South of I-10

South of I-10

Editorial Reviews
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Sonny Landreth is a special guitarist. He has combined the idiosyncratic rhythms of his home state, Louisiana, with the intricate finger-picking of Chet Atkins, and the blues-rock slide of Duane Allman, into a distinctive style entirely his own. When he was backing up John Hiatt, John Mayall, or Beausoleil, his astonishing guitar licks were all Landreth needed, but now, as a bandleader himself, he has to rely on his songwriting and singing skills, which are considerably less impressive. On his 1996 solo album, South of I-10, Landreth does his best job yet in shoring up his weaknesses and showcasing his strengths. Landreth's best-known composition, a 1985 tribute to New Orleans called "Congo Square," has been recorded by Mayall, the Neville Brothers, Tom Principato, and Landreth himself, who re-records it for this album with help from guitarist Mark Knopfler and pianist Allen Toussaint. Landreth's vocal is much better this time, sticking close to the notes and timbres he can control and staying away from those he can't. With the help of his guest soloists and his producer R.S. Field (Webb Wilder), Landreth has his voice set the scene and then lets his guitar provide the eloquence. The new album features similar tributes to the music and weather of Louisiana: the title track, "Cajun Waltz," "Mojo Boogie," "C'est Chaud," and "Great Gulf Wind." These simple reflections of subjects close at hand are far more successful than Landreth's attempts at poetry and sweeping commentary. Most successful of all are Landreth's dazzling guitar fills and solos that express far more than his voice ever could. --Geoffrey Himes

South of I-10, Music, Sonny Landreth, Blues, Pop, Rock, Rock/Pop

South of I-10

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