Review: Cardinal Black ‘Midnight at the Valencia’

Review: Cardinal Black ‘Midnight at the Valencia’

By Hal Horowitz

There aren’t many positive outcomes that emerged from 2020s COVID nightmare, especially in the music industry that was essentially shut down. But it did have the unintended effect of reuniting the three original members of Wales’ Cardinal Black.

The group had broken up, yet during the pandemic downtime, they re-connected and released their debut EP. That resulted in one of its four tracks, the striking “Tell Me How It Feels,” making its first appearance, displaying the fledgling trio’s impressive and surprisingly developed soul/blues bona fides.

Those songs were re-recorded on the Tom Hollister-fronted outfit’s 2022 debut full-length, and the band was off to a galloping start. In order to maintain the momentum generated by that disc’s popularity, Cardinal Black’s follow-up was a 75-minute live set.

This was an unusual move so early in their career, (the group’s four initial compositions were once again repeated), but it cemented how dynamic their live chops, now with a full-time bass player, had become in short order. Every song was extended, culminating in the closing 11-plus minute show-stopping “Tied Up in Blue,” a roaring, epic example of Hollister unleashing his spine-tingling, full-bodied pipes and letting the music expand naturally.

A year later, we finally get Black’s second studio collection. This much anticipated 11-track sequel consolidates the strapping strengths they already exhibited, adding instruments (two bagpipes are credited) to the quartet’s core lineup while condensing tunes to tighter, more bite-sized chunks. Nothing feels rushed though as Hollister and co-frontman guitarist Chris Buck, who together or separately pen the majority of the material, move towards swirling soul, and largely away from any rock edge they had occasionally exhibited in the past.

Buck’s supple guitar work doesn’t knock you over. Rather it vibrates and pulses, creating shimmering audio beds for Hollister to launch from. On “Morning Light” the singer recounts a one-night stand. The song starts slowly, gradually erupting into a roiling mass of blues-soaked chords as he howls “Don’t you put your trust in me,” then drops down to a whisper as the intensity downshifts to just piano, organ and vocals. Searing stuff.

As notable as the musicianship is, these performances serve as singer Hollister’s showcase. His voice combines the gruff edge of Joe Cocker, the smoother guttural gravel that defines Michael McDonald and Matt Andersen’s hulking vulnerability. On “Holding My Breath” he digs to his core as the instrumentation sizzles and throbs like late period Roxy Music. Buck emerges out of the sonic haze delivering a sharp, jazzy, Rory Gallagher-styled solo that dissolves as quickly as it appeared. Backing vocals from Jade MacRae impart a tang of gospel to the tune that, at just four minutes, you wish would go longer. It probably does in concert.

A harmonica infuses twinges of blues to “Need More Time.” It’s another slice of emotional crooning that coalesces around two keyboardists who create swaths of sound as Hollister and MacRae join on a chorus you’ll be singing after the first spin.

Just the title of the closing “Your Spark (Blows Me to Pieces),” at nearly six minutes, the disc’s longest offering, is enough to light embers of anticipation. Hollister testifies that “It’s you I want” with the furious fire of the finest soulmen, backing off only when Buck launches into a solo so scorching, you’ll wonder how his fingers didn’t burn up.

Despite the abundance of ballads that dominate and explore similar musical tempos on ‘Midnight at the Valencia,’ Cardinal Black has clearly defined and refined their direction, displaying the instrumental talent, rugged songwriting and churning arrangements which should advance them to greater commercial heights.

Hopefully without the return of COVID.

“Keep On Running”