The album kicks off with a version of Freddie King�s classic �Going Down.� Powers and band rip into it with a fervor that mixes the best of the British Blues masters in their prime. After one listen of the track it comes as no surprise that Powers names Jeff Beck and Jimmy Page as influences along with Muddy Waters and Jimmy Reed.
The variety of influences is well represented on Prodigal Son. On Sonny Boy Williamson�s �It�s A Bloody Life� (which, as the liner notes state, featured a young Jimmy Page on guitar), the band trades it full-on electric assault and masterfully plays the tune in a Jazz combo vein complete with resonator guitar and stand-up bass.
�Prodigal Son� amps the energy somewhere between the first two tracks and tells the story of a young boy who runs away from home to escape his abusive father, but in the process loses his mother and sister. The groove of �Prodigal Son� barely fades before the funk of �White Lightening� takes over.
The Yardbirds influence shines through on the heavy stomping �Wild Side� allowing the band to stretch out before slowing down for a faithful rendition of Dylan�s �Every Grain Of Sand.�
�Lay The Hootch� is a frolicking Rockabilly number featuring some great bass work by Cliff Schmitt and �Oh John� is a fitting tribute to one of Powers� main influences, Jimmy Reed.
One of my favorite performances on the album is the Arthur Lee/Love song �Signed D.C.� The song is essentially the tale of a drug addict lamenting the drugs hold on him before ending his suicide note, �Signed D.C.� Powers follows the song with the aptly titled acoustic instrumental �Compassion� then moves to the Country Blues of �You Got To Go Down.�
Powers wraps up the album with the Rockabilly classic �Train Kept A Rollin�� which is a fitting summation of the contents of the album with its Rockabilly pedigree filtered through the British influence of the Yardbirds and then full circle to a first rate Bluesman like Powers.
The album is thoroughly enjoyable with a great mix of styles representing the subgenres of the sometimes broad category of Blues. Powers voice is a great mix of Buddy Guy and the underappreciated Robert Bradley and his guitar playing (and choice of backing musicians) keeps the music moving forward while still keeping a respectful eye to their influences.
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