KIRK FLETCHER "MY TURN" Source: Juke Joint Soul Date: 07/2010 Writer: Ben the Harpman

Kirk Fletcher has been absent as a solo artist for quite some time now. He's been on the road with Charlie Musselwhite, been a Fabulous Thunderbird, is a Hollywood Blue Flame and a Mannish Boy. He's been busy. Fletcher says in the liner notes that he's been waiting to make this album and it's one that he's always been wanting to make. My question is: Why?

It's hard for me to review an album when I know that the artist is really playing things really close to the chest. I know I probably won't change their mind or that I may even piss them off. It comes with the territory. My first indicator that I may not personally like this album was that it was being issued under Randy Chortkoff's more avante-guard roots/rock label Eclecto. So far, I haven't liked much if anything from the camp. Some may say that I'm too traditional to appreciate good music. Not true. I know what I think is good music - but let's not debate that here. Fletcher in essence here has moments here that are noteworthy that's more exploratory to the effect of his guitar prowess than to making a well-rounded album. "El Medio Stomp" is as good a rock instrumental as I've heard in quite some time. The remake of a smooth gospel-jazz soul of "Way Back Home" also is a funky groove that guitar purists will enjoy for its tone, technique, dynamics, and fluidity. "Congo Square" sang by sax man Paulie Cerra is the finest vocal on the disc and has a fresh, funky island feel to it as it should, celebrating the historical landmark of New Orleans. However, it gets riddled with stoner after effects and some cheesy production that would have been better left out. "Blues For Antone" is a nice switch to some straight ahead blues. It speaks typical of what you would've heard in the club back in the 80s and what you currently hear in slow, 12-bar blues in contemporary blues today. A little bit more breathing room and spacing would've made this song brilliant as an instrumental. "Continents End" is a poor excuse for modern day Jimi Hendrix overproduction. No thanks. I'm sure alot of people feel that if they want to get high to Jimi, they'd rather put on the real thing. I don't smoke dope so I guess maybe the song gets lost on me. Harsh, I know but I feel that Fletcher can and does do so much better elsewhere.

Maybe Kirk feels like he's being pigeonholed as a traditional blues player and virtually can't make money because new gigs and opportunities are shut off from him. Maybe he feels like there's more depth to his playing than just blues. Maybe it's both of those reasons. Either way, I knew he was a great guitarist before the album and still think so. I think his fans knew this, too. Any new fans hearing him in any of his incarnations will know. I just didn't need some of this album. It's not my thing. I guess somewhere in the middle I'll meet Kirk halfway. Again, he's playing this one close to the vest and I'm still going to eagerly listen to him despite the fact I didn't care for this album.