The cover to Danny Bryant’s latest album, ‘revelation’, is a monochrome nightmare. Vast, uncaring cityscapes dwarf individuals who are seen merely from behind or as shadows, never as individuals with a personality. It’s a stark image, made all the more compelling when one considers that the album very nearly took its title from its second track, ‘isolate’, rather than the more redemptive ‘revelation’, and it suggests that a bleak ride awaits the listener. And yet, as is so often the case with the blues, for all of its emotional depth, ‘revelation’ is no dark trawl through someone else’s misery. Indeed, the final choice of ‘revelation’ for the album title makes perfect sense when one considers the cathartic nature of the music and, far from being a depressing piece of work, ’revelation’ is Danny’s most uplifting and thrillingly complete album to date.
Kicking off with the title track, ‘Revelation’ opens with Richard Hammerton’s tinkling keys backing Danny’s raw and smarting voice. When the band kick in, it’s on a mid-tempo blues that does much to recall Walter Trout’s astonishing ‘battle scars’ album and, like that album, the naked emotion that fires the song is all too visible. Yet, with Danny’s energetic band on hand, the result is a song that promises redemption even when caught in the grasp of the blackest mood and David Maddison’s sumptuous trumpet arrangement provides an unexpected richness which makes for a remarkable opening track. Opening with the sort of gritty guitar sound that Neil Young employs on the likes of ‘ordinary people’, ‘isolate’ draws together bleak lyrics, a virtuoso vocal performance (this album is arguably Danny’s best vocal performance to date), scintillating guitars and a chorus that serves to draw the sting before it cuts too deep. They are a remarkable pair of opening tracks and they set the tone for an album that, whilst thematically heavy, sparkles musically. The first of a number of tracks to employ the big band, with which Danny tours from time to time, ‘liar’s testament’ has a huge sound and the unmistakeable sound of a full brass section adds considerable depth. With the further addition of Dave Raeburn’s propulsive drums to the mix, you have a powerful track indeed. It’s then followed by one of the two covers featured on the album, ‘someday the rains will fall’ (John Mellancamp). The track was cut largely solo by Danny, with only Richard adding light keyboard touches to the piece and the delicacy of the arrangement serves as the perfect foil to the big band antics of ‘liar’s testament’ (not to mention ‘truth or dare’, which follows. Rounding out side one, ‘truth or dare’ is a brass-infused blues gem with a rock ‘n’ roll heart and a blistering solo. It brings the side to a joyful close and leaves the listener very much in anticipation of the second half.
Kicking off the record’s second side, we get the piano-led ‘Shouting at the moon’, an atmospheric piece with an almost progressive feel thanks to the stuttering synths and haunted lyrics. It’s a beautiful piece of music that combines Floyd and latter-day Bowie to great effect, and it offers some of the album’s most wonderfully understated guitar work. The big band return for the floor-filling stomp of ‘sister decline’, Alex Phillips’ bass anchoring the song even as Richard’s airy Hammond adds light and colour to the track. It’s the brass that really brings the song to life, however, and Danny delights in weaving his vocals and guitar around the backing track. The album’s second cover emerges in the form of ‘may I have a talk with you’ (Howling Wolf via Stevie ray Vaughan). Brought to life with the big band, the track sees Danny digging on two of his heroes – (Howling Wolf guitarist) Hubert Sumlin and Stevie Ray Vaughan, both electrifying players, and he pays tribute to both as he brings one of his very best performances. The album concludes with ‘yours for a song’, a subtle and gorgeously-phrased finale that builds a considerable head of steam as it progresses.
When one considers the bleak subject matter of much of the album, it would be easy to imagine ‘revelation’ to be a stark, depressing record. Yet, like the best musicians, Danny Bryant has found hope in loss and inspiration in darkness. His lyrics are raw and his vocal delivery has never been more passionate and powerful, yet the music sparkles with a sense of hope and healing. ‘Revelation’ is exactly that – it reveals much about its creator’s hopes and fears, strengths and inspiration and the result is an album that leaves you feeling somehow cleansed, as if the music has washed away some of your own doubts through the listening. Bruised and beautiful, it’s a blues masterpiece. 9
