Frenchie’s Blues Destroyers – Love Is Blood
Self-released
9 Tracks/26:01
Hailing from Austin, TX, this duo consists of Kevin “Frenchie” Sciou on guitar and Brother Pete Coatney on drums. Sciou was a native of France until he sold off a prized guitar to underwrite his move to the USA. Both men were members of Jack Ingram’s band, and the guitarist was also in Stargunn with Shooter Jennings. AU.S citizen since 2106, Sciou wrote all nine tracks, celebrating the American roots music traditions that originally captivated as a teen-aged guitarist.
In the promotional literature that accompanied the disc, Coatney comments,”We consider ourselves Blues musicians but more often than not, we stray away….hence the ‘destroying the blues’ analogy”. True words indeed, as one listen to this brief recording quickly illuminates the bands tenuous connections to the blues. The opening salvo, “Little Bit Crazy,” sports a catchy hook over a driving beat accented by Sciou’s overdubbed vocals and guitar parts. The same formula is utilizes again on “Beautiful Mess,” which rocks with plenty of attitude. The title cut slows the pace as Sciou’s measured vocal is bulked up with echo & reverb to forge a spooky atmosphere.
“Bound For OKC” finds the duo offering thier take on the familiar boogie rhythm, the insistent guitar riff dominating the mix to the detriment of the lead vocal. There is a brief segment of acoustic blues guitar that leads off “Night Time Is The Right Time,” but then things dissolve into a murky sound peppered with generic lyrics. “Can’t Stand Missing You” is the disc’s best track, with Taylor Tatsch filling out the sound on the organ. “JuJu Boo Bunny” is a throwaway track while “Get Through To You” shows the duo has managed to incorporate some of the Mississippi hill country sound into their repertoire. The closing number, “Behind The Wheel,” veers off into a jaunty, country-tinged detour.
The duo format is tough to pull off, requiring a strong singer, sharp instrumental skills, and compelling songs. Frenchie’s Blues Destroyers show some promise in all three areas. But the short playing time and minimal blues content confirm Coatney’s self-assessment of the project.
