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With a brand of blues that draws from the soulful r&b end of the spectrum, In Too Deep<\/i> follows on from the creatively successful direction Rayford established on his third solo album, 2015\u2019s Southside<\/i>. Augmenting a core guitar\/bass\/keys\/drums lineup with a tight and hard-charging horn section, in places In Too Deep<\/i> also employs instrumentation more readily associated with big bands and orchestras: flute, flugelhorn, violin and cello.<\/p>\n
The album opens on a strong note with \u201cInvisible Soldier,\u201d a tune that weds a thoughtful, topical lyric to a kinetic and powerful arrangement that combines the best of blues and Memphis-style soul. The stomping title track balances a moody, sinister character with a hypnotic cyclical riff that moves the track along. \u201cNo Limit to My Love\u201d takes things is a very different: it\u2019s a sweet r&b slow jam of the first order.<\/p>\n
\u201cUnder the Crescent Moon\u201d is cinematic in its scope, with a lyric that draws the listener in from the very first line. Tasteful horns and subtle keyboard work add to the song\u2019s assets. The thrilling \u201cMiss Information\u201d has a Dap-Kings feel. Eamond Ryland\u2019s assured wah-wah guitar and Monette Marino Keta\u2019s hand percussion give the track a vibe reminiscent of the best early \u201870s funky soul.<\/p>\n
Underscoring the extent to which In Too Deep<\/i> emphasizes Rayford\u2019s facility in a wide array of styles, \u201cPlease Take My Hand\u201d is suffused with elements of gospel. The chanting background vocals and hand claps evoke mental images of a Sunday service. Other than occasional taps on a cowbell, \u201cPlease Take My Hand\u201d features only those claps, foot stomps and wordless chanting in support of Rayford\u2019s impassioned lead vocal.<\/p>\n
\u201cOne\u201d echoes Bobby Womack, with a stirring string section adding to both the sophistication and emotional content of the song. \u201cGonna Lift You Up\u201d is as ebullient as its title suggests, with a delightfully busy Taras Prodaniuk bass line, punchy brass and a nearly subliminal rhythm guitar that nonetheless helps define the song\u2019s character. Rick Holmstrom \u2013 best known as Mavis Staples\u2019 band leader \u2013 adds a sinewy lead guitar solo.<\/p>\n
Things get sultry and smooth on \u201cGolden Lady of the Canyon,\u201d a romantic number almost certainly written to express Rayford\u2019s enduring love for his wife. But In Too Deep<\/i> ends as it began, with a funky, upbeat and energetic cut: \u201cUnited We Stand\u201d is a statement of optimism that points the way toward Rayford\u2019s future.<\/p>\n
Rayford is musically up top, out front and in command throughout In Too Deep<\/i>. But praise for the album\u2019s undeniable should also be directed toward Forty Below Records founder Eric Corne. His role in the making of In Too Deep<\/i> is expansive: Corne produced, engineered and mixed the album. He also wrote eight of the album\u2019s ten tracks (the other two are co-writes with Rayford).<\/p>\n
But In Too Deep<\/i> remains Rayford\u2019s showcase. The lyrics and music are all in service of his formidable talents as a vocalist. His enthusiasm and energy are matched by his skill at getting across the emotional content of his material.<\/p>\n","protected":false},"excerpt":{"rendered":"
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