By Scott Bampton

Twangadelic Bluesophunk is the debut release from Canadian singer-songwriter-guitarist, Cary Cain (and his backing band.) And there’s a reason it’s such a mouthful. This album has a hell of a lot to say for itself.

Is it bluesy? Yes. Is it funky? Definitely. And does it have twang? It really does. Cain clearly sees himself as a guitarist first and foremost, shredding through every blues scale imaginable across the album’s 12 tracks.

But there’s much more at work on this record. It’s as eclectic as blues records get, clearly influenced by a wide range of artists from the blues, pop, funk, jazz, and hard rock spheres.

The instrumental setup is threadbare, with the limited use of effects ensuring a “live” sound and feel. It leaves plenty of space for Gary Cain’s outstanding guitar playing to cut through the mix.

And right from opening track, “Live Wire,” the range and depth of Cain’s music influences become evident – it’s as aptly titled as songs get, with energetic polyrhythms lying at the song’s heart. The percussive guitar picking is as insanely fast as it is melodic, cutting loose over the top of the backbeat-heavy bass and drum lines.

That frenetic instrumental energy is juxtaposed by Cain’s husky, laid back vocals – with a rasp possibly coming courtesy of a vocal injury sustained while Cain was playing in a club band in Dubai.

Second track, “Thought I heard You Say,” is the record’s funkiest number – the kind of high-heels-in-hand stomper you hear in your favorite dive bar right before the house lights come on.

 

“Pipes and Spoons” follows and couldn’t be further away on the music spectrum – the distorted rocky guitar riff heavily reminiscent of Aerosmith’s, “Love in an Elevator.” That hint of old school stadium rock is courtesy of a young Cain learning to play guitar by copying AC/DC songs. The bass is also acutely hard-rock-inspired, pumping along to the kick drum while the Slash-esque finger tapping segues into a huge hand-clapping outro.

“No Foolin’s” jazz-infused licks then give way to a pumping verse with more than a hint of Peter Gabriel’s, “Sledgehammer” at its heart. “Write You a Letter” has a serious ‘90s twitch, its funky riffs harking back to the album, Blood Sugar Sex Magik era of the Red Hot Chili Peppers.

“Twang Strut’s” rockabilly sensibilities make you want to reach for the pitchfork, jump in the back of a pickup truck and hightail it after the General Lee. A reggae breakdown chills everything out for all of four bars – then it’s after those darned Hazzard boys, again. There’s blazing bluegrass guitar picking aplenty until “Faith Healer” cools affairs off significantly with a welcome dose of “Purple Rain” – the impressive wailing guitar harmonies possibly even worthy of The Purple One himself.

“In Last Dance,” the only track on the album with explicit lyrics, Gary Cain clearly has something to get off his chest. But the minimalist vocals in this rocky number mean Cain lets the furious guitar licks do most of the talking.

“Girl’s Too Rich” brings back the funk, balancing shredding solos with syncopated beats before closing number “Got Me Where You Want Me’s” country rock and blues brings back welcome memories of ZZ Top’s heyday.

If you’re as much a fan of genre-bending as you are of string-bending, Twangadelic Bluesophunk is a must-listen.

Twangadelic Bluesophunk is available: 

Website: http://www.garycainband.com

Facebook: https://www.facebook.com/garycainband/ 

Spotify: https://play.spotify.com/album/5I7XZBbQmUklNjSYPZzOMF

Amazon: https://www.amazon.com/Twangadelic-Bluesophunk-Explicit-Gary-Cain/dp/B01MYEPQLI

I welcome your comments below.