Chris Cain - Raisin' Cain - Alligator Records

It has been a little over a decade since I reviewed Chris Cain's album "So Many Miles ( Blue Rock'It)." As I wrote then, Chris Cain has been playing his blues with a jazzy twist on the West Coast for quite some time. He recorded for the Ford Brothers' Blue Rock'It label and Blind Pig Records and built up quite a body of excellent recordings matched in quality by his live performances. A reference point for Cain's sound might be B.B. King (who his dad first took him to see with he was three), notably the King when he collaborated with the soulful, jazzy grooves provided by the Crusaders (think of King's rendition of "Never Make a Move Too Soon"). Add a dose of Albert King's guitar sound, and one has an imposing performer.

He recently was signed to Alligator Records, and this is his initial release for the label. It was recorded at Greaseland Studios and produced by Kid Andersen. In addition to his guitar, vocals, and keyboards, Chris Cain is backed by Greg Rahn on keyboards, Steve Evans on bass, and either Derrick "D'mar" Martin or Sky Garcia on drums and percussion. Kid Andersen adds rhythm guitar, acoustic guitar, or melodica to several tracks. Michael Peloquin adds saxophone, Mike Rinta plays trumpet, Jeff Lewis is heard on trombone, and Doug Rowan is on baritone sax on various selections. 

Cain wrote all twelve songs, ranging from funky uptown blues, scorching shuffles, and down-home southern soul-blues. Cain's robust, passionate singing and his striking note-bending and inventive solos capture one's attention throughout with excellent backing. The songs themselves offer fresh takes on familiar blues themes. The opening "Hush Money" has Cain singing about keeping his high finance lady happy, as she helps herself to anything he makes. Against punchy horns, Cain shouts about paying her hush money to keep her quiet with a tight guitar break. Then there is an energetic shuffle, "You Won't Have A Problem When I'm Gone," with a lyric reminiscent of Percy Mayfield. Cain sings about her mistreating him, and if she thinks Cain is the problem, she won't have a problem when he is gone with a heated guitar solo set against riffing horns. 

Other songs include the Memphis soul-flavored topical blues "Down on the Ground" about people trying to survive. When one is down on one's luck, no friend is around, and so many people want to kick someone when one is down. Albert King's influence is perhaps most evident during "I Believe I Got Off Cheap," with a solo that channels King's distinctive sound against the riffing horns. It is a gem on an album of stellar performances. Then there is the stunning, autobiographical, "Born To Play," as he recalls his parents and growing up in a house full of music, seeing Ray Charles and B.B. King when they came to town and learning to play his father's guitar. 

With excellent original material, outstanding vocals and guitar, and first-rate backing, Chris Cain's "Raisin' Cain" latest may be the finest album of Chris Cain's very distinguished career.

I received a download to review from Alligator Records. Here is a video of Chris Cain along with Kirk Fletcher.