Little G Weevil professes to be "in love with raw old-school blues", and one would have to be insane to argue with him, as his work is so damned authentic it sounds as though pulled from some of those great old 'race record' 45s and 78s. The Moving sessions were made to be about as acoustic as it's possible to get, barring even amplifiers, and perfectly resurrect the ancient roadhouse and ghetto shanty sound, luminously recorded with pinpoint precision. The Vizztone label is a stickler, thank God, when it comes to this kind of sound, even to the point of ranging Weevil's delta vocals to various positions in the soundfield in order to replicate the oft chance placements of microphone and singer from days of old.
Weevil's fingerpicking and slide playing are both light and dark, nimble, and thick with a genuine stank on 'em, showing where later bands, as in Bill Harkleroad and Capt. Beefheart's eccentric futurisms, found their true genesis. A lot of those first blues cats were way the hell ahead of their time and still are, later players still trying to catch up. The blues, after all, isn't just about being jacked over by your woman, the government, the boss man, and whoever else came your way that day but also contains a liberal element of hope amid life's many miseries. Thus, what can be hopeless and negative one moment sometimes becomes happy and positive the next…or even both at once, which Weevil demonstrates an interesting synthesis of many times.
The opening cut, Shook It and Broke It, is Weevil on his lonesome, just voice, guitar, and foot tapping, but many of the tracks add in his band of the moment…quite sparely, though, so the spotlight remains on the singer and his pickin'. This, of course, is in strong sympathy with the pre-electric first phase of the blues, before Les Paul ever fetched a solder gun and pick-ups to the instrument. Moving is a rare CD, as you're going to catch a cat like this only just so often in a lifetime, if ever, so I highly recommend not only the disc but that you keep an eye peeled for Little G Weevil in concert. For this kind of music, real-time visual attitude and presence count for a lot.
Edited by: David N. Pyles
Copyright 2013, Peterborough Folk Music Society.
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