Larry McCray

Heartbreak City

Keeping The Blues Alive Records

Larry McCray may very well change a life or two for the better with “Try to Be a Good Man,” the big production soul-rocking blues number that opens Heartbreak City, his tenth studio album. The burly, eminently soulful Arkansas-born guitarist, singer, and songwriter bravely addresses a glaring lack of values in the song. Boosted by an infectious, stomping groove that brings Stax to the Motor City, as well as his searing, harmonious guitar licks, McCray decries the senseless ideal of trying to be cool by way of nose rings and fancy clothes. But he does not preach. Instead, he reflects and makes a difference by subtle reminders gleaned through his gritty experiences as a child in a southern farm family of eleven and his woodshedding as a young musician in Detroit working the assembly line at GMC by day. McCray offers heartfelt regret, sound advice, forgiveness, and hope.

Although he has admired The Allman Brothers Band and Jimi Hendrix as much as Buddy Guy and the three Kings, Heartbreak City focuses on the soulful blues music side of Larry McCray, presenting him in perhaps the best light yet. Assisting in achieving that distinction? The “big production” team of Joe Bonamassa and Josh Smith, behind the boards for their second successful go with McCray. The ten songs, all new compositions by McCray, Smith, and friends, burst clearly with a craving to stand out. But the oomph never spills over the top. The spotlight throughout the album remains squarely on McCray and the songs, which he sings in a buttery/leathery voice of authority and exceptional character. The band surrounding McCray includes guitarists Bonamassa and Smith, keyboardist Reese Wynans, bassist Calvin Turner, drummer Lemar Carter, a robust horn section, and a chorus of backing vocalists. An alternate version of Bonamassa’s winning team.

“Bye Bye Blues,” the album’s sunny lead single, sounds like something Little Milton would grace the airwaves with back in his day, the message in the lyrics in step with the music. “Bright Side” follows in similar soulful fashion, the song written by Smith with Michael Price and Steve Shepherd decades ago with the intention of offering it to Bobby “Blue” Bland. In the simmering to broiling “I Know What I’ve Done,” with a complimentary guitar solo by Bonamassa, McCray bows his head in shame, pleading for forgiveness.

The intense blues workout “Keep on Loving My Baby” features McCray dueling like a demon’s virtuous brother with fellow guitarists Smith and guest Kirk Fletcher. “Hangman,” a semi-acoustic romp that plays like a gospel revival despite its dark themes, focuses ingeniously on both sides of a story.

A smoldering groove carrying waves of hesitant heat underscores “Heartbreak City,” in which McCray draws from the courage of his days trying to make it in a world of blues music that chews up and spits out all but the proven top tier. Well, Larry McCray spits in the face of that notion here, proving himself throughout the song, and the album titled for it, that if he’s not at the absolute pinnacle of the soul-blues-rock heap, he’s close to it.

Tom Clarke for MAS

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