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En esta nueva entrega Eugene Bridges cuenta con un estupendo plantel de músicos y una producción extraordinaria a cargo de Pat Manske, lo que ha redundado en un resultado sobresaliente. Armadillo Music que es su compañía desde hace varios años, sigue apostando por este artista, que es un excelente cantante, prolífico y versátil compositor, adenás de un sobrio guitarrista. Aquí tenéis quince nuevas canciones que siguen la tónica dominante empleada en sus anteriores álbumes, es decir, una variada selección de temas de corte blues, gospel, rock, soul, funky, baladas… una fórmula que a Eugene le resulta productiva y que gusta a sus seguidores y, si todo esto funciona, pues adelante ¿no os parece?. Junto a Eugene ‘Hideaway’ Bridges figuran un plantel de músicos de primera clase, David Webb a los teclados, Eric King al bajo y Calep Emphrey batería. Los arreglos de metal corren a cargo del saxofonista alto, tenor, barítono y flauta Seth Kibel, el resto de los vientos son Shane Pitsch trompeta y Mark V Gonzales trombón. Un disco altamente recomendable con el que disfrutareis irremediablemente. MUY BUENO.

For this new cd Eugene Bridges has recruited a great staff of musicians, together with an outstanding production by Pat Manske, which makes an excellent final result. Armadillo Music has been Eugene record company for several years, and they are still committed with this artist, who is an amazing singer, a prolific and versatile composer and restrained guitar player. Here come fifteen new songs that follow the same path of previous albums, that is to say, a wide selection of blues, gospel, rock, soul, funk, and ballad songs... a formula that is good for Eugene and his fans love so much so, if everything works well, go ahead, isn’t it?. Together with Eugene 'Hideaway' Bridges you will find a staff of top musicians, David Webb on keyboards, Eric King on bass and Calep Emphrey on drums. Horn arrangements come from alto, tenor, baritone sax and flute player Seth Kibel, the rest of the horn section are Shane Pitsch trumpet and Mark V Gonzales trombone. A highly recommended album you will certainly enjoy. GREAT.
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Eugene “Hideaway” Bridges possess what everyone else wants, a voice. That voice has an originality that makes listeners ask, “Who’s singing?” Bridges’ assertive tenor sings with the soulful glide of Sam Cooke and the powerful restraint of B.B. King. As stated in his profile in BR 129, Bridges writes all his songs, so he lives the words he sings. And he understands how to blend this voice with Seth Kibel’s horn arrangements. Add in Bridges’ assertive guitar and you have one of the best records of 2011.

In a music world that bumps, grinds and revels in male macho posturing, it is refreshing to hear songs that celebrate love. The opening cut, “I Can Never Forget” shows off Bridges creamy, Cooke vocal approach in this painful exposure of heartbreak. The nostalgic mood accurately displays the album’s strengths, voice, lyrics, horns, and guitar. Beginning with a B.B. intro, “Baby I Like” finds Bridges smiling about liking the way his girl holds his hand. Delivered a la Jackie Wilson, Bridges tune reminds me of the soul on 1960’s radio, which offered serious instructions in how to respect your date. “Dance With You” finds Bridges recalling the moments of a relationship. More handholding on the beach leads to the hook, “I wanna dance with you for the rest of my life.” When his love leaves, Bridges reveals the heartbreak and pain everyone experiences when love walks out the door on “It Will Not Stop.” Near the end of the record, Bridges pledges more earnest love in “It Had To Be You.” In all, these are very different sentiments than what boom from today’s sub-woofer, sexting generation.

If you want hear Bridges’ blues, focus on his thrilling guitar work. It’s not hard to picture Bridges with his eyes closed pinpointing emotional riffs on his red Gibson. From the stinging, one note solo on “Baby I Like” to the hard edged rock of “It’s Gotta Be The Last Time” to the high-flyin’ Houston shuffle on “45 Jump” (think Gatemouth meets T-Bone) to the 12 bar blues of “Mom And Daddy’s Place” continually show off Bridges’ expansive guitar approach. Add in the CD closer, “B.B.,” Bridges’ from the heart gratitude to the King and this is an hour of American music every fan must own.
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Amper vijf jaar oud trok de knaap samen met zijn muzikant/vader Hideaway Slim al door het Louisiana landschap. Hij zong zichzelf in slaap met de licks van zijn vader die in zijn hoofd nazinderden. Met zijn broers zong hij Gospel en op dertien jaar vormde de ‘little boy blue’ zijn eerste band, The Five Stars. Na een verplicht omwegje in het legerorkest ‘The Air Force Band’ begon hij gitaar te spelen in de ‘The Mighty Clouds of Joy’ band waarin hij ook de zanger was. Sindsdien zat hij niet meer stil, tourde en schreef en bracht regelmatig een nieuw album uit, waarin hij steeds vernieuwend voor de dag komt. Soul, jump, rock, gospel en blues vertolkt de ‘Man Without A Home’ - hij moest negen maal van school wisselen - met dezelfde flexibiliteit en naturel als zijn verre voorouders die van Staat naar Staat trokken in Amerika.

