David Egan
David Egan
Rhonda Sue Records
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David Egan has
penned songs for artists like John Mayall (“Wake Up
Call”), Percy Sledge (“First You Cry”), Irma Thomas
(“If You Knew How Much”), Marcia Ball (“Peace, Love,
and BBQ” and “Sing It”), and Johnny Adams (the
magnificent “Even Now”). He was part of the Cajun
band Filé during the ’90s, and is presently a member
of the great Swamp Pop ensemble, Lil’ Band of Gold.
He also recently participated in the outstanding
collection, Louisiana Swamp Stomp, and his
2008 solo release, You Don’t Know Your Mind,
was one of the best releases of 2008, and is still a
favorite of mine five years later.
So what if I tell you
that his latest release, self-titled David Egan
(Rhonda Sue Records), is even better than his
previous one? If you heard the previous effort, you
might find it hard to believe, but it is, featuring
a dozen of Egan’s blues and soul originals that are
so much a part of Louisiana that you can feel the
funk, heat, and humidity oozing from it. Egan sings
and plays piano, backed by Joe McMahan (guitar), Ron Eoff (bass), Mike Sipos (drums) and a host of guest
artists who join in on the fun.
I could see the
opening cut, “That’s A Big Ol’ Hurt,” appearing on
somebody else’s album soon, with its devastating
lyrics about a love that’s run its course. Egan’s
world-weary vocals are the icing on the cake. “Call
Your Children Home” is a funky tune about a
guitarist that features Zydeco six-string legend
Lil’ Buck Senegal. The driving rhythm of “Outta
Mississippi” brings Ray Charles’ ’50s Atlantic sides
to mind and had this “Mississippi bumpkin” rocking
along with it. “Blues How They Linger” is a
contemplative slow blues about how good and bad
times come and go.
The mood picks up a
bit with the punchy R&B of “Dance To The Blues With
Me” and “One Foot In The Bayou.” “The Outside” is a
tortured, smoky slow drag, and is followed by the
surrealistic “Funky Dreams,” that features Senegal
with Buddy Flett on guitar and Dickie Landry’s honky
baritone sax. For “Dead End Friend,” Egan moves
upriver a piece for some rocking Memphis soul,
backed by Bruce McDonald on guitar. “Sad, Sad
Satisfaction” is another slow blues about a lost
romance that sparkles with Egan’s mournful vocal,
piano and McMahan’s sympathetic guitar. “Root Beer
Baby” may or may not be the most salacious song
about dessert ever…you be the judge. The closer is a
sweet ballad, “Every Tear.”
You can look for
David Egan to be placed somewhere on my Top Ten list
at the end of the year. I know it’s still early, but
recordings of blues and soul this deep don’t come
around every year. If you’ve not had the opportunity
to experience Egan’s talents yet, this is a perfect
place to start.
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Graham Clarke