Robert Finley: Black Bayou Review
From the depths of the Louisiana swamp rises the latest album from Robert Finley, the 69-year-old critically acclaimed blues artist who began breaking through over the last several years after decades of singing blues and gospel in small clubs and churches. Black Bayou, due out on October 27 on Dan Auerbach’s Easy Eye Sound, fits so seamlessly into the wider blues cannon that it’ll be hard for listeners to remember being without it.
Finley has said this new album is a tribute of sorts to Louisiana, where he has lived most of his life. As a whole, Black Bayou’s lush melodies are as satisfying as a warm meal after a long day of grueling work. The album feels well planned and well executed, which makes it almost surprising to learn that the material largely came together on the fly in Easy Eye Sound’s Nashville studio.
The musicians who supported Finley on Black Bayou created the parts they contributed “spontaneously” and often worked quickly enough to capture what they needed in a single take, according to the album’s press materials. In addition to Auerbach’s production work, Finley is supported on Black Bayou by his daughter and granddaughter, Christy Johnson and LaQuindrelyn McMahon, both of whom provide vocal support. He’s also joined by drummers Patrick Carney of The Black Keys and Jeffrey Clemens, Eric Deaton on bass and Kenny Brown on guitar. The album’s polish impresses on the first listen, with the knowledge of its recording process only compounding its success.
Part of what makes Black Bayou so timeless is its dedication to traditional blues themes. The album opens with “Livin’ Out a Suitcase,” a song about the pros and cons of a nomadic lifestyle. Finley confronts betrayal on “Sneakin’ Around,” lust on “Can’t Blame Me for Trying,” loneliness on “Nobody Wants to be Lonely” and longing on “You Got It (And I Need It).” Finley also explores classic blues styles, with “Sneakin’ Around” calling back to a quickly recognizable rhythm structure embraced by countless artists and “Waste of Time” deploying jangling keys to compliment guttural guitar in a roadhouse blues-style track.
Perhaps most refreshing about Black Bayou is its wide tonal variety. While “What Goes Around (Comes Around)” steadily gains momentum until it reaches its rumbling chorus, “Miss Kitty” is slow and methodical, with its likely Black Keys influence coming across through its haunting vocals and echo effects. Album closer “Alligator Bait” stands far apart from the other 10 tracks due to its talking blues style, with Finley sharing a story of the distrust passed down through generations after his grandfather used a young Finley to entice alligators. At just over 6 minutes, “Alligator Bait” is the longest song on the album and its most unique, with Finley’s deep voice building suspense in that old blues storytelling style, ending the album on a strong note.
While Finley’s 2021 album Sharecropper’s Son was primarily an autobiographical project, Black Bayou brings to the surface the elements of Finley’s time in Louisiana that most impacted him as an artist. The album is a humble exploration of the swampy sounds and rhythm & blues storylines that Finley has been immersed in for decades, with these elements shining all the brighter for Finley’s spotlight.
The Review: 8.5/10
Can’t Miss Tracks
– Miss Kitty
– Waste of Time
– What Goes Around (Comes Around)
– Alligator Bait
The Big Hit
– Sneakin’ Around
Buy the album: Amazon
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