Barry Levenson has self-produced a CD that is primarily instrumental, with some guest vocals.  His work has a "session" feel, with extremely well played tracks and impeccable backings.

His sound, which is rhythmically complex, sort of strikes me as a sort of cross between Albert Collins and Magic Sam.  This would normally work against the classic rule of an instrumental record, which is, keep the guitar riffs simple and catchy.

Barry appears to go the middle ground, which is to build on moods and textures, and avoid simply winding out flashy solos. Although Barry's guitar work is undeniably the focus here, what struck me as the most impressive aspect is his arrangements and production, concentrating on rich moods and textures that surround his "voice" (guitar in this case).

The most common failing of a set of instrumentals is generally that hot lead guitar work can sound redundant, no matter how dynamic, over the course of a CD.

For that matter, no matter how well you vary rhythm either.  What makes this set work is that the music seems to shift moods and colors as opposed to playing solos that after a while only other guitarists can tell apart.  This also allows Barry to avoid changing his guitar approach simply to sound eclectic.  A twangy country picking tune would sound out of place here.

The textures and moods vary, of course, and range from haunting West Side Chicago to cool, GRT-style jazziness, and will particularly appeal to those who enjoy mature, modern sounding blues that has great production values with real bite.  Above all else, it's very listenable and enjoyable music.

The music starts off with "Cobra Days/Blue Tears," an instrumental shuffle that highlights his sharp toned guitar work, followed by a medium shuffle called "Whole Lotta Blues," with guest vocalist Mary Williams.

"Blue Stew" is next, a funk-blues that has a percussive feel accentuated by tasteful, yet intense guitar work.  The pace slows down with "The Late Show," a slow blues with an after-hours feel.

"Royal Albert" is a nod to one of the influences that show on this CD, an interesting workout with an active rhythm section chopping underneath.

"Slippin' Down" features Finis Tasby as guest vocalist, and is a slow blues, but with a ballad structure, which then leads to "Earl's Ride," a fast swing blues with horns.  A smoldering slow blues called "Steel Life," comes next, and is one of the highlights of the set.

Johnny Dyer plays harp and sings a guest vocal on "Wrong Side of the Blues," a funky blues with a rolling beat and one very heavily amped harp.  Barry's clean and sharp attack cuts through the dense texture particularly well here, and makes a pretty hot track even hotter.

"West Side Rain" opens with a Magic Sam-like chord riff, and moves into a haunting West Side type blues, and the set ends with "Crawford's Grill," a smooth one with a walking bass line.

Barry's music, which is primarily instrumental, will seem like it would have limited appeal to the average listener, who tends to prefer the blues with vocals.  However, the exceptional tonal and stylistic variety should make this a CD you'll put on for company (who will find it an extremely listenable set).  Also, those who enjoy albums by, say, Jeff Beck, will find this the blues record to own.  One could add that Barry's music would hardly be diminished even in such legendary company.

Al Handa
Delta Snake Blues News