01 - Luke Doucet - Long Haul Driver.mp3 (Size: 114.17 MB) (Files: 13)
01 - Luke Doucet - Long Haul Driver.mp3
02 - Luke Doucet - Blood's Too Rich.mp3
03 - Luke Doucet - The Lovecats.mp3
04 - Luke Doucet - Cleveland.mp3
05 - Luke Doucet - First Day (In The New Home Town).mp3
06 - Luke Doucet - Take You Home.mp3
07 - Luke Doucet - The Comandante.mp3
08 - Luke Doucet - Beacon On The Southpaw.mp3
09 - Luke Doucet - Motorbike.mp3
10 - Luke Doucet - It's Only Tuesday.mp3
11 - Luke Doucet - The Day Rick Danko Died.mp3
12 - Luke Doucet - Bombs Away.mp3
Luke Doucet - Blood's Too Rich .m3u
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A Canadian rocker with a light voice, a big fat Gretsch and a lucid way with words. No, don't shrug like that. This is almost certainly the freshest sounding old-fashioned record you'll hear this year.
The White Falcon rock like it's long gone out of style (there's a song called "The Day Rick Danko Died") and Doucet himself would be an up-and-coming star in any times but these. Sample lyric: "I'm too old for the girl I love but she doesn't know it yet." The Gretsch just rings like a bell. With the dismal exception of a Cure cover (say what!?), the tunes keep on coming like a runaway train.
- The Independant (UK)
Luke Doucet is a seasoned pro that's watched the odometer turn for more years than you can imagine. A full-time guitarist since he was a young man, Doucet has played countless styles of music and this record seems to be his subtle tip of the cap to each one. Like most Canadians, Doucet grew up with Neil Young and clearly that inspires him on Blood's Too Rich, but so many other genres help form his sound on this record.
Whether it's his Stray Cat strut or his noir-influence (although I'm not sure how well it works, Doucet's valiant attempt to change The Lovecats to a rockabilly, floor stomper is admirable), this record seems to be a collection of stories and sounds he's picked up on the road. On Blood's Too Rich, Doucet hits the listener with a roots-rock anthem that sounds better the louder you play it, but the song turns into a Mascisesque axe showcase. The solo drives forward, and while this might not be a recipe for success, I don't think Doucet cares much. This is his record, it's up to you to decide if you enjoy it or not.
The AM radio ditty, Cleveland, follows the same pattern. Topping seven-minutes, the slow moving love song plays like a memory montage (but does include the great slogan "Free Pete Rose"), before jumping into a three minute guitar solo mashup to end the song. Delicate steel adds to the Southern feel, and you can't help but think of this as a track Doucet would have used to showcase his skills back in the day. You know when a band has a catchy song, but half way through just fades to the back and let's the guitarist go to work.
Doucet still writes dusty country tracks that float along like a nice breeze, but he seems quite happy to break out of the standard molds and add intricate guitar work wherever he can. That's not to say the tracks aren't accessible. The Whiskeytown drive of and horn flourishes of The Comandante grab you instantly, so does the beautiful melody of Motorbike. First Day (In The New Home Town) somehow toes the line between Neil young and the alternative rock that got serious radio play in the early nineties but never seems dated. With the first power strum of the electric, you are instantly transported to your adolescence. That overwhelming sense of freedom you got from knowing that nothing mattered. The heavy strums of the acoustic sweetens the extra bit of grit he adds with the electric and dueling vocals.
But it's the constant shifts and embellishments that make this record work. Out of nowhere, he blasts a blues number with beer bottle percussion about the day Rick Danko died. It stands out from the rest of the record, but somehow still fits into the whole idea of Blood's Too Rich. Doucet made a record that is 100% what he wanted, and told the critics to be damned.
The results might not be for everyone, but the effort warrants a listen. On the surface there are so many easy ways to dismiss the project; songs are too long, have too many solos, but it's easier to just sit back and enjoy it. Doucet made a record with no reservations, leaving nothing on the table and I think he pulled it off. The material at its best crackles and at its worst is still better than most things you hear today.
Canadian singer/songwriter Luke Doucet plays guitar in Sarah McLachlan's touring band, and knows a thing or two about making the strings sing. He's played in Veal his own garage/psychedelic band and released several singer/songwriter albums noted for Doucet's multifaceted guitar work, although they've been lyrically spotty and a bit overwrought. On Blood's Too Rich Doucet reinvents himself as an Americana, or is that Canadiana, artist fronting a twang heavy band that puts plenty of muscle into his tunes. Doucet plays all the guitar parts and neatly juggles pedal steel, reverb heavy country and crunchy rock riffs to augment his tunes. The White Falcon — Rich Levesque, bass, John Dinsmore, six sting bass, Paul Brennan, drums and Melissa McCelland, backing vocals — adds plenty of drive to the arrangements, although they're augmented by a long list of extra side persons without any album credits to tell you who'd playing what. "Long Haul Driver" starts with a slow acoustic intro and builds to a Waylon Jennings beat that drives the tune down the open road with a jaunty thumping grace. The title track is a reverb soaked song of love gone wrong with a cryptic lyric and a solid country solo that alternates between rolling bass notes and rippling arpeggios. The Cure's "The Lovecats" is a jazzy, new wave romp that'll have you bouncing out of your seat and onto the nearest dance floor. "First Day (in a New Hometown)" delivers both uncertainty and jubilation as the singer settles down in an unfamiliar place to escape a failed relationship. The poignant tune balances equal measures of relief and regret. Doucet's melodies are always striking, but often the lyrics don't deliver on the music's emotional promise. "Take You Home" opens promisingly with thundering power chords that bring to mind Link Wray's "Rumble", and Doucet's Echoplexed guitar solo is tasty, but the lyric is forgettable. "The Comandante" has a mid-tempo Springsteen meets Dylan groove and a surrealistic lyric that tries too hard, or maybe not hard enough, to evoke a mysterious vibe. Again, the tune is strong and the playing dynamic, but the lyric needs work. "Bombs Away" another spooky vignette has a dark musical atmosphere that the lyric doesn't compliment. "Motorbike" fares better, a gentle guitar and snare drum dominated track that speaks about a mid-life crisis with a perfect touch of self-effacing humor and understated poetry. Doucet's vocal here is a beautiful world-weary moan, complimented by a nice, jazzy Mark Knopfler influenced guitar solo.
Artist/Band: Luke Doucet & The White Falcon
Album: Blood's Too Rich
Release Date: 2008
Bitrate: VBR --alt-preset extreme