Another day, another young hotshot Blues player. It’s hard to remember a time when the Provogue/Mascot label group didn’t have a debut album worth shouting from the rooftops about. On this occasion it’s 24 year old King Solomon Hicks with his debut album, named after his native ‘Harlem’. You might muse that 24 is not that young in guitar playing terms, but Hicks has been playing since he was 6, and by 13 he was on the stage at the world-famous Cotton Club, four times a week, as lead guitarist in the clubs’ 17 piece band. Kinda makes that paper round you had as a teenager pale into insignificance doesn’t it?
An album a few years in the making, ‘Harlem’ is not what you might class as a “traditional” Blues album. Yes there are a few cover versions thrown in; ‘Everyday I Have the Blues’ from BB King gets a fresh, vibrant lick of paint (complete with a guitar tone to die for), a Latin-tinged version of Blood, Sweat & Tears‘ ‘I Love You More Than You’ll Ever Know’ which is so warm that it will have you checking that Carlos Santana isn’t guesting, and a powerful version of Sonny Boy Williamson’s ‘Help Me’ that closes the album. Just three stellar examples of Hicks paying his respects.
But it’s the original material that stands out the most and provides the soundtrack to a night on the town. Opening track ‘I’d Rather Be Blind’ has Hicks spiritually doffing his hat to the legions of Blues greats coming before him that have covered ‘I’d Rather Go Blind’; almost the same title, same lyrical themes, but a different song. A real toe-tapper that nicely sets the scene. ‘What The Devil Loves’ has a lazy, cool summer breeze vibe, complete with delicious guitar licks and warm vocals from Hicks. ‘421 South Main’ is a killer instrumental blues jam with the keyboards going toe-to-toe with Hicks incendiary playing. ‘Riverside Drive’ is another instrumental, but feels more structured than the loose ‘421 South Main’. ‘Have Mercy On Me’ is propelled forward by an urgent drum sound that drives the track forward at a fair old pace, the lyrics might contain traditional Blues tropes such as the Devil and the crossroads, but it’s a rollicking, hand-clapping Gospel-tinged beauty.
Standout moment on the album though, is something in between a cover and an original. ‘It’s Alright’ was originally written and performed by Chris Andrews back in the 60’s, although it’s the Adam Faith version which is perhaps better known, mainly down to it being included in the Good Morning Vietnam movie. Here, it’s totally unrecognisable as Hicks slows it down into the heaviest track on the album, complete with thick, psychedelic guitar tones and a Joe Walsh-like vocal performance. The difference between the original version and this, is night and day, so much so that the penny only dropped when the lyrics were spat out during a google search, hence the reason that it is hovering between cover and original status.
The opening to this review alluded to the fact that the Blues market is an overcrowded one, especially Blues-Rock, but King Solomon Hicks has enough variation to make him standout in the ever growing arena of young, talented Blues guitar-slingers.
‘Harlem’ is available now via Provogue/Mascot Label Group.
Review – Dave