I just received the newest release (March 25, 2014),
Taking Sides, from the
Terry Quiett Band and it's a blast! Opening with
Come The Morning, a rockin' blues stomper featuring Missippi Hal Reed on harp, the band gets the blood flowing and Quiett wastes no time whipping out the resophonic for some cool sliding. Boogie track
Nothing At All has a lot of bottom from Rodney Baker (drums) and Nathan Johnson (bass). This track is a hot ride and one of the rockinest tracks on the release.
Cut The Rope has some of that southern blues rock swagger with smokin guitar riffs and hammering drums. What's not to like!
Wheelhouse Blues has a standard 12 bar format allowing the band to get into full blues swing. Quiett has a slide signature all his own which in my listening is a compliment in itself. His vocal work on this track, well complimented by the smoothness of his sliding is very appealing.
Voodoo Queen opens with an intro by Johnson and electric piano work by Scott Williams. A rocker with real deep blues roots make this track one that will definitely hit the play list. Unpredictable slide playing along with tight drum work from Baker really works well on this track.
Weak-Minded Man has a bit of a Robert Johnson/Cream feel and continued spontaneous slide playing coupled with cool harp work definitely makes this a band to watch.
A Fool Should Know a quiet ballad, is very melodic and one of the sweetest tracks on the release. Quiett definitely doesn't let the opportunity get by to play some very expressive guitar riffs on this, one of the best tracks on the release.
Two Hearts has a real nice bottom (a la Fool For Your Stockings) thanks to Johnson. The paired vocals on this track are very effective, as is the nicely articulated guitar work by Quiett. He really steps up on this track and rips a hole in it!
Gimme Some has a definite pop sound with horn work from Brad Turgeon (trumpet) and Jordan Northerns (trombone) with occasional sounds of "Chicago" and smooth backing vocals.
I Come Running has a R&B feel and Quiett's vocals actually seem to mellow as the songs become more sweet. This part of the release, aptly entitled "Side B", definitely has a easier more melodic sound. Stinging guitar work is one thing that hasn't changed and it may actually be more effecting on these tracks due to the contrast to the more "mellow" tracks.
Get Back On is largely formatted as a jazzy blues rocker is a really cool track with horns and keys. Quiett using wah on his guitar and keeping it simple is particularly effective.
You Can't Come Back has a definite pop rock sound ... a bit like a ruffed up ELO. Quiett never lets the mood settle under his feet, keeping his fluid screaming guitar solo's at the end of his finger tips ready for release at will. Explosive! Last up is Marvin Gaye's
Let's Get It On. A slower, slightly more somber edition of the original filled with organ by Williams and tight little guitar riffs highlight Quiett's vocals nicely on this track. Horn backing keeps the R&B feel and Quiett ventures off with a very appropriate guitar solo to cap off the track.
Very cool!
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