Vents MagaZine Music and Entertainment Magazine
Related Articles
I went into listening to Little Muddy’s Chain Link with a smattering of hesitation. It may be a hard sale for some convincing them that even a long-lasting instrumental unit can produce compelling material relying, essentially, on rock and blues themes to carry the day. It isn’t all that Little Muddy does, but it’s a big part of their presentation. Guitarist Rich Goldstein and his bandmates pull it off, however, thanks in no small part to the album’s sound. Co-producer Adam Rossi contributes mightily to the final product; he shares co-production credit with Goldstein, but I think it’s natural to assume Rossi played a more hands-on role in shaping the album’s sound.
URL: https://www.littlemuddy.com/
It has evocative atmospherics without ever laying it on too thick. “Chain Link” blends funk, rock, and blues together in a spicy concoction that never strikes a forced note. It all begins, however, with the drum track. Mark Abbott’s drums lock into such a deep groove that I’m tempted to shut every other aspect of the song out when hearing it. His killer playing continues to achieve the same results with the second track “Groove Town”. It has swing for days while still showing obvious attentiveness to the accompanying instruments. He’s particularly in tune with Goldstein’s guitar.
I appreciate the interweaving guitar lines heard throughout much of “Slow Time”. Their union plays in unison at some points while others exploit entertaining or ear-catching contrasts. You can’t help but be impressed by the orchestrated yet natural flow present in this performance; it sounds inevitable rather than composed. “Scirocco Escape” burns at a white-hot simmer from the start with occasional gouts of flame erupting from Goldstein’s guitar. The intensely rhythmic thrust of this song underlines his playing.
“Night Highway” is another burner. I love the space that the band gives this song to develop without ever tacking it onto the overall running time. It’s an excellent example of no wasted motion in instrumental songwriting. Little Muddy, likewise, has common chemistry that comes alive here. Pastoral textures and flamenco-style flourishes dominate much of the track “Edge of the Forest” and the last such track of its kind, acoustic-driven, shares many similarities with its predecessors.
ARMADILLO RECORDS: https://armadillomusic.com/UPC/195269113810
Kevin White’s understated yet tasty bass playing begins “Lagos Layover” before Goldstein enters with especially grateful chords. Rossi plays another important role on the album contributing keyboards at key points and his presence during this song is essential to its sound. Goldstein’s guitar-playing moves from Carlos Santana-like passages of near ethereal beauty alongside much more fusion-style offerings. If no other song did, “Lagos Layover” proves his subtlety as a player.
“Route 51 South” is a closing marriage of blues, funk, and percussive acoustic guitar supplying a strong secondary part. Secondary or not, however, the acoustic mixed under a louder electric lead ranks among one of the most beloved templates for songwriting since the 1960s and Little Muddy makes great use of it here. It’s a good reminder, as they are sliding out the door, that this is a groove powerhouse if nothing else. Little Muddy knows how to make you want to move.
Jennifer Munoz
