Randall Bramblett Albums (6)
What The Critics Say
There is a temptation to consider Randall Bramblett's seventh solo album a continuation of his last, 2006's impressive Rich Someday. He sticks with the identical band, drummer/producer (Gerry Hanson), and Atlanta-based studio. It's even mixed by the same person. The songs are likewise a comparable set of dusky, thought-provoking funky/jazzy Southern ballads and midtempo rockers based around multi-instrumentalist Bramblett's smoky voice, keys, acoustic guitar, and occasional reeds. While some might complain that this similarly styled disc finds Bramblett treading water, his performance and the songs are strong enough to justify a follow-up to his previous release. The sound is often harder here, with rockers such as "Mess About It" pushing Bramblett's vocals into falsetto as the band churns out tough, psychedelicized licks. The opening drumbeat sets the tone for "Sun Runs," a somewhat tortured love song that establishes the disc's sober qualities. The mix of Steely Dan-styled jazz piano and rock percussion on "Blue Road" is another Bramblett trait, perhaps acquired when he worked with Steve Winwood both in and out of Traffic. It's extremely effective, especially played against his frisky words and singalong "doo doo doo" chorus. There's still an overriding sense of darkness to the mood, both musically and lyrically, as he sings "I'm not sure where I'm going now/All my direction was taken from me" on the minor-key "Visions." The cautionary "You Better Move" has Bramblett warning a friend to come out of his shell and get psychological help, all against a driving, funky backbeat. It's not an easy album to warm up to, but like his last one, additional spins help heighten the appreciation of Bramblett's generally shadowy themes set against pensive, winding melodies. Tunes such as the contemplative "Don't Waste Your Time" need to work their way into your brain but once they do, they stick around. The closing melancholy ballad "Where a Life Goes" reiterates the yellow/sun motif of the opening track, giving the disc a circular feel and encouraging the listener to return to an album best appreciated with lyric sheet in hand. ~ Hal Horowitz, All Music Guide
What The Critics Say
For his third album on New West, singer/songwriter/multi-instrumentalist Randall Bramblett delivers another terrific set of intelligent, folk-inflected Southern rock. Drummer Gerry Hansen replaces Michael Rhodes as producer and he helps position the sound to be more direct and stripped down than on past Bramblett releases. There are fewer loops and not as much layering of instruments, which makes the approach more immediate, but no less affecting. Bramblett's honey and grits voice perfectly conveys the feeling of loss that runs through the melancholy lyrics of tunes such as the lovely "The More You Fade," "Hate to See You Go," and the opening "Where Are You Tonight?" That's not to infer that these songs are depressing. On the contrary, the predominantly midtempo arrangements and melodic choruses are inviting, and even on the forlorn "Stupid Shoes" the swampy vibe is as compelling as anything from ex-employer Steve Winwood. Each track is a mini-story as Bramblett's earthy yet often dreamy lyrics and rootsy instrumentation enhance the muted colors. The "oil spot" that leads off "Oil Spot" is obviously a metaphor for something much different, but it is never explained. There are a few more rockers than usual, in particular the rollicking title track and "Queen of England," the only tune where Bramblett unleashes his sax. Instead, Bramblett's keyboards and acoustic guitar flavor the songs, all of which are beautifully arranged and immaculately, but not soullessly performed. Hansen's creative drum fills and longtime associate Davis Causey's less-is-more electric guitar solos hug the curves of the material and flesh out the melodies. Bramblett's moody ballads dominate with "It's Alright," one of the most stunning tunes despite its rather simplistic title. Repeated plays yield increased enjoyment as the songs gradually take hold and the lyrical turns and musical subtleties like the humming background vocals in "Somebody Like Me" become more apparent. For an artist that has stayed under the radar for too long, Rich Someday deserves to be the album to put talented veteran Bramblett on the map. ~ Hal Horowitz, All Music Guide
What The Critics Say
