VICTOR WAINWRIGHT & the WIILDROOTS

Boom Town

Blind Pig Records

13 tracks/44:05

By Mark Thompson

Over the last few years, Victor Wainwright has managed to generate a significantly higher profile throughout the blues community. Part of the attention comes from the seemingly non-stop touring the pianist does with his backing band, the Wildroots. In his free time, Wainwright indulges in the guilty pleasure of Southern Hospitality, the roots music aggregation he co-leads with guitarists Damon Fowler and JP Soars that has been a mainstay on the festival circuit. And let’s not forget that Wainwright has become a regular on the Legendary Rhythm & Blues Cruises, becoming a favorite on the nights he performs solo in the Piano Lounge. His talents were recognized when he was named the winner two years in a row of the Pinetop Perkins Piano Player Award from the Blues Foundation. A native of Savannah, GA who worked as an air traffic controller, Wainwright eventually made his way Memphis where he became a full-time musician.

Now, after four independent releases, Wainwright has joined forces with Blind Pig Records for a major label release that captures the current state of his artistry. His booming, expressive voice rings out across a baker’s dozen tunes, most written by Stephen Dees, who anchors the Wildroots on bass, guitar and backing vocals; he also produced Boom Town. Dees is the piano man’s long time musical collaborator, going back to Wainwright’s college days in Florida. Nick Black is the other guitar player while Billy Dean is charged with keeping the beat.  Patricia Ann Dees contributes backing vocals and tenor sax. The other horn players include Ray Guiser on tenor and Charlie DeChant, who switches between tenor and baritone horns.

Things get off to a rousing start with the title track, the leader belting out a promise to make an indelible impression while remaining steadfast in his efforts to reach the golden ring. He is able to wrap some dazzling piano runs around lush chords from Chris Stephenson on the Hammond B3 organ.  The following track, “Saturday Night Sunday Morning,” is a frantic rocker that recalls the classic sides from Little Richard and the Upsetters.  Black shares the lead vocal on “Stop Bossin’ Me Baby,” another horn-driven track with plenty of gusto.

Wainwright’s mournful cry is soon joined by a backing chorus that includes Beth McKee on the haunting “When The Day Is Done,” which successfully melds the promise of salvation with a dose of reality, accented by Stephen Kampa on harp. “Wildroot Farm” is a sultry duet with Patricia Ann Dees over a light and lazy rhythm. Once again Kampa takes solo honors with sweet harp licks. JP Soars adds some sympathetic acoustic guitar to “The Devil’s Bite” as Wainwright relates a frightening warning to beware of forces that can do you harm, utilizing a vocal style straight from the Tom Waits school of singing.  The world is again a dark, menacing place on “Reaper’s On The Prowl”. Wainwright creates a deeper sense of foreboding with some swirling runs on the organ. Another long-time friend, Robert “Top” Thomas on guitar, helps the band settle into a hearty shuffle for “Back On Top”. Wainwright’s easy-rolling vocal masks some of the pain of the no-good woman he vows to leave behind for a brighter future.

“Piana’s Savannah Boogie” is slightly more than two minutes of Wainwright tearing it up on the piano, his right hand spinning out dazzling clusters of notes while his left hand keeps the rhythm solidly anchored. Dees reminds us of another facet of Wainwright’s career on “Genuine Southern Hospitality,” staying squarely in the leader’s wheelhouse with a tune that reflects on one of the better aspects of life south of the Mason-Dixon line. Ernie Lancaster’s taut slide guitar licks contrast nicely with Wainwright’s bright, rolling piano interludes.

“Two Lane Blacktop Revisited” is a rocking boogie piano that suffers from clichéd lyrics until Wainwright rips off another memorable solo sequence that renders the lyrics irrelevant. The band slips into Little Feat territory on “If It Ain’t Got Soul – Part 1,” establishing a slippery groove oozing feel-good soul.  The closing cut, “Wildroot Rumble,” is an electrifying instrumental with Kampa, Wainwright, Black, and Dean playing a series of full-throttle solos that threaten to blow the roof off the joint.

As lyricist, Dees is not going to keep anyone up all night pondering the mysteries of the universe. And even though his songwriting influences can sometimes be easily recognized, he still manages to put meat on the bones of his tunes. The variety of styles and pace is tailor-made for Wainwright, who has developed into a masterful entertainer. His expressive voice and smooth delivery can elevate clichés into pearls of wisdom. Once he rumbles through a couple of keyboard forays, you can’t help but join in on the fun.  That is the magic of Victor Wainwright – he is the life of the party and is willing to let the rest of us come along for the ride!

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