EG Kight – Trio Sessions
Blue South Records
10 tracks
EG’s newest album Trio Sessions was nominated for a Blues Blast Music Award for Acoustic Album, and Kight was also nominated for Best Female Artist. One listen and you can see why. Kight is a superb vocalist and she and the trio give the listener some really great music to enjoy here. Her Georgia drawl and southern roots are evident here. She lives on land her family has owned for four generations and her performing career began at age four as she broke into her mother’s choir rehearsal; her harmonies made the trio into a quarter.
Kight handles the vocals . Drummer/percussionist Gary Porter and guitarist/dobro player Ken Wynn are the res of the trio and they back EG vocally; there are some well done harmonies here. These three have played together since 2018 and offer a tighter, more close knit approach to performing and recording together.
“You Don’t Get It” is the opening cut. EG sings passionately about dumping her man. It’s a bouncy little cut with nice guitar and Kight’s always great vocals. “Evil” is next with some greased-up harp and a slick rendition of this classic. The harmonica is marvelously done and adds to the feel of the cut and then the guitar offers up another well-done solo. Kight growls and sings with grit here. “Burned” is a really good ballad about yearning after someone who is not worth the effort and hope for a new start. We get some more resonator slide licks to enjoy; a very down home and darker song. “Come On In My Kitchen,” the Robert Johnson song that the Allman Brothers and others have imbed into our musical consciousness. Kight again does a fine job as does the resonator in support. Next is “You’re Driving Me Crazy” with some cool resonator slide work and keeps in the theme of significant others who have issues. Kight sings with soulful emotion and the guitar work is fantastic.
“Feelin’ A Healin’” follows, an upbeat cut about redemption and life getting better. This one has a southern rock feel to it; the slide guitar helps to give that impression. “Tell Me” follows that, a sweet ballad with thoughtful electric guitar doing responses, fills and a solo around Kight’s tender vocals. This one’s theme is about being afraid to lose her man instead of wanting him gone and she delivers the message well. Up next is “Falling,” a song that has a great groove and a driving beat. Kight again excels vocally as the guitar rocks along with her. She is “standing on the edge of falling in love,” so it’s positive theme again. “Alone Too Long” is next; we get a nice serving of special electric guitar work and EG’s superb vocals. Kight bemoans being lonely and alone and is looking to get out and about more- she says she’s not gonna be the same. The great Leonard Cohen praise song “Hallelujah” follows and Kight knocks it out of the park. She sings with deep feeling and makes the listener well up and get emotional. It is a sweet and soulful final piece in a really super set of tunes.
Ten tracks; tasteful originals and well-done covers. There is nothing not to like here. Kight once again delivers the goods and gives the listener a fine album to truly savor. I recommend this one to all blues lovers. It’s mostly acoustic but it’s got enough feeling and drive to it to satisfy all blues fans.
