Album Reviews

Mark Lanegan and Duke Garwood – Black Pudding

on May 17, 2013, 12:01am
Mark Lanegan & Duke Garwood - Black Pudding C
Release Date
Label
Formats

The whiskey, blood, and holy water from last year’s estimable Blues Funeral had barely dried up when Mark Lanegan partnered with English bluesman Duke Garwood to record Black Pudding, an album that crawls, breathes, and refurbishes the acoustic blues of Lanegan’s early solo work. Here, as the shared billing suggests, Lanegan’s rugged voice and Garwood’s delicate playing intend to speak to each other. Only part of the time, though, do the two seem to be participating in the same conversation.

The trouble with Black Pudding becomes finding exactly where these two singular voices should meet. The album’s most rewarding interactions come when the duo endeavors to do more than simply swap parts. Garwood’s Eastern-sounding instrumentation swells beautifully beneath Lanegan’s end-of-verse croon on the slow-burning “Mescalito”. “Cold Molly” takes the same beat in a funk direction, Lanegan’s swagger and loose delivery adding to the vibe created by Garwood’s digital-sounding guitar work. And the hushed “Sphinx” intermingles pond-ripple vocals and guitar droplets to create a mystical vapor.

Just as often, however, the two accomplish little more than coexistence. On “Driver”, Lanegan’s interspersed declarations and humming come across as mere placeholders or, worse yet, interruptions. In other moments, what Lanegan and Garwood are doing individually seems far more interesting than the result of the joint effort. The discordant “Thank You” buzzes and plunks alongside Lanegan’s singing; the result is the feeling of listening in on two conversations at once and having no idea what either one is about.

Black Pudding spins like a promising duo still learning how to share space with each other. It’s a less appealing debut than Lanegan’s first records with, say, Isobel Campbell or Soulsavers, and a challenging introduction to American audiences for the talented Garwood.

Essential Tracks: “Mescalito”, “Sphinx”

3 comments

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

Jeremy Hopkins
May 21, 2013 at 9:51 pm

Man, I thought the I. Campbell records were totally overrated.

Soulsavers was a good record.

This was not at all a perfect record, but like a lot of John Fahey’s stuff (for instance), I don’t think it’s the sort of music which demands (or holds up to) a great deal of tight-focus scrutiny. I’d be pressed to write five hundred words about it, even though I liked it.

Stevel kneivel
May 18, 2013 at 9:04 am

It sounds like Matt needs a hug. This album is a beautiful collaboration between what appears to be a journey of likeminded musicians to me. The personalities resonate very strongly to produce a cogent narrative along with a wonderfully crafted backdrop of freaky genius by blues guy Duke Garwood. Just because you don’t understand it, doesn’t mean it isn’t together or cohesive. I’m curious to know what this reviewer listens to at home.

Matt Melis
May 18, 2013 at 9:54 am

Stevel, I never turn down a hug. What do I listen to at home? A decent bit of Mark Lanegan, actually. Two incredible talents, but a very so-so record. This record definitely made me want to hear more new stuff from Garwood, though. Thanks for reading. Best, Matt Melis

Follow

Get every new post delivered to your Inbox.

Join 2,099 other followers