THE CONGREGATION

Record Collection

Independent

By Linda Cain

“You only love me for my record collection. You say you’ve never felt a deeper connection. Nothing gets you going like my Motown and Stax!”

Gina Bloom’s roof-rattling voice blasts from the speakers with these clever lyrics about a romance founded in mutual love of old school soul music, thus kicking off the slinky title track, and first song, on The Congregation’s sophomore CD: Record Collection. Right off the bat, the band lets us know that it’s all about the vintage vinyl, which sets the tone for the rest of the devoutly retro sounding album.  When the talented young lead vocalist sings, she wears her heart on her sleeve; she is backed by an ace band that wears its musical influences on its collective sleeve. Or, as the band tells it: Record Collection is “a love letter” to the rock and soul records that these nine bandmates grew up with.

This self-described “bluesy garage rock soul band” cites influences that range from Elvis to Otis Redding, Aretha, B.B. King and even Iggy Pop. Since its formation in 2009, The Congregation has been winning a devoted flock of fans. The group has opened for the likes of Wilco, Flaming Lips and Garbage and has performed at South by Southwest in Austin, TX, after winning a local competition.

The Congregation made a nice splash and won rave reviews with Right Now Everything, their 2012 debut CD.  Both albums, past and present, feature nearly the same lineup, with a new bass and trumpet player this time around. Both releases contain all original songs that hew to the band’s signature sound featuring: Gina’s impassioned vocals, Charlie Wayne’s roots-rock/bluesy guitar, the smokin’ engine room of drummer Dan Wendt and bassist Steve Schuster, and keyboardists Chuck Sansone and Paul Pinkham. Add to that, the big, bad-ass horn section of: Nick Nottoli (trombone), Erik Eiseman (sax) and Justin Amolsch (trumpet), and you’ve got a band that springs from a mighty pulpit. This is a congregation of MVPs – each of them contributes heartily to create songs with style and substance.

While Record Collection stands as an homage to the glorious past, The Congregation’s well-crafted songs with universal themes, terrific horn arrangements, danceable beats and sing-along melodies present a dynamic, hip, contemporary sound. Comparisons to Sharon Jones and the Dap-Kings, Alabama Shakes and the late Amy Winehouse come easily.

Gina possesses the riveting voice of a classic soul singer – just the right mix of grit, sass, and tenderness – who can truly inhabit a song. On “Gonna Get You Back” she pleads for a lover to return over an insistent stompin’ beat, as she sings a gutsy call and response with the mighty horns. By the end, her determined voice lets you know that she will succeed.

“Love Letter” is straight out of the Otis Redding songbook, complete with a bouncy Donald “Duck” Dunn bass line from Schuster and swirling Booker T. Jones organ by Pinkham. Pure Memphis magic!

Wayne’s guitar tears it up on “Better Days” as he stomps on the wah-wah pedal for some good ‘n’ greasy garage rock solos. Again, Ms. Bloom’s protagonist implores her man not to leave, promising there will be better days, as the horns soar along with her voice.

The slow burnin’ ballad “They Will Fall” will get you singing along on this powerful, melodic message of hope, delivered with conviction by the soulful songstress. This is a tune that can stand alongside a venerable classic like Sam Cooke’s “A Change Is Gonna Come.” Great stuff!

So is “Sentimental One,” another slow burner about discovering love for the first time. Gina and the band lay down the groove and build the drama; at first the singer insists on her reluctance until she finally lets loose, screaming Janis Joplin style, to joyfully declare: “I’ve never been in love. Not until I met you!” as Cupid delivers the arrow.

“The Bottom” is about the down side of love, the kind of love that gives you the real blues. Gina’s voice jumps through a variety of emotions -- from quiet desperation about a broken relationship she wants to repair, to a crescendo of down-on-her-knees pleading and crying in pain. “Come home back baby! Come back to me!” Charlie Wayne’s blues guitar wails along with her; a churchy organ tries to soothe her torment; the horns call back to her in vain. And so ends Record Collection, with an emotional rollercoaster ride.

But wait, there’s more – the real closer is a spooky instrumental reprise of the title track, complete with psychedelic guitar, snaky bass line and the entire band sounding like they are inside an echo chamber -- just an extra lagniappe before the needle lifts from the groove.

All in all, this sophomore CD from The Congregation stands as a triumphant return to soul. And a quick peek into the band’s personal record collection.

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For info: http://thecongregationband.com/

To buy the album: http://thecongregation.bandcamp.com/

To read Chicago Blues Guide’s interview with singer Gina Bloom, click HERE