Robert Lusson & The Social Beat “Loveland” (Independent, 2010)
Music based on socially conscious issues and societies multi-facets and the people living in it - jazz, folk, gypsy, mariachi and swing Lusson; carries them all in his soul
On occasions like with ‘The Egalitarian Café’ that contains a Cuban feel he speaks of dance and music it speaks and of him working in a diner, immediately after the up-and-grab you ‘Scorpion’s Bite’. A crackerjack of a song if there ever was, it is one of those songs you don’t want to end, ever, as the band produce irresistible flavours of Mexico and joy of being alive. Also, the vocals remind me of John Stewart as you have wonderful percussion, mandolin and voices of the drunken Latinos whip up a storm and all is great even as an unashamed wackiness prevails.
With everything from Mexico, jazz cafes and howling wolves to that twilight feel of the city, and when Lusson takes trip out of the city ‘Top Of The Mountain’ in title only it evokes something different. Sadly, only for him to revert to horns and music of a jazz base (hints of Alejandro Escovedo even).
Lusson’s music in the past, both in the folk duo Lusson & Morisette and The Beevers and The Cripples. Three of the units tunes made inclusion on the Al Pacino movie, Cruising and on listening to his work here it is easy to see why, such is the visual attributes shown on such songs as the impassioned ‘The Lark’ and dramatic feel brought about on ‘Waitin’ For The End’.
Different for sure, I believe Jack Kerouc would have loved the feel of it. Such the characters evoked during the darkness of night, and the mystical aspect of it all...plus the wild and free nature of Lusson’s music.
Date review added: Wednesday, April 28, 2010
Reviewer: Maurice Hope
Related web link: www.myspace.com/thesocialbeat