At the point where the Covid-19 pandemic was about to smother the world, Albert Piccolo – masquerading as blues musician Little Albert – released the genuinely excellent ‘Swamp King’. Since it featured some superb power trio based sounds with influences from Gary Moore, Jimi Hendrix and Robin Trower, the album genuinely represented the kind of thing that most blues/rock enthusiasts would love, but from a promotional perspective, the timing couldn’t have been worse. With much bigger things at stake, at least socially, it became one of the year’s many “lost” recordings in many ways.
Four years down the line, his full length release ‘The Road Not Taken’ makes good on all of that DIY EP’s promise, but also gives a broader insight into Albert’s feeling for the blues with a couple of extended arrangements which allow him to really stretch out with some fine lead guitar work.
The first thing that’s notable about this recording, though, is that its a little smoother. Never smooth enough to feel light or commercial in a Robert Cray way, but certainly a touch slicker than the previous EP. That doesn’t mean that fans of the fuzzy end of blues rock are ever short-changed, however. The fiery solos that cut through the heart of ‘Magic Carpet Ride’ (not a Steppenwolf cover) capture Albert in blistering form, and the sharper end of his lead work acts as the ultimate contrast to the track’s otherwise mournful, almost soulful qualities. In terms of blues rock with a strong melodic heart, it’s a perfect arrangement, since it builds slowly via a riff that’s very Bonamassa-esque, and the solid rhythmic qualities of the tune fit perfectly with a vocal that never raises beyond a gentle cry. By ensuring the vocal sometimes plays second fiddle to everything else, this allows the bursts of electric guitar to come through with a real vigour without Albert ever feeling like he’s resorting to anger, or somehow overcompensating for a lack of melody – something that all too often hampers blues rock bands from being enjoyable in the long term.
Taking more of a traditionalist’s approach, the album’s standout ‘Demon Woman’ works a well worn path in terms of traditional electric blues, but the slow workout really captures the spirit of Eric Clapton’s live performances of ‘Ramblin’ On My Mind’ and ‘Have You Ever Loved A Woman’ from his 1975 tour, as well as the power in the blues of Robin Trower and, latterly, Gary Moore. In this respect, it’s blues coming from a “white rock musician” angle, but it’s hard to find fault with the end result. At the beginning of the number, the balance between aching vocal and melodic counterpoint from the guitar work is almost perfect, and when the inevitable lead break cuts through, Albert plays with a genuine fury that’s a match for anything on his debut EP. Listen more closely and the track also unveils some fine bass work from Alex Fernet who latches onto a slow rhythm, but also shares a tone that makes his unfussy playing feel just a little grander.
With a touch more reverb, the groove-centric ‘Still Alive’ pushes the guitar a little further forward in the mix, and the live in the studio sound makes a great feature of some louder lead work. If anything makes the more predictable parts of blues number hold up, though, it’s the way Albert uses a sharp chord as punctuation, chopping against the swaggering rhythm. As expected, a huge solo – absolutely loaded with long, reverbed notes – compliments the tune perfectly, giving a nod to Moore once more, but if anything stands out here, it’s the decision to go radically off-piste for the song’s middle eight. Stepping away from the standard blues, Albert and his band launch into a speed driven riff where a far jauntier feel takes on more of an R&B quality, and its heavier rhythmic tendencies share a mood that’s much closer to the pop and psych of the late 60s. It’s a dramatic twist, sure – but it works. Cranking the volume a little more to allow for a fatter guitar tone, ‘See My Love Coming Home’ mixes a spooky desert rock vibe in with the power trio’s sound, and this feels a tad more theatrical in its own way, but with the core still very much centring around the dirty electric blues, the performance fits the album very naturally. In terms of vocals, Albert’s crying tones are among the album’s best, but he’s often outshone by his own guitar work which, between the chunky chords, shares some howling leads which accentuate the number’s darker intents with a perfect tone, even when overlaid by a harmonic element which makes everything sound a little more dense. In keeping with the heavier approach, drummer Diego Dal Bon attacks his toms with a little more force, but as with the rest of the changes applied here, his extra volume never comes at the expense of a strong melody.
Those hoping for something a little softer get their wish via ‘Hiding All My Love Away’, a number where the Moore and Bonamassa infused blues is joined by a light, hazy and almost post-psych feel. The layers of sound that smooth out the guitar actually have the effect of making the vocal feel more natural somehow, and overall, this vaguely trippy blues rocker shows how even the slightest change within Little Albert’s musical approach can result in something that feels quite different. You’ll still find a very enthusiastic lead guitar bringing a world of electric blues that feels very familiar, of course, so it’s never a complete step out of the band’s comfort zone, but it’s a pleasure to hear them shaking things up a little more. Retreating back to something a bit more traditional, ‘This House Ain’t A Home’ offers more of a stripped down feel at first, and the combo of slightly reverbed guitar and melodic vocal more than hints at a love of the emerging blues rock sounds of the late 60s. Eventually blossoming into a busier riff where the harder elements of Hendrix and Ten Years After bulk out the sound, this number captures almost the full range of the Little Albert blues scale. It might not achieve anything that’s drastically different from the other tracks, save for a Doors-esque keyboard solo leading everyone into a surprisingly undramatic climax – but potential fans should still gain a lot of listening pleasure here.
On the ‘Swamp King’ EP, Albert shared a love for Robin Trower with a rather stately version of ‘Bridge of Sighs’, and gave a track best associated with Cream a superbly moody send off. That take on ‘Outside Woman Blues’ – originally by obscure figure Blind Joe Reynolds, but popularised by Enoch Clapton and company – came loaded with fuzz, and a menacingly slow tempo that really brought the retro blues elements out of the groove. In keeping with that previous release, you’ll also find an inspired cover propping up the tracklisting here, and a pleasingly noisy run through of the Little Walter classic ‘Blue & Lonesome’ fits the Little Albert canon brilliantly. Although he’s retained the original melody, he makes the track his own by transposing the music to a softer arrangement. The shuffling drums and electric piano lend the recording a very soulful feel that’s closer to something from Christine Perfect than Little Walter himself, and this gives the track a pleasing warmth that the Rolling Stones recording from 2016 lacked. The melody applied here applies the mood and tempo of Led Zeppelin’s ‘Tea For One’, but shares a sound that feels far more authentic. Albert’s vocals are low in the mix, and their echoing qualities merely add to the sadness, whilst his perfectly toned lead guitar work is a match for any of the white bluesmen emerging from the late 60s and beyond. Simply put, if you want to experience a rock tinged recording that conveys a classic blues style with near perfection, you need to hear this.
In just seven tracks and thirty five minutes, this is very much an exercise in quality over quantity. Little Albert has wisely avoided temptation for any obvious filler with this release, even though adding another cover or two would have been a very easy option. With the tracks always capturing a brilliant live feel, it’s a record with a near timeless quality, so, whether you’re already familiar with Albert’s work or approaching this album with fresh ears, ‘The Road Not Taken’ should really hit the mark for lovers of the electric blues.
April 2024