In Europa tourde hij met Big Joe Turner in diens Memphis Blues Caravan, maar zijn reizen voerden hem ook naar Singapore en Australië. Voor de opname van dit zevende album trok Eugene naar de Zone Studio, Dripping Springs in Texas, met als producer opnieuw Pat Manske. De band die hem begeleidt bestaat uit een select clubje van de beste muzikanten met Seth Kibel op kop die het arrangement van de hoornpartijen op zich nam en zelf alt-, tenor- en baritonsax speelt. Met Shane Pitsch op trompet en Mark V Gonzales op Trombone wordt Eugene Bridges, die zelf gitaar speelt, dus luisterrijk omringd, dezelfde hoornsectie die ook al op het ‘Coming Home’ album present was.

Met zijn soulstem die soms aan Sam Cooke herinnert - ‘I Can Never Forget’, ‘Baby I Like’ en ‘It Had To Be You’ - geeft hij glans, kracht of emotie aan zijn songs, die hij allemaal zelf schreef. Eric ‘Lollipop’ King’s basgitaar en drummer Calep Emphrey geven aan ‘It’s Gotta Be The Last Time’ een donkere groove en ‘It Will Not Stop’ met krachtige beat en backing zang klinkt dan weer zegevierend. Het romantische ‘Dance With You’ is een echte zomersong als een zee- of strandtafereel nagloeiend bij zonsondergang. Mijn voorlopige favoriet ‘I’m Holding You’ komt over als een vreugde-uitbarsting en ‘45 Jump’ nog meer. En het laatste ‘BB’ schreef Eugene Bridges als een ode aan BB King die hem o.m. de swing van muziek leerde.

Op dit album beperkt Eugene Bridges zich niet tot één bluesstijl, maar varieert met swing, soul, Mississippi Southern blues en ‘beach’ blues dat hij zelfs vermengt met een vleugje country en wat funk op een jazzy bedje. Alhoewel een studioalbum brengt dit album de aanstekelijke Live concerten van Bridges in herinnering die al menigmaal op een Belgisch podium stond. Al voelt hij zich in alle landen ‘een passant’ en groeien er songs in zijn hoofd wanneer hij onderweg observeert toch zijn het de eigen emoties die een uitweg zoeken in zijn ‘down home’ blues, zodat de ‘Eugene Bridges’ sound toch zijn ankerpunt is van waaruit hij vertrekt en steeds weerkeert. Sfeervol album en ‘great sax’ ! close

After the release of his stripped-down, largely low-key self-titled album in 2007, followed by a live album in 2009, Eugene “Hideaway” Bridges is back with a powerful and irresistible album, Rock and a Hard Place. Bridges and his nine-piece band rock the house with a set of self-penned songs noted for their musical diversity and horn-driven upbeat optimism. While the lyrics are largely rooted in themes of betrayal and loss, the music is literally a joy to listen to.

Although Bridges decries the nation’s political troubles in How Long, the majority of the songs rarely stray from standard blues subject matter: male and female relationships. In I Can Never Forget and It’s Gonna Be the Last Time, women are described as destructive tormentors and deceptive divas. Alternatively, women provide the singer with some modicum of security, joy, and peace (Baby I Like, It Had to Be You). Ultimately, it appears the singer is really caught between a “rock and a hard place—love and loneliness”.

Ultimately, what drives Rock and a Hard Place is the music, recorded in Austin, Texas. Producer and engineer Pat Manske found the magical musical “sweet spot” between raw and slick, low-fi and overproduced. Anchored by bassist Eric “Lollipop” King and former B.B. King drummer Calep Emphrey, the band sounds energetic and inspired. Many songs are graced by tasteful horn arrangements (Seth Kibel) that serve to drive the music to blissful heights. And Bridges is in total command of his skills: his guitar lines are clear and economical, his voice a wonder. His vocal dexterity and phrasing are something to behold. At times, he sounds like a smooth Motown singer and other times he takes on the persona of an anguished blues singer. Easily bridging and blurring musical genres, Bridges’ music reflects his influences: soul, blues, funk, country, and rock ’n’ roll.

While offering a diverse musical platter, Rock and a Hard Place is neither incoherent nor inconsistent. At the conclusion of the album, for example, the transition between soul (It Had to Be You), country ( Long Way from Texas), and blues (Won’t Let Me Go) is nearly seamless. And one would expect an album with 15 songs clocking in at 57 minutes to contain filler, but there is not a weak song on the album.

On the final cut, BB, Bridges pays homage to one of his major influences, B. B. King. Characterizing King as an “old school” teacher “without a classroom,” Bridges praises King for teaching him how to make a statement “like an honest politician should do” and create music that “swings . . . even when I’m sad and blue.” In the song, Bridges repeatedly praises the “King of the Blues”: “B. B., let me show my appreciation for all the joy you bring.” In turn, listeners will certainly appreciate all the joy Bridges brings to Rock and a Hard Place.
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