Review Summary: One step forward, one and a half steps back.
When in 2012
Bliss hit the record store shelves (do albums do that anymore?) it took everyone by surprise. Just by listening to that 15-minute EP, one could feel the birth of something important, unlike the majority of vintage rock bands. The voice of Elin Larsson accompanied by the performance of guitarist/boy wonder Dorian Sorriaux, and of course the songwriting itself that reeked emotion, raised the level of expectations almost to an unfair point for a new band. However with their debut, Blues Pills managed to prove that they weren’t just a one-and-done type of act and rightfully took their place among the most interesting modern rock bands.
So reading that the Swedes’ sophomore effort would be more experimental by including funk and soul elements, added to the curiosity regarding the band’s next step. Indeed,
Lady In Gold, even though is made of the same materials as its predecessor, is more groovy and includes influences from Motown acts such as The Temptations or Aretha Franklin even though she never recorded for the legendary Detroit label.
On first listen, album opener “Lady In Gold” and follow-up “Little Boy Preacher” create a sense of excitement with their catchy rhythms and use of backup vocals as these two tracks are fine examples of what Blues Pills are trying to achieve on this album; well crafted and disciplined rock songs with soul influences that have their basis on infectious grooves. Apart from the backup vocals, a new addition compared to the debut is the use of keys, in the form of piano or mellotron, as evident on the ballad “I Felt a Change”. In addition, one can also find gospel touches on some of the vocal lines of “Little Boy Preacher” and “Burned Out”. Moreover, after the initial burst of energy, there’s an evident change of pace towards mid-tempo that begins with “I Felt a Change” and continues with album highlight “Gone So Long”. The latter proves that Elin’s charisma is such that doesn’t need the accompaniment of a single piano to shine, as it works like a glove on emotional blues rock songs while an additional reason for making this song special, is Dorian Sorriaux’s appearance with an emotional solo. Which brings us to one of the reasons that
Lady In Gold isn’t really as exciting album as the band’s debut, when we get past the soul flashes; Dorian Sorriaux underutilized as he is, can do so much more if given the space, but the nature of music that Blues Pills play here just doesn’t give him the necessary air to breathe. On the contrary, the drums play an increased role as they drive the rhythm on most of the tracks, bar the bluesier ones.
“Bad Talkers” is also an interesting song as it pushes the envelope even further and may signify where the band wishes to go in the future. Same might be the case with “Won’t Go Back” and “Rejection”; two songs that are similar in nature and prove how much Elin Larsson is influenced by Aretha Franklin. Similarly to their debut and “Gypsy”, Blues Pills chose to do a cover, this time by Tony Joe White. Checking the original, makes sense to both the reason they decided to cover this song and what are the band’s influences these days.
At this point, or even at any point, there’s no doubt that Elin Larsson is the band’s spearhead. Nevertheless, nothing is more important than songwriting and this is where Blues Pills’ sophomore effort eventually suffers. By no means
Lady in Gold is a poor LP but remove Elin from the equation and what is left is an average record that, with the exception of 2-3 tracks, is quite forgettable. The increased Motown elements that are injected on here are certainly welcome and do show a will to progress, but it’s going to take more than a few oohs and ahhs in order for the band to get back on track and create an even better album than their debut. Eventually,
Lady in Gold might be proven a significant transitional album as Blues Pills are trying to find their niche, which is always a good thing. However, compared to the band’s debut this one is a less intense, energetic and gritty affair. It might be a case of having to follow such a strong album that really makes this one slightly pale in comparison, but one way or another, Blues Pills’ next effort might as well be their most defining and crucial one.
