FatheadFirst Class Riff Raff2002Electro-Fi RecordsElectro-Fi 3374

Fathead - First Class Riff Raff - 2002 - Electro-Fi Records - Electro-Fi 3374

Written by John Taylor

Winners of more awards, both individually and collectively, than either they or I could possibly count, Fathead has unquestionably established themselves as one of Canada's favourite blues bands.

But when the field is as crowded as that in Canada (it sometimes seems as though one can't swing a dead cat these days without hitting a blues band), how does one outfit emerge from the pack?

In Fathead's case, they begin by delivering something more than the same-old-same-old, with intelligent song craft that eschews the obvious in favour of greasy grooves that actually improve with age. They do it with the kind of tight ensemble sound that comes only with performing countless gigs over many years together. And they top it off with a couple of secret weapons… multi-instrumentalist (harp and sax as well as backing vocals) Al Lerman, and honey-voiced lead singer John Mays.

Lerman, who's responsible for seven of the tracks on the all-original First Class Riff Raff, is quite simply one of the finest harmonica players in Canada, though he never goes for the over-the-top stuff that impresses newbies. Instead, he's all about a squalling tone that sends shivers down the spine, restricting himself to carefully considered fills that never overpower. That approach, indeed, is true of every member of the band; guitarist Teddy Leonard favours short bursts that rely more on tone and taste than the number of notes he's able to squeeze in, while drummer Chuck Keeping and bassist Omar Tunnoch lay down a fat, solid foundation, both deceptively simple and irresistibly propulsive.

Mr. Mays is a perennial winner of "the Maple" (Maple Blues Award) as Canada's favourite vocalist. One listen to "Riff Raff" shows why. The man simply oozes soul. Sure he can shout, but as a rule he doesn't have to; he conveys more emotion in a single softly spun phrase than most could at top volume.

In addition to Lerman's compositions, Tunnoch contributes three (one as co-writer) and Leonard a pair. Again, there's really precious little here that conforms to standard 12-bar convention, and lyrical concerns are a little more far ranging than typical blues fare. While Hard Times is just what one might expect, it's followed by Just Another Day, which reminds us that life is indeed a precious gift, and we should take pains to make the most of each day. She's Got The Look (She's Got The Touch) is pure breezy pop that again sees Mays grateful for the blessings of love. Shake This Feeling rides a raunchy groove that's pure dirt; The Low Life, with its changes from jazz to shuffle, is followed by Living Like A King, an unabashedly romantic slice of yearning soul.

In short, the variety is breathtaking, yet it's never anything less than tightly focused. It's the thoroughly logical result of experienced musicians who are passionate about the soul and the sensuality of the blues, but who also are, quite frankly, too musically accomplished to restrict themselves to recycled riffs. For anyone who has grown weary of the same-old, same-old, Fathead is like a welcome breath of fresh air.

Very well done, and highly recommended!

Copyright 2003. Review by John Taylor.

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