King Bizkit – Selling My Soul | Album Review

King Bizkit – Selling My Soul

King Bizkit Records

9 songs time – 45:22

Spearheaded by singer-songwriter Richard Everitt, King Bizit resides in the British Rhythm & Blues meets rock vein. Everitt’s voice harkens back to the husky-voiced singers of sixties British rock. He also had a hand in co-writing seven of the nine songs. Using a top of the line stable of musicians didn’t hurt one bit. The playing and stellar tone coming from the guitars of Laurie Wisefield, Adam Clarkson and Tim Ainslie propels the music to the upper reaches of musical heaven. The splendid horn section punches the grooves right along. The keyboards of Ian Gibbons(The Kinks, Chris Farlowe, Roger Chapman among others) and Reg Webb put “The icing on the cake” along with the sturdy rhythm section. The project was recorded between 1999 and 2006, being released in 2012.

“Leaving Time”  is pushed along  by John Bower’s strong bass line and Tim Ainsle’s  guitar tone that cuts the air eloquently. “…or Die Trying” is a slow simmering, tension and release gem. The guitar solos from Laurie Wisefield on this one meets the same high bar as Ainsle. Dominic Everitt adds his words to the music of Steve Marriot and Ronnie Lane on “Fatman’s Game”. Here Ainsle once again steps up fiery guitar lines.

The horn section features greatly in “Don’t Want You ’round Me No More” and “The Letter”, as well as most of the songs herein. A jazzy, sexy vibe is attained on “Don’t Quit Me Baby” that a tasty sax solo courtesy of Pete Long. A nifty riff is achieved by the horn section and guitar on the cooking “A Fast One”. The title track closes up the show sans horns. This one atmospheric with ringing guitars and eerie background vocals. The instrumental starting point builds to Richard Everitt’s usual steadfast vocal performance. Laurie Wisefield provides the sinuous guitar soloing. The album goes out on the same high note that it began with.

This record owes a debt to all the soulful Rhythm & Blues that came out of the UK in the sixties and early seventies. The combination of the first rate musicians and Richard Everitt’s crystal clear production values deliver a moving and entertaining event.

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