DANNY BRYANT is a 36 year old English blues guitarist and singer-songwriter. Born and grew up in Royston, Hertfordshire he has been playing the guitar since he was 16. He turned professional at 18. Since then he has toured all over the world, appearing alongside such legends as as Buddy Guy, Carlos Santan and Joe Cocker.
Danny Bryant’s new studio album “Blood Money” is his third to be produced by Richard Hammerton (The Libertines.)
The new album sees him collaborate with the re-energized Walter Trout — as well as work with his Whitesnake-hero Bernie Marsden (on the track “Just Won’t Burn.”)
The album is, in many ways, his expression of thanks to the progenitors of the Blues…
The album opener is the title song “Blood Money” (feat Walter Trout) which is a chortling good number with snickers of guitar and hearty bursts of synth.
The vocals are strained and stressed… filled with a strong desire to live. And the guitar solos cut to the bone in neatly dissecting incisions. Until the whole pot of sound overflows with unchecked emotion.
“Master Plan” has a neat Zeppelin-style riff that’s more “Whole Lotta Love” (1969) than seems entirely necessary.
But the boogie keys add some exciting rhythm and the gravel-throated vocals add passion. Yes, this is a whole lotta fun.
“Unchained” harks back to the days of Albert King and Stax records. There is a delicious twang here with a groovy, sluggish back-room piano. It’s a sultry affair with delicious organ and sticky ‘n’ seductive created by the niggling guitar. Huge passionate horns add the fruity garnish to this humid tickler.
“On The Rocks” is an homage to Albert Collins, very very traditional with splashes and sparkles of guitar exuberance.
“Holding All the Cards” is an ace boogie-blues number, played with feeling and written as a tribute to Jimmy Reed. The thumping bass and insidious riffs are terribly addictive and the song will get your head of a-bobbing in no time.
“Just Won’t Burn” is probably the most beautiful piece on this highly successful L.P. If there was any justice in the world, this would win any “Critics’ Choice” award out there.
It is an indie rock number that can be enjoyed on so many different levels. An education in song-writing and structuring, it is also full of incredibly passionate guitar-work and the kind of silent darkness that predicts the shadow of sin and earnestly hoped-for deliverance from inequity.
Bracing brightness and profound darkness … it’s all here in this significant album …
This is a thorough exploration of nostalgia, loss and, ulimately, forgiveness. Incredible.