Album Review: D.K. Harrell – Talkin’ Heavy

In this era of “blues lawyers” – dilettante guitarists who can afford pricey gear and private lessons, but who possess no true feel for the blues – the emergence of a true talent such as D.K. Harrell is cause for celebration. This Ruston, Louisiana native got his introduction to the blues through immersion in the music of the three Kings (especially B.B.), Elmore James and Muddy Waters. And he applied the lessons he learned about sound, feel and presence to his original – yet traditionally grounded – songcraft and style.

Harrell debuted on record with 2023’s The Right Man. A musical statement of purpose, that album was a near-perfect balance of power and taste. The release augured big things for the guitarist, still in his twenties. In the time since that album’s release, Harrell has wowed concert and festival audiences with his precise and deeply soulful guitar artistry and authentically passionate vocals.

Again working with guitarist-producer Christoffer “Kid” Andersen” at Kid’s Greaseland Studios, Harrell now returns with Talkin’ Heavy. And while Andersen’s signature organic approach to production is a feature of the new record, some subtle changes in priorities are evident.

Those changes are apparent right out of the gate. The album opens with “A Little Taste,” a searing and catchy uptempo blues number that showcases Harrell’s voice and clean, single-note guitar runs. But the tight horn section that added even more muscle to the opener and title track of his debut are dialed back here. They do their job and do it well – no question there – but Andersen’s mix makes certain that the listener knows that it’s Harrell’s show.

That aesthetic is applied throughout the disc. On “Grown Now,” Harrell employs the patented B.B. King voice-and-guitar dialogue, but he makes the style his own. The superbly funky support ensemble on this and all of the record’s dozen buts is Andersen on rhythm guitar, bassist Andrew Moss and the endlessly expressive Jim Pugh on keys. Moss lays down bass lines that are interesting enough to merit attention, yet always rock-solid and in service of the songs.

Lovers of melodic guitar work will find much to savor on Talkin’ Heavy. But Harrell’s skills as a songwriter are on par with his instrumentalist and vocal gifts. The lyrics strike a knowing balance between authenticity and adherence to blues conventions. The title track in particular is another in the long line of this-is-what-I’m-about blues tracks, but Harrell delivers it from an honest place.

Harrell isn’t afraid to break out of the standard blues changes box; “PTLD” is a brisk shuffle with some tasty (and judiciously applied) backing vocals that imbue the tune with a pleasing soul-disco flavor. Derrick “D’Mar” Martin lays down a kinetic beat on this and five other cuts; the remaining tracks feature June Core on drums.

In sum, balance is the primary defining characteristic of Talkin’ Heavy. With excellent support from his musical associates, Harrell delivers fresh, original material rooted in tradition. Never too much of this, always enough of that: Talkin’ Heavy defies any music business notions about that so-called sophomore slump; D.K. Harrell’s second album is the real deal, start to finish.