On his fifth album as leader -- and his second for New West -- wily Southern singer/songwriter Randall Bramblett keeps his cards close to the rock and roll vest, and cranks out songs that ring so large, they're almost anthems. While there a thousand songwriters who deserve more attention than they get, it's as a singer that Bramblett separates himself from the pack. His gritty, grainy, in-your-face delivery makes no apologies and takes no prisoners -- he conveys emotion in every syllable. On Thin Places, he teams up with Nash Vegas producer and session bassist Michael Rhodes, and co-writes with mate Jason Slatton on more than half of the album's 11 selections. Along with his regular band -- which is a diverse unit of crack players who include guitarists Slatton, Kenny Greenberg, and Davis Causey, as well as drummer Shawn Pelton, while Rhodes handles the bass chores -- Bramblett takes the country out of Southern rock, the hooks out of radio-friendly pop, and the roundness out of rock attack, and offers a smoking little record of songs that have at their heart a poetic intensity, an emotional delivery, and a rough-hewn grace. Standout tracks are the ringing "You Can Be the Rain," the slow, raggedly beautiful shuffle "Nobody's Problem" (which sounds like Crazy Horse fronting a band led by Delbert McClinton instead of Neil Young) and the shimmering, midnight, soul-fried funkiness of "Black Coat," with Bramblett's Hammond B-3 slithering through the mix with ghostly fills. The darkly swirling "Chet Baker," also makes its mark with gorgeous chord voicings from Bramblett's piano. The languid pace of the track, and its bubbling, subtly insistent rhythm track, move the cut with beautiful atmospherics. Thin Places is a genre-busting album, one that is realized with confidence and plenty of heart. It is the mark of a mature artist at the peak of his powers of reigning in the various forces at his disposal as a lyricist and as a tunesmith. As a singer he has passed his own high watermark for emotional authenticity and sheer gutsy verve. ~ Thom Jurek, All Music Guide
What The Critics Say
On the cover of this album you see a picture that looks like it was taken in the 1940s: a man wearing a suit and old leather shoes, carrying an old leather suitcase in one hand and a hat in the other. Add these visual clues to the fact that the album is on the New West label, and you might end up expecting a program of gritty, country-influenced singer/songwriter fare, with chiming guitars, angst-ridden lyrics, and the occasional pedal steel in the background. Wrong. The very first song, "God Was in the Water," starts things off with an almost Bootsy Collins-ish bass sound and over-tremoloed guitar, both of which lead up to the entrance of Bramlett' s artlessly rough voice. He keeps you off guard through the rest of the album, chugging funkily through the talking blues of "Get in Get out," veering off into horn-driven jangle pop on the gorgeous "Peace in Here," and mixing rusty-sounding slide guitar with drum loops and flat vocal declamation on "Hard to Be a Human." This is one of those albums that keeps revealing itself; you may not start really cluing in until the third or fourth listen. ~ Rick Anderson, All Music Guide
What The Critics Say
Former Sea Level saxophonist Randall Bramblett comes to the plate on this one with a stripped-down sound heavy on the guitars, leaving his customary sax and keyboard work on the sidelines for a more organic sound than his previous two outings. The main themes are loss and redemption with tunes ("My World," "See Through Me," "Shining Birmingham") that lyrically mirror the dark side of Bramblett's psyche. All is not dark and somber, however, as "Angel Dressed In Red" and "Soul Killer" rock as hard as anything here. While his earlier solo albums sported a much shinier production both in the playing and the sound, this one finds his music presented in a far more stripped-down and basic format, and it's all the more direct and honest as a result. ~ Cub Koda, All Music Guide
What The Critics Say
Another excellent album which didn't find an audience, Chuck Leavell of the Allman Brothers Band plays keyboards and writes an effective paragraph on the back cover stating that, in 1974, he worked with Randall Bramblett on two Greg Allman tours, and that it turned out to be "one of the most musically satisfying points in my career." There are some very big names helping out on the excellent nine songs that make up That Other Mile. Beautiful keyboard sounds -- the kind that Merl Saunders pours over his discs -- permeate the quality songwriting here. The title track and "Driftin' Into a Woman's Arms" become outstanding numbers through the jazz, blues, and pop that color these performances. Paul Hornsby's organ is perfect playing against Leavell's electric piano -- and the song "Driftin' Into a Woman's Arms" does drift on and on with backing vocals and slide guitar that remove all hype from Leavell's brash liner notes. Steve Tyrell's production is simply wonderful, as are the strings by Elton John conductor Paul Buckmaster. With contributions from the Brecker Brothers, sax solos by Randall Bramblett, and truly heartfelt vocals, the mystery here is why this artist doesn't have a deeper catalog? That Other Mile is pleasant and cries out for repeated spins. ~ Joe Viglione, All Music Guide
