Here's a rough translation:
Fresh from the press in April, Full Tilt Boogie is the mighty last piece for James Scott Bullard, a boy from the rural south of the United States, born in South Carolina from a mixed-blood family (Irish, German, and Native Americans), where he breathed obviously the fumes of alcohol, eavesdropped bluegrass, country and blues, and strengthened the character with the classics of the south (Hank Williams, Elvis Presley, Allman Brothers Band, Lynyrd Skynyrd, Tom Petty). After an adolescence passed to give vent to the juvenile acne with the hard rock of the Sabbath and Iron Maiden, James has put his head in place by starting to think music fishing in the unconscious, and paying attention to the father, who did not miss opportunity to reiterate what were its roots and the music that naturally flowed from his brain veins. In 2016 he published the ep Box of Letters, a work full of rock'n'roll and declared and perhaps misplaced love. And in recent years he shares the stage with artists such as David Allan Coe, Butch Walker, Dex Romweber, Steel Woods, collecting stories and experiences of real life, made of booze, drugs, disappointments and joys, concerts throughout the Midwest.
And here we are to tell a new work for James Scott Bullard, really tough and exciting, that should be put in the same row of the famous Blackberry Smoke to which -secondo me- approaches both from a stylistic and cultural point of view. Loan production of Missy Davis Jones and Ken "Dakota" Jones, recorded at the Southern Harmony Studio of Florence, SC, for Big Mavis Records, with the help of Kevin Singleton (bass), Mike Knight (drums), Justin Banks (keyboards) ) and Jeff Springs (guitars), and the choirs of Rebecca Morning and Jordan Adams. "These are the words carved on his website, and listening to his music, but not being a native English speaker, I do not really have the immediate juxtaposition of his sentence, but I can certainly say that there is hot blood and sweat in every track, and that the sacred laws of southern rock transpire from every song, as there is all the classic kit of southern rocker: jeans, mirrored sunglasses, hair cowboy jackets, black leather waistcoats, and motorcyclist tattoos.
Lord Have Mercy is a slap of guitars to open the dance, with beautiful melody and ballad cadence typical of the aforementioned Blackberry Smoke. Wicked Ways will probably be one of the single hits (see also the video), as the equally catchy The Next Tear, tracks that lend themselves to the company of the truck drivers who travel with the local FM radio through the southern states. All To The Pieces and Hey Hey Mama, are written with skill and passion, with well-defined stylistic references and referable to the various Petty, Allman, Steve Earle and the most recent US Rails. Surprising arrangements, of great vintage taste, are appreciated in Warpath, where an erotic and soft electric piano supports the skeleton of this wonderful Southern ballad, as well as another distinctive element of the Southern blues, the slide, embroideres the free-range Leavin On My Mind, which sounds almost like a One Way Out by Allmanian memory. There is room for the dancing country Jesus Jail Or Texas and the rocking Evil Lovin, to make this work really enjoyable and entertaining, that never ceases to excite me until the final Back to You, with the Hammond organ and the electric guitars that harmonize and they flow smoothly. A real surprise, James Scott Bullard, who will not fail to surprise even all Rootshighway readers, habitual consumers of American rock.