In A Roomful Of Blues is a crackling effort by the latest lineup of New England favorite, Rhode Island-based Roomful Of Blues. Everything here is up to this 50 plus year old band’s standards, and, the boys stretch out a bit lyrically with some contemporary themed lyrics as well as with some more rockin’, funkin’ grooves. Yet, all of it can transport you back to a classy 1940s to late 1950s night club show band atmosphere. Most of the original numbers were written by guitarist Chris Vachon and guest singer/musician Bob Moulton
Opening track “What Can I Do,” a cover of a song partially credited to Don Robey, jumps into action with plenty of snap, crackle, and pop. It blends oldies rock and roll idioms with a swinging blues horn section. Not only do the horns blare with pleasing eruptions, one horn takes on a solo flight that burns as it moves rapidly forward. Blues piano and a cracker jack rhythm section push it with danceable momentum. On his third Roomful album, vocalist Philip Pemberton sounds better than ever. Maintaining his usual Jack Daniels smooth croon, Pemberton increases his assertive, soulful side, making this song click with hip attitude and worldly awareness.
Speaking of Pemberton, he gives more of himself, soulfulness and self-discipline, on “You Move Me.” His vocal delivery, self restrained, is full of feeling here and he rolls it out like those classic singers of yesteryear, letting his cool, relaxed approach spread it over the instrumentation with a reassuring confidence. A second treat is a saxophone phrase that move through the rhythmic twists and turns with a cool jive that just keeps on pumping. Pemberton co-wrote this dandy with Roomful’s 22 year veteran guitarist Chris Vachon, one can only hope he writes more songs in the future.
Title track In A Roomful Of Blues is a peppy mid-tempo piece packed with classy touches of horn, piano, organ, and groove. Chris Vachon emits bits of brittle, greasy electric guitar notes that flavor this tune like bacon on a tasty burger. Pemberton asserts his vocal power with just enough force, just enough belt to keep things soulful, real, and swaggering.
Already a hit single on national blues radio, “Phone Zombies” catches the ear with hip, snappy vocals over engaging bursts of electric guitar. Pemberton finesses the lyrics about our smart phone obsessed society as Chris Vachon powers it with guitar phrase that erupt like blaring horn shots.
“Watch Your Back” gets a rollicking bass line from John Turner, a low end movement that this whole deal swings around. Chris Vachon presses out some biting guitar notes as Pemberton sings this one with a street preacher charisma A hip, swaggering, cautionary message about today’ modern criminals and hustlers, this one makes you picture the bad guys coming up behind you. The Roomful horn section backs this one with an interval of horn shots that give more swing and that contrasts perfectly with the tight formation of the other instrumentalists.
An elegant, down tempo blues number, Vachon and Moulton’s “She Quit Me Again,” exemplifies the ensemble strength of this eight piece band. Pemberton’s refined soulfulness at the microphone, Rusty Scott’s sensitivity at the piano, and the horn section’s emotive moan insure that this work stands out for its mellow expression of a loner’s heartbroken, downtrodden mood.
The Roomful boys have fun with the rollicking “She’s Too Much.” Again, John Turner’s bass makes it swing. Drummer Chris Anzalone moves it into Turner’s swinging, pulpy motions as pianist Rusty Scott, who composed this number, tinkles its magic feeling. Electric guitar riffs and bouncy horn shots make it showy fun. Pemberton, meanwhile, keeps everything jazzy at the microphone with his loosey goosey jive cat exuberance.
A cover of Gary Cumming’s New Orleans flavored “Have You Heard About Me” feels Big Easy in more ways than one can count. It’s in trumpet player Carl Gerhard’s wide, effusive melodic line, guest musician Dick Reed’s swaying accordion line, Chris Vachon’s jumpy electric guitar chords, and a chunky groove. Alongside the breezy fun, vocalist Phil Pemberton coolly expresses the swooping movements of this piece with his honey smooth vocal.
“We’d Have A Love Sublime” moves like the best 1950s rock and rollers. Chris Anzalone’s tricky backbeat and engaging fills make it come alive with propulsive power. Over that beat can be found blazing horns, knobby low end, riffy electric guitar funk, and a layering of piano and organ that keep this rooted in an earlier time. Pemberton’s low key vocal let s him emit just the right amount of cool per verse. There is plenty of danceable fun packed into each meter.
The slow boil blues number here might not have gone over well in earlier decades. Yet, “Carcinoma Blues” feels very acceptable because of how familiar we all have become with this disease as it has taken so many from us as we helplessly look on at their struggles. This tune, regardless of its topic, has all of the trademark qualities of epic blues numbers. Pemberton’s heartfelt crooning, Vachon’s smoldering lead guitar, Scott’s jazzy tinkling, sustained horn blares, and a nice thick groove bring this tune to glorious life as it describes the ultimate battle.
Roomful tackle the old Doc Pomus classic “Too Much Boogie.” Capturing the essence of this jump-blues call and response number, Pemberton’s vocal is appropriately full of mid-20th century pop. The horn section guys take turns blowing out full-filled boogie woogie lines of various thickness. Gluing all of this together is the piano and rhythm section, maintaining a lilting groove all the way through.
“Let The Sleeping Dogs Lie” bops in with mid tempo muscle. The groove, pulpy and full, pushes things forward with a nice thick low end and adept drum fills. Vachon’s works his snappy melodic line into a dance of curlycues around that rhythm section. Then, the horn section punctuates with swinging authority and the whole thing comes together with Pemberton’s vocal strut occupying just the right spaces.
Close out track “I Can’t Wait,” contributed by Roomful’s sax player Alex Razdan, feels like a jump blues number from an earlier time. Razdan’s zippy sax phrase dances around the groove with spirited drive and that sets the tone for the entire piece. The bands swings with wind in their sails here, grooving with large energy coming from each player. Each band member is keenly aware of what each songs needs and here Pemberton’s measured vocal reveals ultimate passion without overwhelming the piece.
Roomful Of Blues have come up with an impressive busload of passionate vocals and soaring musicianship on this new disc, In a Roomful Of Blues, recorded at PM Studios in Wakefield, Rhode Island and The Power Station NE in Waterford, Connecticut. With the vibe of large party and the talent to keep that party swinging, this band delivers the goods aplenty.
