Already Free review by The Derek Trucks Band

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  • Released: Jan 13, 2009
  • Sound: 10
  • Lyrics: 9
  • Overall Impression: 10
  • Reviewer's score: 9.7 Superb
  • Users' score: 8.4 (14 votes)
The Derek Trucks Band: Already Free

Sound — 10
Over the course of his first five studio albums, Derek Trucks looked increasingly outside his native United States for inspiration. His early sets concentrated on jazz and blues, working loosely in the idioms of fusion, electric blues, and funk alongside the soulful Southern rock of his most obvious influence, the Allman Brothers Band. (That last is no surprise, since the band's drummer, Butch Trucks, is his uncle; Derek's been playing in the group himself since 1999). From 2002's Joyful Noise on through his last studio effort, 2006's Songlines, Trucks dug deeply for seeds worldwide, delving into reggae, qawwali, salsa, and Afrobeat alongside his explorations of American roots music. His latest offering, Already Free, returns home but is no less rich for it, drawing from a dizzying variety of regions and styles and stirring them into a seamless and immensely satisfying whole. The album opens with a blistering cover of Bob Dylan's Down in the Flood, cast as a gritty, hard-charging blues that sets the scene for an album's worth of barnburners. It's followed by Something to Make You Happy, a tune written by Paul Pena (perhaps best known for writing Steve Miller's hit Jet Airliner). Trucks's cover sears with it's energy, featuring high-octane performances from vocalist Mike Mattison and keyboardist Kofi Burbridge. Things ratchet down a notch in intensity, but not in quality, for the next two tracks: Doyle Bramhall II pays a visit for the leisurely soul number Maybe This Time, and the Robert Randolph-esque gospel serenade Sweet Inspiration adds a curious touch of bongo to the heavy doses of Hammond organ, backing choir, and, of course, slide guitar. It's back to the firehouse for Don't Miss Me, a stomping, mid-paced Trucks original that sounds like it's been passed down for generations, from Muddy Waters to Buddy Guy to Eric Gales. Topping it all off is Trucks's murderous slide work, which is yet more impressive on the next track, the shuffling boogie Get What You Deserve. Halfway through the album, Trucks is already blowing the doors off of the house of blues, proving himself possibly the best blues guitarist of his era. Much of Already Free's first half has the feel of Kenny Wayne Shepherd's first two albums, particularly as Mattison's voice has a passing resemblance to Corey Sterling, who sang on Shepherd's debut, Ledbetter Heights. But as top-notch a player as Shepherd was (and is), a significant portion of his work gives the appearance of being simply an excuse to solo, with a two-minute jam thrown in between 12-bar choruses. Trucks melds Shepherd's ferocity with Keb'Mo's knack for songwriting, along with his uncle's band's fullness of sound and complexity of improvisation (among several members, not just the lead instrument). The result is some of the overall highest quality blues rock anyone's been making in decades. Trucks downshifts again for Our Love, a piano and acoustic guitar-driven ballad which also features contributions from Doyle Bramhall II. A classic Austin-sound number, Our Love would have fit impeccably on a Storyville record or on the lone LP by Bramhall's erstwhile supergroup, Arc Angels, but it's just as much at home here in Trucks's synthesis of all things Americana. Following this is the sanctified soul number Down Don't Bother Me, whose uplifting chorus echoes Joe Cocker's definitive reshaping of Paul McCartney's With a Little Help From My Friends; in an album of standouts, this slow-burning track is one of the absolute best. Trucks channels Otis Redding on Days Is Almost Gone, which, like Redding's gem I've Been Loving You Too Long, starts off a little unsure of itself but gains it's confidence, and then some, with an infusion of heavy gospel towards it's end. Trucks's wife Susan Tedeschi guests on lead vocals for Back Where I Started, a subdued love song in which Tedeschi balances her range artfully between Bonnie Raitt and Janis Joplin. As it fades into I Know, it also introduces the only real hint of non-Western playing on the album when Trucks's sarod (an Indian classical instrument similar in sound to a sitar) makes a brief appearance. I Know gets carried back into the heartland soon enough, fleshing out as a fat Stax tribute with prominent horns and wonderful dollops of electric organ. The album closes with the title track, a brief, scratchy number whose lead melody recalls the old spiritual Blood on That Rock. It's a little disorganized, and feels like somewhat of a throwaway number, especially since the production is intentionally more lo-fi than the rest of the album. Perhaps not the best track to name the album after, but after 53 minutes of top-shelf heat, who's to complain?

Lyrics — 9
The album Already Free was recorded in a home studio with the participation of several guests such musicians as Doyle Bramhall II, Oteil Burbridge, Derek Trucks' wife Susan Tedeschi and Warren Haynes. The album opens with the first single Down In The Flood, a Bob Dylan's song cover refined with a beautifully matched sounding of acoustic and electric guitars combining greatly with Mattison's vocals. This cover is not the only one here the others being a more eclectic Something To Make You Happy (Paul Pena's song) and a gospel-blues interpretation of Sweet Inspiration (Spooner Oldham and Dan Penn's composition) but the original material is no worse than that. Doyle Bramhall II performs the leading vocals on Maybe This Time, another great blues number while Don't Miss Me is remarkable for an outstanding guitars sounding. A more rock'n'roll flavor of Get What You Deserve reminds of the band's earlier works whereas Our Love is a contagious blues ballad and the longest track here but by no means boring. The brightest example of Trucks' outstanding guitar playing is one of the album's highlights Days Is Almost Gone perfect in every respect and proving that the real talent gets only polished as time passes. Susan Tedeschi performs the leading vocals on Back Where I Started, a deeply felt love confession to a long-term partner and I Know is another highlight refined with an unforgettable vocal performance from Mattison and Trucks' playing on a rare Indian stringed instrument called sarod. The album closes with the title track, the shortest song sounding rather laconic in it's message as nothing actually needs to be said after such a wonderful collection as this album.

Overall Impression — 10
Six albums in and with a cartload of accolades to his name, Trucks doesn't need to prove that he's one of the most talented guitarists alive, and yet Already Free is about as far from resting on his laurels as he can get. Forget the blues; forget genre, at allTrucks and his crack band are serving up some of the best American music to be had in a fragmented, subgenre-obsessed popular music world. By tapping into the limitless well of America's musical traditions, Trucks has brought forth one of 2009's first true gems and his best effort to date.

7 comments sorted by best / new / date

    I've been waiting for a serous blues album from this slide king, but up until now all I've found is his "world music" crap. It's about time.
    I like pretty much anything he does, great guitar player. As far as his "world music" being "crap" - I would disagree. I think if you played the same thing all the time you would get bored. When any guitar player with as much talent as Derek Trucks decides to widen out, I think its cool. I will be checking this album out!
    I first heard Derek with the Allman Bros. and have been hooked on him ever since. Hopefully picking this up in a couple days.
    damskippy wrote: I've been waiting for a serous blues album from this slide king, but up until now all I've found is his "world music" crap. It's about time.
    Have some respect for musical styles thousands of years older than our own. Blues/jazz/rock are direct descendants of this stuff.
    Already Free is great but isn't his best. Swamp Raga, a bonus track is my favorite off the album.