Lou DeAdder - Headlights (don’t get caught in the glare)

Start It Up Records

Time-47:45

www.loudeadder.com

Canadian guitar wiz Lou DeAdder’s latest shows him taking a different direction from his previous entry “Number 5”. Were “Number 5” was mostly devoted to manic guitar romps, “Headlights” sees him devoting two-thirds of the record to vocal tracks. His guitar skills are still intact, although less prominent. His choice of band members still displays first rate players, including Canadian harp master Carlos Del Junco once again. The organ skills of Martin Alex Aucoin and Attila Fias are a highlight as well. The production qualities of Lou D and bass player Brett Piekarz are of the highest order, providing crystal clear sonics.

The two electric guitar based instrumentals included here, “Backlash” and “Kick Em In The Balls” retain the Jeff Beck influence so eloquently displayed on “Number 5”, string bending, et al. “Backlash” begins with “Blow By Blow”- era Beck styling’s segueing into maniacal, skittering wah-wah reminiscent of Beck’s “Truth” period. Leo Sullivan contributes a tasty sax solo, while Martin Alex Aucoin’s breezy organ solo also contributes to the feel of rushed movement. “Kick Em In The Balls” offers a catchy riff with a hurried along groove, a compliment. This time out an acoustic guitar instrumental “Tears For Janick” is added to the mix, providing a respite from the charging electric sounds. It’s a nice offering, but maybe a bit too long for my taste.

The remainder of the record consists of vocal tracks. Lou’s voice is pleasant and every-man sounding in delivery. Unfortunately melody is in short supply and most of the lyrics are of the mundane variety. Perhaps he should have waited to develop his writing skills more before embarking on a mostly lyric-oriented record. The quality of the musical backing remains strong throughout, but it would of made more sense to stick with his strong suit of well-constructed guitar instrumentals executed expertly as he displayed on “Number 5”. Showing his originality, this time around various other instruments are used such as flute, banjo, fiddle and mandolin. After the well-deserved glowing review I gave of “Number 5”, I was hoping to get a second-helping guitar-based goodness. Surely Lou ranks up there with the “A-List” guitar-slingers. But what do I know?

Credit must be given for stretching out into new directions. Musicians only grow by trying. I would like to see a time when his vocal-songwriting skills catch up to prowess as an unsung guitar-God.