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NRBQ fans should be cautioned that After Hours isn’t the roots-rocker you might anticipate. Instead it’s a soulful mishmash of ballads, jazzy swing, and bluesy country better suited to slow-dancing in front of the fireplace than as the soundtrack for your summer barbeque.
Although named one of “the top 100 guitarists of the 20th century” by Musician magazine, when Big Al Anderson left eclectic rockers NRBQ in 1993 it was to focus on his songwriting. One solo album, Pay Before You Pump, in 1996 and occasional sideman gigs have been the only distractions from that focus. Vince Gill’s Grammy-winning “Next Big Thing,” “All You Ever Do Is Bring Me Down” (the Mavericks’ biggest hit, co-written with Maverick frontman Raul Malo), and a top-20 duet by Jimmy Buffett and Martina McBride, “Trip Around the Sun,” are some of the slew of Anderson’s songs recorded since.
NRBQ fans should be cautioned that After Hours isn’t the roots-rocker you might anticipate. Instead it’s a soulful mishmash of ballads, jazzy swing, and bluesy country better suited to slow-dancing in front of the fireplace than as the soundtrack for your summer barbeque. But once you readjust your expectations, After Hours is almost perfect.
Anderson’s frequent writing collaborator Sharon Vaughn sings the torchy “Do Nothin’ Day,” while Kim Richey, Bekka Bramlett, and Crystal Talierero lend backup vocals on selected cuts, supplementing the top-notch Nashville musicians who give the disc a tight, polished sound. Standout tracks are Anderson’s version of “Trip Around the Sun” and his tale of the nomadic life in “Another Place I Don’t Belong” (co-written with Miles Zuniga of Fastball). Another treat is “In My Dreams,” vintage western swing that sounds like a long-lost Bob Wills track (actually written by Anderson and Fred Koller, and a 1995 release for swing-revivalists Asleep at the Wheel).
Co-writer Tia Sellers takes over vocal duties on “What’s a Thousand Miles.” Although she’s a Grammy-winning songwriter, this appears to be Sellers’ recording debut as a lead vocalist. Her wispy voice is exactly what this song of foolishly chasing love needed to drive home the essence of its message. This frequent use of female vocalists provide balance and contrast to Anderson’s deeper voice, which helps maintain the After Hours vibe he was aiming for.
I’d love to tell you more, but unfortunately it’s getting late. After Hours is spinning in the player; it’s time to light the fire and dim the lights.
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