A companion album to Dion’s book of the same name, Rock ‘n’ Roll Philosopher contains a mixture of tracks from Dion’s recent output, new material, classic cuts, as well as a handful of re-imagined pieces, all brought together to tell the life story of this much-loved artist. With guest spots from Joe Bonamassa (upon whose label this album is released), Sonny Landreth, Mark Knopfler, and Eric Clapton, it’s something of a who’s who of blues, and it does a fantastic job of bringing Dion’s extraordinary career to life.
It opens on a strong note, kicking off with the glorious, mid-tempo blues of I’m Your Gangster Of Love. A new track, it has a smooth groove and tasty lead work, nodding to the likes of the Rides, and it makes for a suitably electrifying start.
Dion immediately follows the sparkling opening with another new cut titled New York Minute. A doo-wop pastiche beamed straight from the fifties and delivered with a sparkle in the eye; it establishes in no uncertain terms that Dion has lost none of his gift for melody and it stands comfortably alongside the likes of the unassailable classic, Runaround Sue, which makes a welcome appearance toward the album’s end.
That airy, fifties vibe remains on Ruby Baby, the sort of blues-infused rock ‘n’ roll number you might have found on an early Beatles album, complete with sublime backing vocals and the sweet sound of the saxophone. It’s a lovely track, although it pales in comparison to Take It Back (which features Joe Bonamassa). Led by a stinging riff it’s only barely held in check by a taut beat, and it’ll have you tapping your feet in no time.
Next, it’s time for another new number and it’s a stunner. Titled New York Is My Home, it’s reminiscent of the work Eric Clapton, Sting, and Michael Kamen did for the Lethal Weapon 3 soundtrack, and it’s wonderfully evocative of the titular city. Then there’s the dirty delta blues of Cryin’ Shame, which features an instantly recognisable guest spot from the wonderful Sonny Landreth, whose distinctive style elevates any track with which he’s associated.
Not many guests could follow Sonny but then Mark Knopfler is not any old guest. With an equally distinctive style, he helps to drive Dancing Girl, and the result is a gorgeous track that, with its rich melody and laid-back vibe, harks back to the ubiquitous Brothers In Arms album.
Unfortunately, having delivered two mini masterpieces, the album takes a rare wrong turn. First up is a new piece, the folksy In A Heartbeat Of Time. Led by an oddly treble-heavy guitar, the track fails to fully take off and, although it’s not a bad song per se, it’s just not up to the high bar found elsewhere. This, along with the countryfied Serenade / Come To The Cross – a surprising Tom Wait’s cover – which follows it, creates something of a lull at the heart of the record.
Fortunately, Slowhand himself is waiting in the wings to help set the album back on the right path. He delivers a fiery performance on If You Wanna Rock ‘n’ Roll, a heartfelt ode to a genre that has meant so much to both artists, and it helps to reignite the record. Next, the sound of a roaring motorcycle kicks the hard-riffing Ride With You into gear, Dion and his band clearly having fun as they deliver an electrifying performance that pulses with life.
A mix of country and AOR awaits on the mellifluous Abraham, Martin And John, which drifts dreamily through the aether. It’s followed by another new recording, the swinging King Of The New York Streets, which emerges as a cracking blues rocker with some heavy lead guitar. It’s delivered with panache and stands as an album highlight as a result.
It’s way back through the mists of time next, as Dion leads us to doo-wop classic Runaround Sue. An absolute gem, if this 1961 treat leaves you with anything other than a huge smile plastered across your face, there’s something medically wrong with you. No less wonderful is The Wanderer. Recorded the same year, it’s another addictive doo-wop piece that you’ll be singing for weeks – you have been warned. The album ends with one last new recording and, in the wake of the preceding pair, it has a tough act to follow. Fortunately, Dion is up to the task and Mother And Son wraps the album up on a sweetly reminiscent note, set to gently picked guitar and swathed in gorgeous vocal harmonies.
A unique artist who has carved out a remarkable career, Dion tells his story over the course of 16 tracks which will appeal as much to old hands, thanks to the new recordings, and newcomers alike. Although it suffers from slightly odd pacing, which results in a brief mid-album lull, it’s largely stuffed with gold, and the new tracks are more than worth the price of admission alone. 8/10
