Soul deep Brit James Hunter - who possesses a "tight, slithery soul groove" and a "sweet growl" (NY Times) - will make his Hear Music debut with the release of 'The Hard Way.' The new album finds Hunter delving further into the realm of deep soul on a set of all-original material.'The Hard Way' was produced by Liam Watson (The White Stripes) at famed analogue haven Toe Rag Studios in London.
The instrumental palette is rich and the arrangements sharpened for 'The Hard Way.' Allen Toussaint joins Hunter on the sultry "Til The End," the rhumba "Believe Me Baby," and the title track. The gorgeous Echo Strings buoy "The Hard Way" and the romantic "Carina," with accompanying pedal steel. The jumping "Don't Do Me No Favors" is designed for the dance floor.
The album resolves with the romantic ballad "Strange But True," the first Hunter recording stripped down to just vocals and guitar. The album also showcases further evidence of Hunter's guitar prowess, his manic solos recalling the fretwork of Ike Turner.
Hunter has extensively road tested the new album, crisscrossing North America and Europe since his 2006, GRAMMY nominated album 'People Gonna Talk' put him on the map. That album took him from being "one of the best voices, and best kept secrets, in British R'n'B and Soul," as Van Morrison put it, to a major breakout success of 2006. He opened for Etta James, Boz Scaggs, Los Lonely Boys, and Aretha Franklin; reached #1 on Billboard's Blues chart; and made several national television appearances. 'People Gonna Talk; earned him critical acclaim as well, with Rolling Stone calling it "a treat not to miss" and USA Today raving about his "sublime soul."
When the notoriously private Van Morrison praises a particular musician, that individual merits a closer look. Meet British R&B sensation James Hunter, who counts the Belfast troubadour among his biggest boosters (Morrison also appears on his 1996 debut, ...Believe What I Say). Recorded at London's Toe Rag Studios, an analogue favorite of Billy Childish and the White Stripes, The Hard Way showcases a rough and ready voice that recalls Sam Cooke and Georgie Fame after a few smokes and a tasteful, minimalist six-string approach. If Hunter eschews modernity, The Hard Way plays more like a reinvention of 1950s forms than a mere throwback. In that sense, the Colchester native performs a similar function to former touring partner Chris Isaak. His fourth platter adds New Orleans flavor thanks to famed producer/pianist Allen Toussaint, who guests on three tracks. With no covers and no filler, The Hard Way looks set to garner Hunter a second Grammy nod--if not a first win. As Sharon Jones and the Dap-Kings have proven, keeping soul alive in the 2000s isn't just about getting the sound right, but about nailing that non-ironic feel, and James Hunter performs his neo-classic tunes like he means every note. --Kathleen C. Fennessy
