Recorded in Nashville, the project nonetheless seems rooted firmly in the heart of Memphis.  Check out a partial guest list – in addition to Tiven , Dan Penn had a hand in production, while such luminaries as Wayne Jackson (Memphis Horns), Steve Cropper, and Don Covay contribute guest appearances.

All of which means Sofa King Badass doesn’t conform to typical twelve-bar convention.  Casey may have gained prominence as a harmonicist but there’s relatively little of the tin sandwich in evidence here.  Solos are short and rely more on an appealingly reedy tone and subtle flourishes than on pyrotechnics; elsewhere the harp is integrated into the musical tapestry to generally excellent effect (though at times Casey sounds just a little tentative).

Instead it’s Casey’s gruff, assured vocals that take prominence as he snarls his way through an innovative playlist.  Casey had a hand in composing the bulk of the material but is generous enough to give co-writing credit to various session participants (Tiven is almost ubiquitous), indicating a collaborative approach to the sessions.  Songs range from the defiant strut of the title tune to the nod-and-a-wink narrative of “Chesterfield County Jail,” with the salacious humor of “Blue Hair Woman” (co-written by comedian Al Franken) and the weary resignation of “Take Me To The Airport” adding spice along the way.

Indeed, there’s precious little pleading going on here, perhaps atypical for a blues disc.  For the most part Casey affects a vague air of menace and adopts a tough, no-nonsense approach.  In lesser hands it could come off as posturing but Casey is unerringly convincing – his growl has both authority and the necessary gravitas to send a shiver down the spine.

If it’s endless guitar solos and standard chord progressions you’re after, this one might miss the mark.  But if your tastes incorporate solid songcraft, tight arrangements, and roots firmly planted in the classic sounds of Memphis soul, this project is a winner all the way.

Highly recommended!