Exciting Detroit born, UK based blues artist MARCUS MALONE — the Best Male Vocalist of 2018 [UK Blues Awards winner] — together with the legendary British blues singer, songwriter and multi-instrumentalist INNES SIBUN (who took part in Robert Plant’s backing band in the mid 1990s and has worked alongside such greats as Johnny Winter, Taj Mahal, Steve Cropper, Al Kooper, Taj Mahal, and Peter Green) will join forces as MALONE SIBUN to release an album appropriately titled: “Come Together” on January 31st, 2020 via Redline Music and produced by Malone & Sibun themselves.
From the moment you clap eyes on the fiery sunflower & ruby gate-fold sleeve, you know you’re in for a puissant treat. So, when the power chord opener “We Can Come Together” is unpacked and you take-in an early storm of those drums and a dribble of treacled organ, you’ll be prepared for the thunderous chorus and those jewel-like guitar that take you by impulse.
Of course, one of these guys is a holy roller, the other is a spinal cracker, so you can focus on the mature ‘n’ dusty vocals that sound as if they were written on old leather (in blood and tar) or you can concentrate all your attention on the luminous guitar that comes alive, like a reanimated phantom. But taken together, the commingled sounds are unstoppable.
And, naturally enough, INNES SIBUN couldn’t resist a sidelong glance and a tip of the hat to Lennon–McCartney (their “Come Together” mentioned Muddy Waters didn’t it? Is that a blues coming-together right there?) but of course we all know that the song was kinda appropriated from Chuck Berry’s “You Can’t Catch Me” in the first place — perhaps this demonstrates that music (and especially blues) is all about interrelationships and interdependence. The bond between blues brothers is unwavering.
Lusty “Let Me Love You” has an exciting and suffocating impulse, followed by a convincing chorus that bustles like a leather-clad rocker at a barrel-house cookout: in other words this number is a hot mix of pepper-mustard voices and blackened, sweet-molasses guitar.
Country rock style “Jodie” has a vibe that is as deliciously hickory smoked as it is joy-filled. You won’t be able to stop your toes from dancing to this fast, fun-filled frolic.
As we age, we become increasingly lonesome. It’s a fact. And maybe only the blues can heal the aching chasm that yawns in our heart. “I’m So Tired of Living” is a beautiful yet poignant examination of the weariness of a companion-less life. Of course, no pity is required here… there is a true sense that the pensive mood will soon fade, like blackened clouds clearing on a hope-filled day… so the guitar solo offers comfort even though it’s bittersweet and the voice is tinged with longing. This is a sensational track.
The finale “Everyday’s A Miracle” is about the grace and beauty of new birth. It has gemstone elegance and a luster that seems to suggest the sanctity of childbirth is the ultimate perfection. The voice is salt-and-pepper whiskery and the guitar is brilliantly clear. After hearing this, you will find it easier to shine with a constant light in your own life…
This album is filled with wonder and celebration and with collaborative roistering that rubs shoulders with pious contemplation…
An authoritative compendium of remarkable vivacity and touching generosity.
Words: @neilmach 2019 ©
Picture credit: © Otto Woyczieniuk