Tommy Castro & The Painkillers

Closer to the Bone

Alligator Records

Ever since he rocketed to the forefront of the national blues music consciousness in 1995 with his multiple-award-winning debut, Exception to the Rule, San Jose guitarist and vocalist Tommy Castro has stirred 1960s and 70s-styled R&B, soul, and roadhouse rock ‘n’ roll into his blues. Now, as the title to his 13^th studio album suggests, Castro & The Painkillers present nothing but the blues in sundry forms, roiling and blending naturally, and splendidly. Closer to the Bone features a variety-packed set that concludes with as big a wallop as it begins. From Castro’s own “Can’t Catch a Break,” featuring a sashaying, infectious groove you’ll swear you’ve heard but haven’t, to the rip through Brownie McGhee’s (by way of Magic Slim & the Teardrops) “Hole in the Wall,” the album never fails to entertain.

Castro & The Painkillers (bassist Randy McDonald, keyboardist Mike Emerson, and drummer Bowen Brown) are assisted by a host of guests for the album. Among them are producer “Kid” Andersen on multiple instruments, Castro’s soulmate Deanna Bogert on sax and vocals, and Billy Branch and Rick Estrin on harmonicas. The legendary Sons of the Soul Revivers provide backing vocals. But nothing is overblown or cluttered. The ten well-chosen covers and four originals, cut mostly live at Andersen’s Greaseland studio, come off full-bodied and snappy at once. Castro proves himself as animated and explosive a singer as ever, and his bravura on guitar cuts across a grand scope.

“One More Night,” by the late Bay Area guitarist Johnny Nitro (one of Castro’s mentors, and with whom he cut a live album prior to his official debut), rides a chugging Stevie Ray Vaughan-styled melody, Castro’s guitar searing in tribute. Andersen and Castro co-authored the slow boiling “Crazy Woman Blues,” Emerson’s piano rolls in it delectable, and Castro’s attack Albert King-like. Those familiar with the fine style of guitarist, and Castro’s Alligator label-mate, Chris Cain, will recognize the speedy beat of “Woke Up and Smelled the Coffee” as his. Although Cain doesn’t play on the song, Castro emulates Cain’s B.B. King-inflected tone. But Cain does in fact play on the album, gracing a scintillating take of Ray Charles’s “A Fool for You” on not guitar but piano, wonderfully complimenting Castro’s piercing yet charming guitar work.

“Freight Train (Let Me Ride),” by the late, sorely underrated Ron Thompson, another of Castro’s fellow northern California players, barrels on slide guitar rails, slicing open a deep canyon of blues. Then, Randy McDonald sings his own hard charging “Everywhere I Go,” conveying his gusto for these sessions, and the blues.

Tommy Castro & The Painkillers command repeated visits back to this smorgasbord of wiry, tasty blues music with uncommon finesse that reaches into the soul and flips the switch to the ON position. Closer to the Bone should move blues lovers to dance with joy.

Tom Clarke for MAS

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