ALBUM REVIEW: Tom Castro’s ‘Closer To The Bone’ is an Old-School Blues Record

Tommy Castro could have been a successful soulman. He’s got the grit of Little Milton or Bobby Blue Bland embedded in his vocals and has the extra attraction of being able to throw in his own guitar licks fit for an arena. But on his latest release, Closer To The Bone, Castro makes it abundantly clear that this is an old-school blues record.

In the liner notes Castro writes, “there is nothing contemporary about this album.” To bolster that proclamation, he invited heavyweight harmonica player Rick Estrin (Rick Estrin and the Nightcats) and Chicago blaster Billy Branch (Sons Of Blues), along with saxophonist Deanna Bogart, Jim Pugh on keys and producer Kid Anderson on bass, rhythm guitar, organ, and piano to join him on the album.

Still, there’s still plenty of soul to go around here. With the help of Castro’s backing band, the Painkillers (Mike Emerson on keys, Randy McDonald on bass, and Bowen Brown on drums) Castro resurrects the spirit of Rufus Thomas on “I Can’t Catch A Break.” Snatches of Thomas’ 1983 hit “Walkin’ The Dog” keep barking throughout, sweetened by a horn section that sounds lifted right out of the Stax studios in Memphis where Thomas pumped out his raucous hits in the 1960s.

With the help of Jim Pugh’s burbling organ, Castro totally transforms Magic Slim’s “Hole In The Wall” from a John Lee Hookerish boogie shuffle into a gospel celebration, which starts out in church but quickly runs out into the street looking for a juke joint to raise the spirits.

Castro comes out strong his soulful rendition of Ray Charles’ “I’m A Fool For You,” before dropping in a couple of screaming blues guitar solos, reflecting the Kingly-stringed antics of  B.B., Albert, and Freddie King. And Castro’s take on Johnny Guitar Watson’s “She Moves Me” takes a deep dive into blues territory. Watson’s original was a low down shuffle, but Castro turns it into a rollicking jump blues with Deanna Bogart’s sax providing oomph.

Finally, Castro’s redo of  Wynonie Harris’ 1951 hit “Bloodshot Eyes” adds a bit more bloozy bounce than the original, presenting a not-too-attractive portrait of a booze-loving, good-time girl: “Your eyes look like two cherries/ In a glass of buttermilk /Why don’t you shut your peepers girl/Before you bleed to death.”

Whatever label ultimately gets applied to this project should be hyphenated to reflect all the different types of good stuff going on here. Or why even bother with a label at all? Just appreciate it for what it is; sit back and enjoy.

Tommy Castro’s Closer To the Bone is out Feb. 7 via Alligator Records.