Lightnin’ being white and Cedric (the grandson of Mississippi blues legend R. L. Burnside) black, not only provides positive visual symbolism for the South - the inside cover sleeve is a picture of their contrasting fists, knuckle to knuckle - but also adds spice to their traditional country blues template, by introducing complimentary elements from their respective musical influences.

The first track is testament to the largest of Cedric’s influences, and is simply entitled ‘R. L. Burnside’. The duo set what seems to be their trademark droning, hypnotically rhythmic, juke joint riff and beat style and don’t let it stop. The electric guitar is raw and the drumming immediate, with plenty of ambient spill to reinforce the live feel. Cedric supplies a warm, rich blues vocal and a heartfelt, personal tribute to his late grandfather. Backing vocals, which help to build the song, are capably supplied by Bekka Bramlett and Etta Britt, as on several other tracks.

To confirm the give and take nature of the duo, track two is a Lightnin’ Malcolm song, ‘So Much Love’, in which wah wah is added to the more rock imbued guitar lines, with hints of Hendrix. Malcolm’s vocal reminds me somewhat of Jeff Healey and Cedric drives the kit more insistently, a feel repeated in ‘Fightin’. On ‘Nobody Else’, Lightnin’ follows the blues tradition of doubling the guitar and vocal lines, with good use of backing vocals .

Cedric detours a little closer to the Delta with the co-written, infectious ‘My Sweetheart’, and gives us new story telling blues to keep the traditions relevant with ‘Don’t Just Sing About The Blues’ – “I don’t have to read about the blues, I been living it since I was a child.” ‘That’s My Girl’ is a pushing, juke joint holler, highlighting the vagaries of romance.

Malcolm’s ‘Stay Here In Your Arms’ is an easy, loping, Southern shuffle, and ‘World Full Of Trouble’ a more traditional blues, enhanced by Cedric’s Northern Mississippi marching snare drum.

The pair show a softer, acoustic style with another Burnside penned song ‘She’s Got Something On Me’. Some good slide guitar and brush drumming work from Malcolm and nice backing vocals, add to the more thoughtful lyric. Jason Ricci’s plaintive harmonica lends atmosphere, as does the oddly distant tracking effect on Cedric’s voice. ‘She Don’t Love Me No More’ is a fine, straightened acoustic shuffle with soulful Harmonica from Ricci, and the final track on the album, ‘Time To Let It Go’, is a well written acoustic stomp detailing the end of a relationship, featuring Malcom’s softer marching drums.

‘Mad Man Blues’ is a Saturday night, booty shaking, juke joint stomp with Burnside, Malcolm and Ricci all on top form. ‘Try Not To Pull My Gun’ is an angry, darker Burnside composition, which may add weight to the duo’s blues lifestyle credentials.

Cedric Burnside and Lightnin’ Malcolm are a great live act, especially in the right venue, and they have managed to successfully transfer that inherent energy onto this album. Tradition overlaid with modern influences; timeless blues themes with a contemporary twist; raw yet well crafted - the sound on Two Man Wrecking Crew is the way to keep the music alive.

JBBlue