Josh Hyde

Parish Blues

Self-released

The title lets you know that bluesman Josh Hyde hails from Louisiana. This is Hyde’s third album, and this writer was privileged to have covered his debut, about which the state’s premiere guitarist, Sonny Landreth, used these terms to describe Hyde – “funky, atmospheric, and soulful.” That debut, 2017’s The Call of the Night, was recorded in Nashville with accompaniment and production from musicians who long worked with Bayou state native Kevin Gordon (Joe V. McMahan and Ron Eoff).  Guests included both Landreth and Buddy Flett. His second album, Into the Soul, was also helmed by McMahan with Eoff and others. Now, his Parish Blues is a more DIY affair, with few details in the credits and mostly Hyde’s backing band – drummer Jamey Bell, bassist Shawn Troope, keyboardist Jimmy Wallace (Joe Walsh), percussionist Derrek Philips, and harmonicist Rockin Jake. Wallace and Phillips appeared on Into the Soul as well.

Hyde has grown into a more expressive vocalist in the intervening years while continuing to deliver shifting moods, and a melodic touch across these funky to darkly ethereal to exuberant nine tunes. The sound bears those native son thick, humid, swampy qualities we associate with artists such as Landreth, Anders Osborne, Gordon, Tab Benoit, and even Daniel Lanois. Yet, those are just reference points; Hyde is first and foremost a songsmith.

Wallace’s spooky organ leads into the opener “Where to Start” as the protagonist is clearly shaken and disoriented from a breakup. Hyde’s vocal delivers the requisite angst, matched by his searing guitar lines as he builds the intensity – the writhing pain of “I Just Don’t Know” in his vocal melting into a gentle fadeout. “Since You Left” continues the heartbreak theme but with a bouncier groove and crisp, flowing guitar. “I Can’t Leave the Night” plays a swampy Tony Joe White-like standard blues groove, proving that the simplest of structures are often the best backdrops for pain-drenched vocals such as Hyde’s here.

His state of mind hasn’t changed as we get into “Might Be a Tear,” begun with “The sun comes up, I’m thinking of you…” As the groove moves steadily through the chorus “it might be a tear” Hyde takes a rambling guitar statement and Rockin’ Jake steps in with a harmonica solo that serves as the outro.  The authentically desperate “Holding On To Dreams” plays to a funky, walking bass line which leads to a wailing vocal, some piercing slide guitar and yet another indelible chorus.  The funky “Stuck in a Rut” maintains the consistency of the theme and features Wallace’s swirling B3 with jabbing guitar from Hyde but its rather mundane lyrics sink, rather than carry it.

“So Long” is a ballad in the same theme with tasteful guitar and perhaps Hyde’s best vocal in an album with many strong ones. “All Alone Again” is a slow slide guitar driven boogie, bearing similarities to the previous “I Can’t Leave the Night.”  On both “So Long” and “All Alone Again” Hyde tries futilely to find resilience but ultimately continues to be the suffering protagonist as he’s been to this point. As if waking up to this realization, he closes with the relaxed “So Sweet,” a man finally at peace, knowing he’s found the right lover.  It’s not quite enough to rescue the entire effort which is wrapped in a morass of despair.  A of couple more on the upbeat theme would have helped to balance out his gloomy mood. But, after all, this is a blues album and Hyde has clearly got a strong case of them.

Hyde’s third effort stays away from the atmospherics that marked his debut, comes across more authentically than his last one, and shows progress in both songwriting and vocals. He continues to evolve and remains an artist to watch closely.

• Jim Hynes

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