That PR e-mail came with a link to opening track ‘Frank’s Song’, and one listen to that was enough to make me sit bolt upright and pay attention. It rides a whip-cracking blues-rock riff with a can’t-quite-put-your-finger-on-it familiarity, topped off with urgent, double-barrelled vocals from Jess Hayes and guitarist. I’m logging a cymbal-crashing, bass-burbling collision between Bad Company and southern rock – and by the latter I don’t mean something of the ubiquitous Black Crowes-imitating variety.
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| Connolly Hayes - happiness is a thumbs up from Blues Enthused |
There’re fewer of those Bad Co echoes as the album progresses, but that’s no matter. When they dial it down on ‘Secret’, into a more soulful Southern domain of tripping drums and sweetly intertwined guitars from Connolly and six-string buddy Richard Clark, I’m still on board. There’s a shimmying looseness about the sound that makes me dredge up the name Little Feat from the memory banks, and it’s embellished with a low-pitched, bird-like warbling guitar solo. And then there’s Jess Hayes’ voice, which takes the lead here (till Connolly chips in on the second verse), and brings to mind the likes of Gráinne Duffy and Susan Tedeschi – pretty positive comparisons, and she brings her own brand of grit too.
And lo, a couple of tracks later they cover Tedeschi Trucks Band’s ‘Midnight In Harlem’. Yep, Hayes handles the sensitivity of the vocal in Tedeschi-like fashion alright, over an ensemble performance of subtle, laid back accompaniment, twinkly guitar work brushing up against washes of organ from Joe Mac, and occasional vocal harmonies from some of the guys. They take their time over it to good effect, with some plenty dynamic guitar explorations along the way, counterpointed by ear-catching bass promptings from Barnard.
It's not the only cover here. The album closes with a live take on ‘Love The One You’re With’, which is right in their wheelhouse. It comes with a touch of funk, and jaunty, jittery guitars, while Hayes and Connolly alternate vocals. Wilder’s supple drumming twirls along with a kinda Latin feel, and in the slowed down bridge Connolly also gets to show off a bit vocally with some wordless soulfulness.
Doing classic covers justice is all very well, but it’s the way their originals stand up to be counted that really impresses me. ‘Something’s Gotta Matter’ combines swirling slide, staccato chords and a crisp beat to propel Hayes’ soulful vocal. The lyrics may not set the heather on fire, but there’s an uplifting middle eight that leads to a darting, stop-start guitar break, and they go through the gears for the ending. ‘Remember Me’ itself has an offbeat, twitching rhythm and easy-going, teasing guitar to go with its tension-and-release melody. They contrive a neat change-up into the bridge, and then some nifty interwoven guitar lines, one of Connolly and Hayes going with slick slide to offer different tones. Oh yeah, and Hayes continues to do the business.
As she does on the sweetly aching opening to ‘Hung Up On Your Love’, a patient thing with a simple chorus and another guitar break that starts off low-slung before going on to scintillate. Not for the first time, they flirt with dragging it out too long, but keep enough plates spinning to hold the attention, peaking with another bravura guitar solo.
‘Tired Of This Love’, meantime, is a slow blues – and genuinely weary-sounding, in a good way. To begin with there’s just guitar and Hayes’ voice, then organ, drums and bass weigh in carefully, while Connolly takes a turn at the mic. The chorus is subtle, tasteful, and harmony-draped, and there’s another subtle, understated solo to bathe in before Hayes soars her soulful way to the close.
I’m sorry I didn’t cotton on to Connolly Hayes sooner. This lot know what they’re doing, and they do it with panache. Remember Me is a fine debut, so go get introduced.
Remember Me is out now, and can be ordered here.
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