Eric Krasno

EricKrasnoFor nearly two decades, Eric Krasno has been an omnipresent figure in popular music. We’ve heard his virtuosic, innovative guitar playing with Soulive and Lettuce (both of which he co-founded), seen him onstage supporting the likes of the Rolling Stones and The Roots, watched him take home multiple GRAMMY Awards, and benefited from his deft, behind-the-scenes work as a producer and songwriter for everyone from Norah Jones, Tedeschi Trucks, and 50 Cent to Talib Kweli, Aaron Neville, and Allen Stone. Krasno’s rousing new solo album, ‘Blood From A Stone,’ reveals a previously unknown and utterly compelling side of his artistry, though, inviting us to bear witness as he both literally and metaphorically finds his voice.

When it came time to begin formal work on the album, Krasno left his home in New York City to join Dave Gutter from Rustic Overtones in Maine for the first writing session, which turned out to be so productive that the two had penned most of the album in just a few days. In a shift from the looser, jam/funk spirit that has marked Krasno’s previous work, the songs for ‘Blood From A Stone’ took shape as tight, infectious, highly structured blues and R&B-based tracks. Krasno and Gutter commiserated over recent relationship turmoil and their shared love of music like Bobby “Blue” Bland’s ‘Dreamer’ and Muddy Waters’ ‘Electric Mud’ to create a sonic palette at once classic and modern, deeply personal and totally timeless. Deciding to strike while the iron was hot, the duo headed into Gutter’s barn along with Ryan Zoidis (Lettuce) to lay down what they envisioned to be demos, but in fact turned out to be the backbone of the album.

It’s apparent from the first moments of the funky, Hendrix-esque album opener “Waiting On Your Love” that Krasno’s voice has been an ace up his sleeve this whole time. Rich, warm, and full-bodied, his tone blends earnest sincerity with casual swagger and, much like his guitar playing, taps into a deep vein of emotion. On “Torture” and “Jezebel,” he sings as a bruised survivor of love-gone-bad, while the slow-jam of “Please Ya” channels Otis Redding soul, and “On The Rise” builds off a bass-and-percussion groove with psychedelic samples and gorgeous harmonies. The album has its lighter moments, too, from “Unconditional Love”—inspired by the spirit-lifting arrival of Gutter’s daughter after school every day—to “Natalie”—a romantic ode to an automobile originally written during Krasno’s Soulive days. It’s an eclectic collection, to be sure, but it’s all tied beautifully together through Krasno’s understated vocals and skillful songcraft, which always leaves enough room for him to stretch out on his six-string.

 

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