Wednesday, 8 May 2013
While I haven’t lined up for a copy of the book that accompanies this latest episode of doggy derring-doo on the strength of the music herein I’ll be grabbing the musical component of subsequent releases as soon as I’m aware they’re out there. The second episode follows five months after the first, and there is, by all accounts, significant progress (including titles) for a third and fourth title in the developing series.
Like Shotgun, what we’re looking at here is part of an ongoing concept blending photography in and around the Marigny and Bywater neighbourhoods of New Orleans and a story line involving two black Labradors (Guzzard and Mr. Poo) with sequential sets of lyrics from RKR-CB (lyricist/producer Robin Hunn) set to music and performed by Andrews and a select cast of New Orleans musos, including Alex McMurray (guitar) and his Royal Fingerbowl confederates Carlo Nuccio (guitar, drums) and Matt Perrine (bass, tuba) and slide guitar from John Mooney. Andrews contributes vocals, keyboards and guitar and there’s a bit of extra work around the drum kit from Jermal Watson, plus saxophone action from Derek Huston.
John Mooney’s slide guitar drives Invisible Love into Exile on Main Street Stones territory, and things stay in the same postcode for Don't Stop. She Drives Me To Drink could probably use a dash more bravado and a a bit of Graham Parker sneer, but that wouldn’t have worked on DeFleured Me where the joys of pleasure are measured against the consequences. Where You Gonna Go has some rather classy piano work as Andrews ponders the question and Robin Hunn steps up to the vocal booth for a sleazy Bone, five and a bit minutes of leaving very little to the imagination.
There’s a tasty slide solo and a fair chunk of Sea Cruise in Beat Up The Memories, a brass section providing the punctuation on Suck My Pipes and a distinctly canine vibe (as you’d expect from the title) to Mutt Not Smut. Pretty In My Dreams takes a look at the gap between self image and external reality, Dynamite Doll rocks along in fine Jerry Lee Lewis fashion and Third Line My Heart has the brass section back to the fore as Andrews works New Orleans parade territory. It’s an upbeat and uplifting way to wrap up proceedings.
Invisible Love mightn’t be the destination you’re seeking if you’re after something flashy and spectacular, but if you’re after a fairly classy meld of New Orleans R&B and vintage rock’n’roll you could do much, much worse. When’s the next instalment?