Sonny Landreth Albums (7)
What The Critics Say
Louisiana slide master Sonny Landreth takes his time between releases -- his last studio disc of original material was five years prior to this -- but when they arrive, the wait seems justified. For the debut album on his own Landfall records, Landreth calls in marquee name guitarists Eric Clapton, Mark Knopfler, Robben Ford, Eric Johnson, and Vince Gill to bolster the visibility factor. Rather than focusing on guitar duals, Landreth wrote songs that incorporate their styles, and occasional vocals, organically into the material. There are plenty of stunning solos of course, but they are integrated into the tunes that stand up just fine without the six-string fireworks. The album's title is a double entendre as "reach" is a body of water and also describes Landreth inviting his guests to be part of the project. The water theme appears in a few post-Katrina songs like the scathing "Blue Tarp Blues ("Air Force One had a heck of a view, lookin' down on the patchwork of the blue tarp blues") and others such as the bluesy "Storm of Worry," featuring Clapton's trademarked licks. Dr. John pays a house call on "Howlin' Moon," bringing his New Orleans piano and backing vocals to a second line burner that shifts into harder-edged rock but maintains its inherent Crescent City vibe. Jimmy Buffett, who sings backing vocals on the track, is virtually inaudible. The lovely ballad "Let it Fly" slows down the mood and sounds somewhat like something that Landreth's old boss John Hiatt might write. Ford sings and plays on "Way Past Long," a terrific meeting of the minds where both contribute guitar and vocals to a funky stomper that is a true collaboration and one of this album's many highlights. Guitar freaks will salivate over the raging instrumentals "Uberesso" and "The Milky Way Home" the latter where Landreth trades riffs with Eric Johnson, whose own style complements that of the headliner. At just over 45 minutes, it's over too quickly, but there isn't a wasted note here. The songs are some of Landreth's most heartfelt, his singing is emotional and understated, the production (Landreth with Tony Daigle, who also engineered) perfectly captures these performances in their swampy glory and the playing, by everyone, is inspired. The guest guitarists do their jobs well, but this would be a strong project even without them, and is surely one of Landreth's finest sets to date. ~ Hal Horowitz, All Music Guide
'The Road We're On'
Release Date 1/28/2003
Tracks 12
Label Sugar Hill
See Album Tracklist and Review
What The Critics Say
Following a few years after Levee Town, an album tightly focused on a specific place and time, Landreth dedicates The Road We're On to the more intangible magic of the blues. The music this time scans a vast panorama, from the Texas shuffle of "All About You" and zydeco pulse of "Gone Pecan" through the tub-thump beat of some Bayou dive on "Juke Box Mamma." Aside from a couple of cuts on which he plays standard guitar, Landreth fills this album with wizardly slide work: A shimmering lick at the end of "A World Away" provides the most gorgeous sonic moment, though his extended jam on the environmental call to arms "Natural World" sustains a high level of intensity through several choruses. On most of these tracks Landreth performs in a raw trio setting, almost all the time recording live; on "Hell at Home" he even keeps the scratch vocal, rather than overdub a fresh version, because the four-beat groove, reminiscent of "Walking Blues" on Paul Butterfield's East-West, is so in-the-pocket. With more focus on the playing and less on studio polish than he's shown in years, Landreth affirms his mastery in all the feels of The Road We're On and, more importantly, reminds listeners that bottomless power still lives in the body of the blues. ~ Robert L. Doerschuk, All Music Guide
What The Critics Say
This is slide guitar wizard Sonny Landreth's most ambitious work, and true to form it comes with no glossy fanfare (even the packaging is sepia tinted), just straight-ahead, well-crafted songs played with his usual intelligent, heartfelt playing. Like the photos that are easily passed over due to the quiet subtly of the sepia tones, the intricacy of his guitar work can easily be overshadowed by the flash that is inherent in the slide guitar. He takes the time here to do a number of acoustic songs and shows that there is more to him than a loud flash. Give a listen to "Love and Glory," in which he is helped out by Jennifer Warnes and Herb Pedersen doing background vocals, Errol Verret on accordion, and some stunning fiddle work by Michael Doucet. He wrote all the songs except "Angeline," which he co-wrote with Will Jennings, and his sophistication as a storyteller is becoming more fully developed. This is a disc that shows his true maturity as a songwriter. He has a tight band working with him, and he employs his friends, who help him out to his best advantage. There is plenty of straight-ahead high voltage Zydeco here, and there is also the quieter more introspective song. A well realized and balanced piece of work that truly reflects Landreth's Zydeco/Louisiana roots. ~ Bob Gottlieb, All Music Guide
What The Critics Say
Sonny Landreth's screaming slide guitar plows right into you and carries you along on its feral journey. This CD opens going for your guts and never quits, though at times its touch is more caressing than careening, as in "Cajun Waltz." This CD got a lot of airplay yet never got tiresome, the true test of good music. A wide variety of slide guitar styles, backed by an extremely tight rhythm section and various other New Orleans musicians adds to the pleasure of the album. This music combines the best of zydeco, New Orleans R&B, Cajun, and rock & roll into one mood-elevating experience. Listen to "Mojo Boogie" next to "C'est Chaud," then go on to "Shootin' for the Moon"; there is no letdown, but there is great variety. A must-buy. ~ Bob Gottlieb, All Music Guide
What The Critics Say
This is music from the Saturday night dances in Louisiana; the hot and sweaty have a good time dancing, drinking, and looking at all the people. Do not look for the Royal Albert Hall production on this CD, as on his stunning South of I-10 with its myriad "guest artists." The feel for this music is shown by someone who grew up with it. Listen to the respect and feeling he gives to Clifton Chenier's "If I Ever Get Lucky." Try to keep your body and feet from bouncing to the beat of "Sugar Cane" or "Little Linda." Doesn't your eye start to look around for a dance partner, even though you're in your living room? There is solid playing throughout this CD even though the sound is a bit thin at times and the big-name guests are nowhere to be found. It is a solid effort that spans the musical boundaries of all of Louisiana. Cajun, zydeco, blues, and country are all blended together so they are no longer confining, but a homogenous mix. A solid effort. ~ Bob Gottlieb, All Music Guide
What The Critics Say
Sonny Landreth is the Louisiana-based slide-guitar master known for his work with John Hiatt and B.C.'s Sue Medley (both make backup vocal appearances here). Like fellow ace Ry Cooder, Landreth's playing sizzles and slashes on his debut solo outing Outward Bound without idle wanking. There's lots of space where what isn't played is just as important as what is. "Back to Bayou Teche" echoes the performer's early days backing some of Louisiana's best known Cajun musicians; aboriginal rhythms grace "Sacred Ground"; commercial pop meets Southern boogie on "New Landlord"; Landreth borrows a lick or two from buddy Hiatt for "Common-Law Love." ~ Roch Parisien, All Music Guide
