Paul Reed Smith/Eightlock – Lions Roaring in Quicksand (Steele Records)
It took 3 years to re-assemble the parts of various Paul Reed Smith (PRS) projects to give birth to the band Eightlock and its inaugural release. If Smith’s name sounds familiar, it should – his status as guitar-maker to the stars might add instant credibility to the release amongst guitar aficionados if it weren’t for the fact that he’s also a phenomenal player.
Releasing a number of projects under his own name, the guitar-playing is instantly head-turning and each successive release has had its ingredients altered slightly to arrive at the formation of Eightlock – a moniker representing the membership of this 8-person project. Upon first hearing this release, this guitar enthusiast backtracked to the PRS Band’s 2017 release, Time To Testify, for some added context. By comparison, the earlier release dialed up its harder rock elements – bravely tackling two Hendrix classics (and well!), releasing it on Steve Vai’s guitar-serious Favored Nations label.
At the same time, it revealed strong soul leanings thanks to a new, secret ingredient…Mia Samone. Think a collision featuring the high-powered intensity and range of Joyce “Baby Jean” Kennedy (Mother’s Finest) with the untethered ferocity of Corey Glover (Living Colour). Eightlock’s claim-to-fame is the fact that its membership is comprised of 3 drummers and 3 guitarists, clearly driven by Smith’s tasteful guitar work. However, it’s the jaw-dropping vocal strengths of now Mia Samone Davis which helps transform Lions into more of a soulful, guitar-fueled, R&B workout.
Consider the players: drummers Dennis Chambers, JuJu House and Gregory Grainger; guitarists Smith, Bill Nelson and Mike Ault; bassist Gary Grainger plus (now) Mia Samone Davis on lead and backup vocals (with assists from Chuck Brown and Sugar Bear Elliott). These are precision players, possibly belying jazz backgrounds over traditional rock schooling.
Closer in personality to 1+1-era Isleys and a slightly less intense Mother’s Finest (rock-driven R&B with lethal guitar) at times, these 14 tracks are a study in tasteful arrangements, subtlety and nuance, guided by Smith but further clarified by Samone Davis’ eloquent gifts. The song sequencing might be open to debate and the production is so tight as to be too tight – devoid of the pleasure of some rough edges. Yet, Lions Roaring in Quicksand is a blistering, robust and masterful release.
Launching with the powerful, single-ready “Sarah,” Samone Davis unleashes her gospel-schooled vocal against a challenging backdrop of what is a rather complicated, progressive, drums-and-guitar-driven song. Call it an introduction to what will follow as this soulful talent works with the challenges presented by this ‘drums-and-guitar-driven band’ to forge an altogether fresh direction. Similarly, the comparatively complex “Never Give Up on Livin’” slowly reveals how Samone Davis’ breathy vocal makes its mark, gluing the song together while coming out on top as guest Benjie Perecki’s sturdy keyboards add considerable depth. Cue the power groove of “I’m Ready” – whose propulsive beat and sinewy guitar line only sets the stage for what could be the singer’s mantra – and she owns it in under a minute, its chorus giving her something to bite into, draped amidst noteworthy guitar solos.
As Al Green delivered “Love and Happiness” with a breathy, passionate fervor, Samone Davis updates the classic with a slow-burning, sexual fire – fully demonstrating her impressive vocal range as the band’s guitar barrage is further complemented as Perecki pays tribute to Charles Hodges’ organ work, adding horns as Gary Grainger’s bass ups the funk.
The up-tempo “Man in the Moon” – again – reinforces the funk factor as the Grainger brothers anchor the rhythm section, releasing Samone Davis into a zone she seems most comfortable in, as the trio of guitarists blister the walls around her.
A true album highlight is found in “I Can’t Breathe.” This slow-grind of a ballad is melted butter in Samone Davis’ care. This is her most natural state – her lead vocal and simpatico vocal contributions merge with the music to better define the album’s title. It’s a smouldering scorcher as the entire band locks firmly into place, intensified even further by its signature guitar phrase.
The centerpiece of Edwin Starr’s 1970 release, “War,” is given fresh breath here, with Sugar Bear Elliott adding a gruff counterpoint to the lead singer’s impassioned delivery. However, it’s original fare like “Phoenix in my Blood” which best suggest the future of this band – where vocals and music work closely together to bring added punch to the lyrics. Again, as Samone Davis also furnishes the rich background vocals, the accomplishment is all the greater.
The blues-baked “Drivin’ at Night” adds triple guitar heat to Samone Davis’ always-commanding lead vocal, however – awkwardly breaking in the middle for a sped-up bass and guitar detour – this tends to offset the song’s full blues effect.
“Look at the Moon” maximizes triple-drummer firepower yet Chuck Brown’s deep baritone as he speak-sings seemingly comes out of left field, despite Samone Davis’ partial recovery and song-saving, heavenly chorus.
Mana’s “Ay, Doctor” retains its Latin flavour as Samone Davis weaves a different spell, alternatively kicking it up a notch, against animated percussion and somewhat tempered guitars. The gentle, seductive burn of “Echoes” allows this talented singer (and her meticulous backup talents) to elevate this song into much more than the sum of its parts.
Guitar muscle propels “He’s the One” leaving little else for Samone Davis to work with in terms of prospecting anything hook-worthy.
Covering Elliott Moss’ “99,” it is converted from its electronic pop self into a stronger, more voice-and-percussion-dependent closer boasting an hypnotic edge, replete with cascading guitar solos and the added kick one might expect from Eightlock’s wall of drummers. Mining the singer’s lower range, she has no trouble delivering the goods in tectonic proportions.
Despite four sturdy covers, the strong originals – with a few exceptions – demonstrate yet another facet of how these eight significant players are ‘locked’ together and, given their evolution into injecting more of their soul side to their revisionist fusion sound, quicksand isn’t likely to prevent this inventive hybrid of a band from arriving at their rightful destination.
Find more information on their website here: https://eightlockband.com/home