Size: 98,8 MB
Time: 42:44
File: MP3 @ 320K/s
Released: 2025
Styles: Blues/Rock/Funk/Soul mix
Art: Front
1. Truth (2:33)
2. Bad Like Me (3:33)
3. S.S.S. (3:56)
4. Nothin' But Your Love (3:55)
5. Crosses (5:01)
6. Voodoo Charm (3:47)
7. Back To LA (3:26)
8. Clearly (5:16)
9. Standing On Business (3:55)
10. Hard To Love (4:32)
11. Memphis (2:46)
There’s a reason Christone “Kingfish” Ingram is the hottest artist in blues/rock today. His talent and charismatic presence has captured legions of fans and staggered his peers. And, with his new album Hard Road, he has sent a strong message that he is about to get stronger by taking charge of his life and music. In the opening track “Truth,” he announces his intention to stay true to himself and produce music that speaks his truth, without consideration of being labelled by genre or judged by others.
At 26 years of age, this is a bold and brilliant move. All the great artists follow their own bliss, but few come to this realization at such a young age. In an earlier statement, he said, “These songs are about owning my story. They’re about learning to see myself clearly and seeing others with more compassion. That’s changed the way I write, the way I play, and the way I live.” Following the success of 662 and Kingfish, this album, once again, reunites the Grammy-winning team of Ingram and producer Tom Hambridge. Ingram, Hambridge, and Richard Fleming once again assumed the lion’s share of the writing duties.
This album definitely demonstrates a growth in maturity and impressive versatility. Ingram has been described as embracing genres – funk, soul, hip-hop, pop, and jazz – and with this album, he seamlessly crosses their boundaries with ease and remarkable acuity. There’s increased focus on his vocal ability but there’s still plenty here for those hooked on his towering guitar wizardry. “Truth” features some funky guitar and keyboard work. The autobiographical lyrics set the tone for the album and perhaps, Ingram’s musical direction moving forward. In an announcement, he said, “I don’t care what you call it, as long as it feels good.”
“Bad Like Me,” released as a single, opens with funky vocal effects that lead into rapid-fire lyrics, with a hint of hip hop but still including some signature Ingram guitar. With candid confidence, Ingram said, ‘Hey man, I really dig this. It’s a good song… no, it’s a great song.” “S.S.S.” – the third track – features driving drum and guitar, forming captivating rhythm and lyrics. Pedal effects give way to straight-ahead rock and roll guitar. “Nothin’ But Your Love” offers a fine change of pace, punctuating the album’s range. It’s stripped down with soulful lyrics and simple percussion, morphing into a beguiling melody and solid R&B. Driving rhythms are the engines in “Crosses.” B3 organ, drums, soaring vocals and an infectious chorus are a prelude to blistering guitar solos.
“Voodoo Charm,” also released as a single, provides more fodder for fans of the “Kingfish” guitar. A slower, deliberate delivery on the instrument demonstrates his understanding of the importance of space between the notes – often missing from a less astute player. “Back to LA “ incorporates clever use of lyrics to draw in listeners, literally from across the country. “Clearly” offers some more soulful R&B, with hints of gospel music, while incorporating some brilliant guitar work. “Standing on Business” provides some more funky R&B, with a simple bass line providing a foundation for the preeminent lyrical expression.
“Hard to Love” features an upbeat, fun rhythm, finishing with strong, classic “Kingfish” guitar. The album finishes with “Memphis,” which offers some old-time acoustic blues, helped with harp work by Harrell “Rell” Davenport. Besides lead vocals and guitar by Ingram, the album features Kenny Greeenburg on additional guitar, Tom Hambridge on drums, Davenport on harp, Marty Sammon on B3 organ, and Glen Worf and Tom MacDonald sharing bass duties. Backing vocals are provided by Sarah and Rachel Hambridge, along with papa Tom. /Bob Liddycoat, Blues Rock Review
At 26 years of age, this is a bold and brilliant move. All the great artists follow their own bliss, but few come to this realization at such a young age. In an earlier statement, he said, “These songs are about owning my story. They’re about learning to see myself clearly and seeing others with more compassion. That’s changed the way I write, the way I play, and the way I live.” Following the success of 662 and Kingfish, this album, once again, reunites the Grammy-winning team of Ingram and producer Tom Hambridge. Ingram, Hambridge, and Richard Fleming once again assumed the lion’s share of the writing duties.
This album definitely demonstrates a growth in maturity and impressive versatility. Ingram has been described as embracing genres – funk, soul, hip-hop, pop, and jazz – and with this album, he seamlessly crosses their boundaries with ease and remarkable acuity. There’s increased focus on his vocal ability but there’s still plenty here for those hooked on his towering guitar wizardry. “Truth” features some funky guitar and keyboard work. The autobiographical lyrics set the tone for the album and perhaps, Ingram’s musical direction moving forward. In an announcement, he said, “I don’t care what you call it, as long as it feels good.”
“Bad Like Me,” released as a single, opens with funky vocal effects that lead into rapid-fire lyrics, with a hint of hip hop but still including some signature Ingram guitar. With candid confidence, Ingram said, ‘Hey man, I really dig this. It’s a good song… no, it’s a great song.” “S.S.S.” – the third track – features driving drum and guitar, forming captivating rhythm and lyrics. Pedal effects give way to straight-ahead rock and roll guitar. “Nothin’ But Your Love” offers a fine change of pace, punctuating the album’s range. It’s stripped down with soulful lyrics and simple percussion, morphing into a beguiling melody and solid R&B. Driving rhythms are the engines in “Crosses.” B3 organ, drums, soaring vocals and an infectious chorus are a prelude to blistering guitar solos.
“Voodoo Charm,” also released as a single, provides more fodder for fans of the “Kingfish” guitar. A slower, deliberate delivery on the instrument demonstrates his understanding of the importance of space between the notes – often missing from a less astute player. “Back to LA “ incorporates clever use of lyrics to draw in listeners, literally from across the country. “Clearly” offers some more soulful R&B, with hints of gospel music, while incorporating some brilliant guitar work. “Standing on Business” provides some more funky R&B, with a simple bass line providing a foundation for the preeminent lyrical expression.
“Hard to Love” features an upbeat, fun rhythm, finishing with strong, classic “Kingfish” guitar. The album finishes with “Memphis,” which offers some old-time acoustic blues, helped with harp work by Harrell “Rell” Davenport. Besides lead vocals and guitar by Ingram, the album features Kenny Greeenburg on additional guitar, Tom Hambridge on drums, Davenport on harp, Marty Sammon on B3 organ, and Glen Worf and Tom MacDonald sharing bass duties. Backing vocals are provided by Sarah and Rachel Hambridge, along with papa Tom. /Bob Liddycoat, Blues Rock Review
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