he join them for a jam session at that night’s gig at La Tetilla del Diablo: but, then, all is fair in ‘Love And War’, where Redfern and the band (completed by the insanely talented Dave Marks on bass, keyboards and just about everything else that needed doing) get those hips grinding with the lascivious expertise of a whorehouse madam.
Hold on a second, who is that mysterious mariachi wandering into the saloon? Remove your hat, stranger, so we can see your face… Why, its only Ron ‘Bumblefoot’ Thal, strolling in to lend some serious geetar shredding and proving that this album is, indeed, ‘On Fire’, in every sense of the phrase: Christ on a stick, it’s so feckin’ hot I’ve got a fire extinguisher beside the ÜRHQ death decks as this blasts out at neighbour-annoying levels…
It’s hard to pick out highlights on a album crammed with them, but two most definitely come in what could be described as its mellower moments: ‘Ghosts’ is an epic, country-tinged lament which soars and sweeps like an eagle over a desert plain, while ‘Saving Grace’ is a beautiful combination of acoustic and Redfern’s trademark 1929 National Triolian steel guitar, coupled with equally elegant layered vocals which just washes over you like being baptised in the Mississippi.
Overall, ‘The Fire Cosmic’ is an album which may well defy many preconceptions of what the blues should sound like. It is far more of a rock album than a blues one, but at the same time accentuating the former’s roots in the latter and remaining faithful to the same. It is one of those albums that defines the term “all killer no filler”, providing us with a blues rock joyride from that first wail of feedback to its last dying ember, delivered with compassion and passion, energy and commitment from beginning to end. If you don’t buy this album, and appreciate every last note, then you might as well cut your ears off…
- ‘The Fire Cosmic’ is out now. You can get your copy HERE.
- Troy Redfern is scheduled to support Robert Jon & The Wreck on their September dates:
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