Eric Gales has always worn his heart upon his sleeve. Exceptionally talented, he lives the blues, and evidence of his enduring ability can be seen in the respect he has earned from across the blues spectrum. Here, on his latest album, Eric digs deeper than ever to provide a moving tribute to his late brother, Manuel Gales (Little Jimmy King) and the result is a thrilling body of work that lays bare the ability of the blues to seek joy amidst the keenest sorrow. With guest appearances from fellow travellers Buddy Guy, Christone “Kingfish” Ingram, Joe Bonamassa, Roosevelt Collier, and Josh Smith, it’s a moving ensemble piece that stands as one of Eric’s finest works (if not the finest) to date.
The album kicks off with a short, spoken word tribute (courtesy of Manuel’s twin brother, Danuel) followed by the big band glory of You Shouldn’t Have Left Me. A none-more-perfect example of the blues seeking joy in heartache, You Shouldn’t Have Left Me encapsulates Eric Gales’ whole raison d’être in just five smoking minutes and, if it doesn’t have you tapping your feet, you’re not playing it loud enough. Next up, Rockin’ Horse Rise ( ft. Christone “Kingsfish” Ingram) keeps the pace brisk, pairing funky guitars with Muddy Waters references, the interplay between Eric and Kingfish a joy to behold.
Having got the album off to a joyous start, Eric launches himself at Guitar Man with fire in his fingertips and a blazing light in his eyes – the track only slightly undone by a fade out that leaves you wondering how much more was caught on tape at the session. He’s then joined by long-time friend Joe Bonamassa for the excellent mid-tempo blues rocker Don’t Wanna Go Home, which has a lovely Robert Cray vibe to it. It leaves the gorgeous slow blues of Something Inside of Me to wrap up the first half of the album. A reminder that few artists currently treading the boards have quite the tone that Eric Gales can muster when he digs deep, the space between the notes prove easily as powerful as the notes he does play in a solo that aches with loss.
Opening the second half of the album, Baby Baby gets the pulse racing as Eric rips into a solo that makes you want to leap from your seat such is its frantic energy. Joe Bonamassa returns, along with his longtime friend and collaborator Josh Smith, on the gleaming big band blues of It Takes A Whole Lotta Money. Another song that instinctively raises a smile to the face, it’s beautifully played and recorded, and it sounds a million dollars, especially as the three ace guitarists square up for a finale that damn near tears the roof off.
Following the glorious It Takes A Whole Lot Of Money, Worried Man once more slows the pace, this time digging into a sound reminiscent of Eric Clapton’s collaborations with Michael Kamen (around the time he scored the Lethal Weapon Series). A lovely song given greater weight by the gleaming brass that brackets the guitar, it’s got everything you could ask from a great blues song – a memorable melody, a soaring solo, and a great performance from the band at Eric’s back.
With the album heading towards its conclusion, Eric asserts that Blues Been Good To Me – a reminder that the blues has brought more people together, united under one common banner, than almost any other musical form. A salve for a broken heart, a source of joy where joy should no longer exist, the blues at its best is the human heart laid bare and, on this funky number, Eric has a ball paying glorious tribute to the genre. Perhaps unsurprisingly, the track summons the legendary and irrepressible Buddy Guy – arguably one of the greatest exponents of the blues still living – who, alongside Roosevelt Collier, drops in to lend a hand on closing number Somebody. Opening as a stripped-down acoustic piece, it explodes into electric life with a blistering solo before settling back down to see the album out. A wonderfully dynamic piece, it provides a perfect coda to this wonderful album, and it leaves you wanting to set that disc spinning all over again, such is the vibrancy of the songs on offer.
Rather like a wake, A Tribute To LJK focuses not on loss, but on the life of its subject and the result is wonderfully life affirming. While, like the best of the blues, it is a cry from the soul, it is a cry infused with love, honouring Manuel Gales and reminding us of the unifying power of the genre. And what better way to honour a memory than to allow an audience to share in the love and respect that you feel? It is a beautiful, beautiful thing, and you cannot help but emerge from this remarkable album feeling somehow energised by Eric’s enduring spirit. Wonderful songs, given life by a truly stunning production, this is Eric’s masterpiece, and it shouts his love from the rooftops. 10/10
