After
Tinsley Ellis
released the fine
Ice Cream in Hell
in 2020, he hit the road for a 60-date tour. Six weeks in, the global COVID-19 pandemic made him cancel. He drove the 2,400 miles from Reno, Nevada to Atlanta, Georgia. At home he entered his basement studio and pulled out loads of gear -- including every guitar he owned. He also set up a turntable and began dragging vinyl off the shelves. He explored studio and obscure live recordings from some of his musical heroes, including the
Allman Brothers
,
Freddie
and
B.B. King
Michael Bloomfield
, and many more. He was captivated and began writing with a white-hot intensity, determined to grow as a songwriter. By April he was posting tracks to his website. In 18 months he composed 200 new songs. He contacted longtime friend, keyboardist and producer
Kevin McKendree
and booked time at his Franklin, Tennessee studio, then culled his massive song list down to ten tunes.
On
Devil May Care
Ellis
is joined by
McKendree
on piano and organ, bassist
Steve Mackey
, and drummer
Lynn Williams
. There is a strong
Allmans
vibe on a few tracks here, including album-opener "One Less Reason."
plays dual leads (standard and slide) with himself on this choogler, backed by a rumbling B-3, a swinging drum kit, and throbbing bassline.
is in excellent voice; he alternately moans and growls getting his lyrics across. "Right Down the Drain" is a mean-toned meld of Southern rock and deep blues. He grafts his vocal over layers of electric guitar, adding fills, slide vamps, and short solos, as
fills and accents the transitions. "Just Like Rain" may be the finest ballad
has yet composed. Fueled by electric piano and acoustic guitar, his uncharacteristically clean singing is wracked with emotion. One can hear the ghostly influence of
Gregg Allman
's
Laid Back
in its grooves. After his tight, electric solo,
Jim Hoke
's sax and
Andrew Carney
's trumpet undergird the band as
adds another moving solo. "Beat the Devil" comes right out of
Freddie King
's fakebook. The band's sinister midtempo choogle is answered by meaty horns and sweltering organ runs.
' vocal is as commanding as his guitar playing. "Juju" is a slide guitar monster with rippling hand percussion and pounding upright piano; it momentarily recalls the
' "Ain't Wasting Time No More" from
Eat a Peach
, but it's far from derivative. While "28 Days" is a driving, funky roadhouse blues, "One Last Ride" weds Delta blues to jazzy, drifting Southern rock with glorious dual guitar leads and punchy drums. Set-closer "Slow Train" is offered at a dirge-like tempo amid a swelling B-3 and circular drumming.
evokes
Peter Green
in his biting guitar break as he pulls every drop of emotion from the words.
is
' third release since returning to
Alligator
in 2018. Though he's been on a creative tear ever since, this date is actually among the very best in his long career. ~ Thom Jurek