“Curious cover with a woman is coming out of the manhole cover, and carrying three piano keys strong, complete in all their structure: it is Eliza Neals, keyboardist and singer which we only reviewed once in the past ( “The Blues” n. 125) but that really has a career more than a decade along with his training, Narcotics. Eliza comes from Detroit, the city of motors, that from a musical point of view it best known for having given birth hard rock and heavy metal groups, but that certainly appears to be a context in which the musical ferment is definitely high: in this context the singer has made the bones and has been able to offer a sound that is able also draw on the dictates of the soul, as proposed at the beginning of carriera, and blues is more traditional. Listening starts with a song very essential but catchy, sung on the basis of acoustic guitar Howard Glazer, almost constant presence in every track.
The band comes alive with a scratchy blues where Elisa’s voice provides you with highly expressive, with few steps that can call up a bit ‘ remotely Janis Joplin, certainly one of his influences declared you, although the voice power is not quite the same. follow other two episodes gritty, it changes the cadence but surely the communicativa not decrease, remaining always very catchy and fresh; You then go on to “You Is not My Dog No More”, with its hints emphasized the delta from the valuable work slide Glazer, to leave then the intense space “Cold Cold Night” with the presence of Paul Nelson on acoustic guitar, able to enrich the structure of song with some very manicured steps. Sounds distorted and often hypnotiche are proposed here and there on the CD, as we look at listening “Merle Dixon” or “Hard Killing Floor”, the only cover we find here, latter marked by the piano of Neals in which phrasing psychedelici Glazer have good game to load the sound of the song.
“Call Me Moonshine” seems to continue on the same line, a rock blues, slow, lilting, in which distorted sound (including voice) It seems just like a trademark of Detroit more industrial. “Downhill On A Rocket” is another piece that captures, from classic rock enjoy on the road, perhaps on a convertible while exiting motor city
The finish is a little ‘along the lines of how it was started, the slow cadence of “At The Crossroads” sees the counterpoints of guitarist Billy Davis which rest on the piano chords, while the voice can dilate in complete freedom, without even care about the life of track (the longest with its six and a half minutes). Although not a work that captures at first listen, but there is to dig deep, almost as he suggested by its title: the voice of Eliza is sufficiently flexible and extensive to express themselves in different contexts, the quality and variety Songs shows similarly good compositional verve, that well It is also expressed in simple arrangements but always accurate.