Sonny Landreth
South of I-10

THE REVIEW

Unfortunately, in Italy, Sonny Landreth is practically (semi)unknown.

Yet, he truly deserves recognition.

Sonny is a skilled guitarist famous mainly for his slide guitar playing, while simultaneously intertwining other techniques. It works like this: the bottleneck is held on the pinky of the left hand, so that the other four fingers can simultaneously play the chords, while the right hand engages in tapping, slapping, and other feats.

His style is recognizable among thousands, almost seemingly more appreciated by other artists than by the rest of the world. His signature can be found on many albums as a special guest: John Hiatt (the most famous collaboration), Gov't Mule, John Mayall, and Eric Clapton, just to name a few.

However, Landreth's solo albums are the most interesting, as the technique is extended to more experimental levels and his voice is pure essence of finesse.

"South Of I-10" is a very refined album, which at the same time follows and precedes a series of excellent records. The previous album, "Outward Bound"  is equally enchanting, while the subsequent "Crazy Cajun Recordings" is an interesting revisited collection of old black dance music.

But let's return to the album in question: the alternation of rock, southern rock, blues, and a slight Cajun influence are almost tangible, while the calling card "Shooting For The Moon" kicks off with its unstoppable guitar, wandering on that highway from which the work takes its name. "Creole Angel" imparts that sweet aura of joy that the genre creates with Sonny calling with his voice and responding with his guitar; this liveliness is always present in the guitarist's works.

The most interesting track for technique enthusiasts is undoubtedly "Native Stepsons", the instrumental rock blues in which Sonny unleashes his creativity, transcending the boundaries of his own technique. The riff, which is revisited between improvisations, is simple and ingenious in contradiction with the rest and renders the song rhythmic and well-paced.

The performance of "Orphans Of The Mother Land", a special ballad dedicated to the much-persecuted Indian people, is outstanding, while the atmospheres become more mystic and somber in "Congo Square", where the atmospheres reveal a spiritual world of superstitions. "Turning Wheel" is a good  swaggering swing, catchy and joyful melody that gives "speed" to the album.

The title track is the greatest celebration of Landreth's style. Everything speaks of this artist: situation, rhythm, sound, and atmosphere. Meanwhile, with the keyboard of "Cajun Waltz", it ventures into a tribute to sweetness and calmness, just to show that even a slow song can be invigorating.

But now we arrive at the most popular moment of the album, the moment when an acoustic guitar is brought out, and the joy of slide playing begins: "Mojo Boogie", the popular song transformed in a modern key. A crazy "C'est Chaude"  starts to give the final twist, making way for a slightly more commercial track than the others "Great Gulf Wind". The classic closing piece is assigned to "12" which gently closes the album instrumentally with its short duration, and its intense catchiness fades slowly into the magic of silence.

I hope you'll give Sonny Landreth a listen, because he is perhaps one of America's most underrated artists.

Unfortunately.