Midnight Junction

Blues rocking slide guitarist Eric Sardinas is a bona fide road dog. Hes been playing shows all over the world for decades. Perhaps because of that traveling he hasnt released a record since 2014s raucous Boomerang. Midnight Junction, released by earMUsic, is a wooly collection of originals and a lone cover. Longtime compatriots Chris Fraizer (drums) and Dave Schulz (organ and keyboards) appear alongside new bassist Koko Powell (Sheila E, Lenny Kravitz) with producer Matt Gruber helming the boards. While the guitarist doesnt change up his seasoned formula all that much, some longtime criticisms of his work are no longer valid. A startling example is in the lyrics: While Sardinas isnt writing poignant originals, he is employing fewer cliched blues metaphors and imagery. Whats more, the vibe here, while typically rowdy, is less "serious." That means Midnight Junction is a rocking party record top to bottom with some truly stellar moments. Opening single "Long Shot" uses Elmore James classic "Dust My Broom" slide assault to house-rocking effect. The verse is played in a shuffling swagger adorned with screaming fills, filthy distortion, and uncharacteristically relaxed vocals. Second track and single "Tonight" pulls a classic Johnny Winter move, wedding wooly vintage roots rock and rowdy roadhouse blues. "Planks of Pine” is notable for the dynamic, chanted, call-and-response chorus vocals from the band. "Swamp Cooler" opens with acoustic resonator guitar before blues legend Charlie Musselwhite and his harmonica start trading fours with Sardinas before the band enters a nasty, anthemic instrumental that is equal parts Southern-flavored hard rock, garage band blues, and outlaw swagger. While this could have been a sorry blues album cliche (despite the caliber of the players), its anything but: The playing by both is inspired, and high-octane with rock-solid support from the rhythm section. Sardinas has always held the late Irish bluesman Rory Gallaghers playing in the utmost esteem. Hes covered him in the past and here takes on one of his most iconic songs in "Laundromat," the opening track from Gallaghers eponymous 1971 album. In typical fashion, Sardinas and company play it at almost twice the tempo; astonishingly, its nearly punk in its intensity. He delivers the vocal with gravely soul, but dirtier. The rock & roll rave-up in the bridge is anthemic here -- a show stealer. "Miracle Mile" is a nasty yet soulful Chicago-style blues with killer string pinches and striking Wes Montgomery-esque harmonic invention. Other highlights include "Julep," "Lock and Key," and "Movin On," all with added women’s choruses. The presentation on all three recalls the overdriven sleaze & roll of Black Oak Arkansas; the good-time back porch stomp of "Liquor Store" has the sleaze but a different production style. Finally, the uncharacteristic, instrumental closer "Emelia" has glorious fingerstyle work that unfolds with phase-shifted, multi-layered psychedelia atop modal changes and a soaring finale. Sardinas fans will certainly enjoy the fingerpopping Midnight Junction to drastically improved songwriting and Grubers instinctive production skill that frames this raw, manic study in blues power. ~ Thom Jurek