It’s hard to believe it’s been over five years since we last had an album from Jared James Nichols but that’s where we are. Needless to say, a lot has changed since Black Magic but after a listen to this, Nichols’ third album, a lot remains the same. Namely, that lies in his passionate guitar worked backed by oodles of skill. And when you consider that he almost had to lay down the six strings due to a broken arm and surgery, this self-titled album is Nichols showing a new peak to his proficiency and the determination of the human spirit.
Whilst ordinarily pigeon-holed as a bluesman, Nichols is using this album to show there’s far more to him than just blues licks. Having flirted with other genres on past releases, this one goes further into new realms, albeit blues powered. Indeed, as the album explodes into life with opener, “My Delusion”, it’s Nichols kicking down the door as a sharp reminder of who he is and his prowess on the guitar. As the riff trundles along after its initial burst, there’s an early 70s Aerosmith to it and as Nichols’ voice sits on top of it, there’s points where he drawls like early Steven Tyler, too. The early Aerosmith vibe continues on “Bad Roots”, here, it’s mainly bedded within the driving bassline and the instrumental of the chorus as it channels that era once more.
If you like what we do, consider joining us on Patreon for as little as £1 per month!
Elsewhere, there’s some interesting work going on where Nichols hits Soundgarden territory. The psychedelic, grungy tones of “Down the Drain” and “Shadow Dancer” pair well together as they show a new side to Nichols’ sound. Not overly drenched in it, there’s still a familiarity found within as it hits the chorus. Meanwhile, there’s the stomp of “Hardwired” which flirts with a more sludgy, doom-ridden sound with its boisterous stomp before there’s full-on Black Sabbath worship in “Hallelujah”. With hints of “Children of the Grave” in its riff, there’s a cleaner tone on the guitar work but its just as chunky, the gallop of the bass sitting well with Nichols’ howls.
However, if it’s more traditional bluesy numbers you’re after, there’s still plenty to be found within. They just happen to be far more rock-based than your traditional blues work. “Easy Come, Easy Go” is rambunctious in its riff, its chugging riff taking centre stage for much of the track. Most of the back portion of the album takes on blues in various incarnations, the funky “Good Time Girl” has an air of sultriness to it whilst “Saint or Fool” is full anguish and bitterness in Nichols’ vocals and guitar work. Closer “Out of Time” is the perfect conclusion to the album as it meshes the various styles which are played with throughout the album into one cohesive package.
Don’t fancy Patreon? Buy us a one-off beverage!
Appropriately self-titled this far along in his career, Nichols’ first love of blues is present throughout the album, even if it’s to take a back seat on the punchier numbers. It continues to drive the songs forward whilst Nichols shows he’s much more than just that whilst showing what the genre itself can do. Backed up by a big, fat old-school lean production, he’s made the most accomplished album of his career.
Header image by David McClister
Jared James Nichols is out now
Check out all the bands we review in 2023 on our Spotify and YouTube playlists!
Jared James Nichols: official | facebook | twitter | instagram | spotify | youtube
wpDiscuz