It’s a crazy world. And Saints and Sinners are here to add some reality and emotion along with a good time to the situation. With their debut album, Saints and Sinners, the blues rock band from NYC brings you five originals, a few reworked classics and more choice covers from their live set, adding warmth, and an edge back into the system. Bucking the system – that’s what it’s all about, right?
Recorded in Brooklyn at Virtue and Vice and Linden Underground, the basic tracks were cut live in the studio all in one day. It’s true, there were a couple of overdubs, maybe a few. But all the solos were full takes and there is minimal digital wizardry. Maybe a little. But the band – Christian Botta on guitar and vocals, Dave Gerstein on bass and Daryl Cozzi on drums can definitely bring it live. (Cozzi left after the album was completed and has been replaced by Chicago native Mike Rodbard)
The set kicks off with a fast boogie, “Good Time Girl.” You must listen all the way through to fully understand the lyrics. Remember those? It could be a story of a hot girl or a hot boy you once knew – girls are doing it too these days. But check it out – have you ever been used? And didn’t you secretly love it? OK. I think I see a few hands… (click the title/link below to hear the tune)
“World Gone Mad” downshifts the tempo a little. You know what this one’s about. Penned in the waning months of the shocking year of 2016, the situation is still relevant. How many ways can you slice and dice a twelve-bar form? This is one of them. No shit! Some nice drum work by Cozzi and a funky bass from Gerstein. And some stolen agenda from Curtis Mayfield.
The next song, “Easy Rider Blues” is a transformation of Ma Rainey, as the musicologists would say. Remember her? No reason why you should unless you’re a hundred years old. A little Exile On Mainstreet vibe. A nice groove. More slide guitar. This was the second to last song cut in the session at Virtue and Vice Studios. Maybe a shot of whisky on hand. What was it that Keith Richards said about the acoustic guitar?
The last tune cut was the uptempo stomper, “She Gets Me.” Modern morals, they say, will be the uplifting of society. Yes indeed! But it swings. Cut with minimal supervision, planning, polish or contrivance. And a brand new amp, a sweetie. An impulse buy. I guess that would make it of its time. It’s a consumer society – always. The record company wants this as the single.
The next tune is where the heavy blues starts. “Door to Door Blues” is a tune that Chris has been playing for a while. The arrangement owes a bit to the classic singles of BB King, circa the late ‘50s. And the guitar owes a bit to… Peter Green, someone said. Ha! We’ll take it. Ever go door to door? It’s not as bad as it sounds. You’ve got to listen all the way to 2:37. Chris wrote “Door to Door Blues” when he was selling wine on “The Street,” as it’s known in the trade. A notoriously difficult business, there are some perks however. And dig that beautiful walking bass from Dave!
The pumping “Malted Milk” follows, a cover of the Robert Johnson classic. Totally re-imagined, whereby we go back in time to the night of the party. Yes, that’s right – if Johnson’s original describes the aftermath of the party, this is the night before. The party proper. The transformation, in reverse. Parties are meant to be loud. The tune is loud. With a six-four measure neatly stitched into the fabric. Parties sometimes yield complex situations. A slide guitar rave-up, you never knew Johnson’s rumination had such a pretty tune. Coruscating guitar – heh heh… Had to use one of those muso words…
But every party has its aftermath, the next tune provides it. At the best party, you meet someone new right? Ever hear about the devil you know? Well they were right, but who makes smart decisions when it comes to love? “These Four Walls” is a love hangover, a minor blues – what else could it be? Let me tell you – it was worth it.
“Going to Main Street” is a staple of the band’s live set. A Muddy Waters tune, the song inspired Chris to form the band when he heard Levon Helm kill it at a Hubert Sumlin birthday bash. Saints and Sinners take the song a little into the rockabilly zone, with a raw twang and swinging beat provided by Cozzi, also a Levon devotee.
Sonny Boy Williamson’s “Sad To Be Lonely” is the penultimate track. The rhythm guys dig the groove on this one and we hope you do, too. Sonny Boy II often laces his truest blues with humor, which is something the ‘Sinners try to do, too. Ooops, we meant Saints and Sinners. We almost named it the Solid Sinners in honor of Sonny Boy, but hey – that would have been presumptuous.
Finally there is “San Ho-Zay,” a Freddie King instrumental that the boys give a tough spin and a modern sound. The synergy of the rhythm section is on display as Chris plays a couple of Freddie’s choruses and then a couple of his own. Kudos to Jeff Cook at Linden Underground Studios for bringing the tight, minimalist sound into a crunchy and edgy update on the original.
With the release of the album, the band is hitting the road with the first stop at The Shrine in Harlem on November 2nd. Saints and Sinners will be bringing their modern and eclectic take on the blues to fans in the Tri-State area and hopefully beyond in the indeterminate future. It’s a world gone mad, but they’re aiming to bring a little sanity. Just a little bit.
All songs composed by Christian Botta except as indicated.
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