ARTHUR ADAMS "STOMP THE FLOOR" Source: The International Review of Music Date: 01/2010 Writer: Devon Wendell

Though Arthur Adams came to Los Angeles from Meden, Tennessee, he has been a staple of the Southland blues scene since 1964. He’s back in full force on his 7th album Stomp The Floor with an all-star lineup consisting of Hense Powell: keyboards, Reggie McBride: bass, Lou Castro: bass, James Gadsen: drums, Stacey Lamont Syndor: percussion, Lee Thornberg: trumpet, Dave Woodford: saxophone, and Garrett Adkins: trombone. But overall the results are mixed.

The opening title track starts with a sexy, Isaac Hayes Memphis funk beat. Adams’s throaty vocal, single string bends, and clear guitar tone have an uncanny resemblance to Chicago blues veteran Fenton Robinson, and McBride’s pulsating bass line drives the rhythm section to — in the words of George Clinton — “Funk or walk.”

Other tunes reach into different areas. On “You Can’t Win For Losing,” Adams offers a hopeful message with B.B. King-like phrasing and well placed horn arrangements. “Don’t Let The Door Hit You,” prompts Adams and the fellas to take it down to the alley with the humorous tale about a lazy, no good woman who’s got to go. Here, as elsewhere, Adams digs deep into his guitar strings. Although he can be a strong vocalist, the highlights of the album trace to his instrumental work. Especially the raw funk of “You Got The Right,” which brings to mind Texas six stringers Johnny “Guitar” Watson and Albert Collins, and “You Are Invited”, his Adams’s most melodic and interesting guitar solo, delving into minor keys with passion and intensity.

But there are down sides, as well on Stomp the Floor. Adam sings falsetto on the minor key “I Know What You Mean” with originality and grace, and plays a soft, sweet guitar solo. But Powell’s electric keyboard work is distracting. The saccharine ballad “So Sweet” sounds intentionally geared to be a hit, but it lacks power and doesn’t go anywhere past the chorus. Similarly, “Callin’ Heaven” has some unique, overdubbed vocal harmonies from Adams, but the backing arrangement is far too polished.

On “Nature Of The Beast” Adams’ guitar tone has too much chorus, robbing it of its bite. “Around the Sun,” a light jazz instrumental, seems out of place in this collection, although it does show off Adams’ jazz chops and versatility. And “Blues Roots,” another instrumental is simply an obvious nod to T-Bone Walker’s more funky recordings of the ‘70’s.
In sum, Stomp The Floor, has a good share of great vocal, guitar and band performances. But too much of it feels over produced and lacks consistency, ending up with an album that has more valleys than peaks.