06 January 2016

Le de Blocnot’s ‘vintage symbiosis’ review of Eliza Neals “Breaking and Entering”

” Eliza Neals is a girl from Detroit, and we can say that her voice and her style of Blues shows with the “sound image” that is usually the Motor City. Not that Techno or Hip-Hop, obviously, but that of the Soul (before it was mired by greedy producers) and raw uncompromising Rock. Moreover, she proudly claims membership through her songs (with the name of her town that appears repeatedly, both in the words in titles). A city that makes her well because since 2011, it continues to reward her during its annual local music awards. The main city of the State of Michigan, and probably the most ancient, her a fifth [My FOURTH] Trophy this year.
Eliza Neals has been previously noticed through Soul, sometimes strongly tinged Rock – which was perhaps inspired by ‘No Sinner’ Colleen Rennison – with “Breaking and Entering” she returns and invests a little more in Blues, significantly more raw and rough. A bitter Blues who likes to slum it with more heavy sounds. A live recording relationship made into sensation, caught live without overdubs. It’s rough, tough and powerful, nothing here was policed. It is relatively crude and downright organic; we almost hear crackling amps or microphones buzz.
And then in the middle of this unpacking of Blues is mi‐roots and mi‐Heavy, Eliza Neals offers appetizing break aways more or less (and therefore without really leaving Blues completely) the Blues to drink from other sources. Still, with class, force and persuasion.
Thus, “Sugar Daddy” imagine a vintage sixties Rhythm ‘n’ Blues both sensual and dancing, “I’m the Girl,” the symbiosis of Soul and Pop-rock, or “Jekyll and a Hound,” a classic powerful Southern Soul, “Goo Goo Glass” pure Glam-rock genre Bolan meets Suzi Quatro, and “Pretty Gritty” Glam-way Bowie Ronson (the slide seems even hum a tune recurring Gary Glitter) could easily be erected as the new classics of the city of Detroit which has as yet been given.
‘Eliza Neals’ a mixture of Dana Fuchs, James Harman, Sass Jordan, Bob Seger, Rod Tyner and Anastasia, supported by robust and fundamental rock orchestration. Her voice scrapes against her vocal cords strong and solid, exultant and hot breath. A Blues-shooter who has thighs.
A small flat on the texture of electric guitar which gives sometimes the sensation of a fiery young, trained at the school of the Big‐Rock US and flashy which have recently branched off to the Blues‐Rock. Nothing to say at the level of the game that sticks well to the general atmosphere of an urban Blues played in a juke‐joint (that one imagines made boards disjoint, of a nearby power supply overload and short circuit, but well equipped with a strong drink).
However, sometimes the sound can sin by excess boosted frequencies, flashy and shiny. A challenge that is most noticeable during some solos. It is in fact Howard Glazer, which nevertheless shows more temperate on his own records. A small detail that might strike some pieces that could easily happen yet solitary breakaways, as the quality of the song was evident.
As such, just listen to the first version of ‘Jekyll and a Hound’ (2013) interpreted by Eliza alone, accompanied only by her own piano and nothing else [Click Here for Video]. It is clear, obvious and striking. Yet it is the lady who produced her own album. But everything could be explained by the presence of Mike Puwal co-producer, who shone with Hip-hop, Rap and Hardcore groups producing for local Psychopathic Records; with Insane Clown Posse, hip hop duo from Detroit. Especially since this gentleman Puwal sometimes playing Glazer replaces all, or part, guitars (ie rhythms and lead). Even bass on four songs.
 Yet a little against all odds, he obviously knows how to adapt to the character of the song. Thus, whether on “Jekyll and a Hound” and “Pretty Gritty”, his guitar is not out-about, and his solos which, it is true, frolic happily in very modern sounds through pedals of unconventional effects, then put back slightly so as not to violate the atmosphere of the song. Even on “I’m the Girl” where his wah-wah sometimes takes a DJ scratching, nothing is offensive or annoying. Not only it is in time and the atmosphere but we can say it brings something, he even richer [I told him add wah-wah.] Like what…
Two appearances of another child of the city, former lieutenant for Kid Rock, Kenny Olson, for very good well biting chorus.
Detroit had jealously guarded for herself this little treasure. It is time that she is shared.
As an aside, note that “Spinning” is Hard-dark blues, played in duet, where the six-string Glazer in many Sabbathaens accents with the typical micro “handle” boosted the “Big Muff” fuzz with the slow tempo, dragging. Amazing as this group much maligned in the infancy has become an essential reference that is found in Blues-rock musicians. These days, even the small Samantha Fish plays “War Pig” in concert, purists must make jaundice.”