Time: 41:56
File: MP3 @ 320K/s
Released: 2023
Styles: Blues Rock
Art: Full
01. Roll Out (3:13)
02. Mamma Told Me Not To (3:46)
03. Eve (3:28)
04. Babel (3:41)
05. Gold (4:19)
06. Wayward Son (3:45)
07. Eulogy (4:10)
08. 12 Bar Blues Again (3:21)
09. Devil Ain't An Only Child (4:48)
10. Sonic Tonic (3:56)
11. Going Down (3:23)
After the successes of Jhett Black’s debut EP, Roots, and wins at the International Blues Challenge in 2022, Jhett embarked on a self-produced excursion alongside Glenn Halverson (who mixed and mastered the album) and co-producers Al Basile and Callie Sioux, growing up and out of traditional territories of the blues while maintaining the integrity of the genre. Babel is being distributed by Smith Entertainment Distribution.
Originally from New Mexico but now based in Chattanooga, Jhett Black released the first single from the new album, “Wayward Son,” on July 21st, which will be followed by “Gold” on August 18.
The dark and heavy content of Babel, which includes 10 original songs, plus a searing cover of the Freddie King classic, “Going Down,” is emphasized with the smooth and intimate croons of Jhett’s bass/baritone voice that explodes into passionate growls that breaks down the boundaries between rock, soul, and blues.
Resonator slide guitars howl and drone with traditional dead-thumb stylings against overly fuzzed guitar tones that carry most of the melodic content, while the heavily swung shuffles of drummer Dusty Skins holds down southern grooves with reverence and intensity.
The lack of bass guitar on the record emphasizes the relationship between guitar and drums, while layers-upon-layers of luscious synth tones brings the sound slamming into the modern pallet, giving the sound a decidedly Lead Belly-meets-ZZ Top feel. All lead vocals and most of the album’s other instruments were performed by Jhett Black.
Years of incessant touring throughout the US and Europe in multiple projects, while also promoting and buying talent for concerts around his home in New Mexico, Jhett has left his scars open and exposed in the record’s album artwork, as well on tracks like “Sonic Tonic” and the title track, “Babel.”
“The music industry can be a dark place, and so can my music-the place where the blues comes from-but light shines brightest in the dark,” says Jhett Black. “I like to use a dark canvas with a big splash of light in the corner to remind us of the hope that’s available to us. I engage in the blues genre with respect, but I’m a firm believer in balance.”
This “balance” can be felt on tracks like “Wayward Son,” co-written with his Louisiana-raised father-in-law, Walt Evans, which battles head on with abuse and social neglect, wrapping with a powerful message of forgiveness rather than despair.
The yin and yang of Jhett Black is in full display in concert with a decidedly Southern Gothic swagger, while intense and driving murder ballads are followed up by intimate and powerful acoustic renditions of gospel songs. “I don’t like to leave room for me to relax too much on stage or get too lazy,” says Jhett Black regarding his live performances. “I like running lean and mean, whether it’s just me and Dusty on stage or whether I’m performing solo. It forces me to cover more ground vocally and instrumentally. I don’t want to leave a stage feeling like I could have given more.”
This blue-collar approach to the stage can be seen in intimate listening rooms where Jhett backs up his solo performances with his open tuning slide playing while using kick drums and foot percussion to drive the rhythms; while the band shows always feel like there’s more people on stage than there are.
Callie Sioux, Jhett’s wife, is often featured on upright bass and harmonica, while local and regional musicians are invited up for improvisation over blues and roots standards. While far from homogenized sounds, the multifaceted live performances and recordings of Babel maintain a humble and honest grasp on American Roots and Blues. ~Michael Major
Originally from New Mexico but now based in Chattanooga, Jhett Black released the first single from the new album, “Wayward Son,” on July 21st, which will be followed by “Gold” on August 18.
The dark and heavy content of Babel, which includes 10 original songs, plus a searing cover of the Freddie King classic, “Going Down,” is emphasized with the smooth and intimate croons of Jhett’s bass/baritone voice that explodes into passionate growls that breaks down the boundaries between rock, soul, and blues.
Resonator slide guitars howl and drone with traditional dead-thumb stylings against overly fuzzed guitar tones that carry most of the melodic content, while the heavily swung shuffles of drummer Dusty Skins holds down southern grooves with reverence and intensity.
The lack of bass guitar on the record emphasizes the relationship between guitar and drums, while layers-upon-layers of luscious synth tones brings the sound slamming into the modern pallet, giving the sound a decidedly Lead Belly-meets-ZZ Top feel. All lead vocals and most of the album’s other instruments were performed by Jhett Black.
Years of incessant touring throughout the US and Europe in multiple projects, while also promoting and buying talent for concerts around his home in New Mexico, Jhett has left his scars open and exposed in the record’s album artwork, as well on tracks like “Sonic Tonic” and the title track, “Babel.”
“The music industry can be a dark place, and so can my music-the place where the blues comes from-but light shines brightest in the dark,” says Jhett Black. “I like to use a dark canvas with a big splash of light in the corner to remind us of the hope that’s available to us. I engage in the blues genre with respect, but I’m a firm believer in balance.”
This “balance” can be felt on tracks like “Wayward Son,” co-written with his Louisiana-raised father-in-law, Walt Evans, which battles head on with abuse and social neglect, wrapping with a powerful message of forgiveness rather than despair.
The yin and yang of Jhett Black is in full display in concert with a decidedly Southern Gothic swagger, while intense and driving murder ballads are followed up by intimate and powerful acoustic renditions of gospel songs. “I don’t like to leave room for me to relax too much on stage or get too lazy,” says Jhett Black regarding his live performances. “I like running lean and mean, whether it’s just me and Dusty on stage or whether I’m performing solo. It forces me to cover more ground vocally and instrumentally. I don’t want to leave a stage feeling like I could have given more.”
This blue-collar approach to the stage can be seen in intimate listening rooms where Jhett backs up his solo performances with his open tuning slide playing while using kick drums and foot percussion to drive the rhythms; while the band shows always feel like there’s more people on stage than there are.
Callie Sioux, Jhett’s wife, is often featured on upright bass and harmonica, while local and regional musicians are invited up for improvisation over blues and roots standards. While far from homogenized sounds, the multifaceted live performances and recordings of Babel maintain a humble and honest grasp on American Roots and Blues. ~Michael Major
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