Chris O’Leary – The Hard Line
Alligator Records – 2024
https://thechrisolearyband.net/
12 tracks; 52 minutes
Howling, wailing, fast shuffling harmonica gives Chris O’Leary’s 6th solo album, The Hard Line (2024) a distinctive flavor. From the onset, with the first saucy track, “No Rest”, O’Leary demonstrates his chops as a blues harp virtuoso and masterful storyteller. Throughout the album, O’Leary’s gritty, funky sound pours through.
O’Leary’s harp style is clearly an amalgamation of influences; Charlie Musselwhite’s gritty and rough approach, the diverse, dynamic, electric sound of James Cotton, the thick and haunting distorted sound of Little Walter, and the upbeat shuffling harp of Paul Butterfield. Cotton was an idol and transformative influence who O’Leary would later go on to play with.
In the best track on the album, “I Cry at Night”, O’Leary shows a vulnerable side, crooning “I cry at night so no one sees my tears” amidst a torrent of electric guitar progressions and an eerie organ (Jeremy Baum) backdrop. The guitar work is commanding and enthralling in a tragic, wounded flow, with precision and emotion.
Several tracks on the album showcase excellent storytelling of the gritty and sordid kind, likely stemming from O’Leary’s background as a former Marine and federal police officer. “Thing’s Ain’t Always What They Seem” contrasts an upbeat, high tempo instrumentation with a low down tale of a femme fatale that grew up on the streets with “eyes as black as midnight”. The grooves are undeniably catchy and the seedy tale sticks in the mind. (No spoilers).
Among O’Leary’s various blues on display, he moans about insomnia, love, guilt, divorce, New Orleans, and robbery.
The guitarwork on the album is versatile and robust. On the first track, O’Leary and Chris Vitarello deliver a strong, electric presence with excellent solos in the style of Stevie Ray Vaughan. “Ain’t That A Crime” boasts steady guitar with wailing harmonica as O’Leary sings about a broken heart. The rhythm is hypnotic and passion pours through in the slow burning song.
The production of the album, done by O’Leary himself, is smooth and polished. Most of the tracks were recorded in Cupola Studios by Dan Vitarello, who plays drums throughout the album, and Alligator Records is releasing the project.
One of the strengths of the release is its eclecticism. From slow-burners, to ballads, to New Orleans grooves, to high tempo jams, the album meanders through the canon of the blues. The blues harp and O’Leary’s storytelling are the constants.
“Lost My Mind”, the second track, merits special attention. Boogie-woogie guitar presents the backdrop as O’Leary belts out about losing his mind (due to a woman, according to blues tradition). The real treat in this track, however, is the powerful harmonica– a grooving, sliding, slick tour de force.
The horn sections, featured on four songs, offer fresh sounds. Andy Stahl on tenor sax and Ron Knittle on baritone sax prove to be quite capable.
Two tracks, “Need for Speed” and “Funky Little Club on Decatur” are highly danceable. Ragtime piano in the vein of Scott Joplin dominates “Need for Speed”, accompanied by swinging electric harmonica. Brooks Milgate has an absolute performance on the piano with dazzling, frantic, high tempo playing. It’s a good rocking tune reminiscent of Ry Cooder’s upbeat blues tune “Speedo”.
“Funky LIttle Club on Decatur” sounds like a New Orleans party— jubilant, get down, clown around music. Snappy horns slide as O’Leary sings “gotta let the good time roll.” The song was inspired by a club owned by Levon Helm in NOLA. O’Leary toured with Helm’s Barnburners for 7 years and has said New Orleans is one of his favorite places on earth.
Though generally a solid album, O’Leary included a few lackluster songs, among them “You Break it. You Bought it”, which admittedly features some dazzling harmonica, but ultimately comes across as repetitive. The lyrics about an ex-wife who was “a great white shark out of water”deserve better instrumentation. The final track, “Love’s For Sale”, is the weakest, which is unfortunate placement. Again, O’Leary becomes too repetitive and the multiple layers clash with each other— too much is going on and the assail of guitar does not hit right.
Make no mistake though, The Hard Line is filled with mournful ballads, high tempo rockers, and brilliant storytelling, all of which make it a must listen, and one of the most exciting blues albums to be released in 2024.
