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Gamble Brothers Band Back To The Bottom from Playgrounds Magazine: July 2004 By Curtis Lynch If Steely Dan had honed their chops in Memphis instead of California, if they had traded in their clever, cold irony for humid pop hooks, if Becker and Fagen had BBQ sauce pumping in their veins instead of slightly chilled white zinfandel, then there may have never been a need for the Gamble Brothers. Lucky for us there’s room for both. To be fair, Chris Herrington wrote in the Memphis Flyer of the Steely Dan correlation before I did, as did others, but I heard it before I read it, so I don’t feel bad about using it as my lead-in. Back To The Bottom is the Gamble Brothers second record, twelve tracks that reach across rock and soul and jazz and even grab a bit of reggae and ska. (Share, one of the best tracks here, artfully combines all those genres seamlessly.) Al Gamble plays keyboards and sings, and with Art Edmaiston on sax, they take care of the front line and the solos. The rhythm section is other brother Chad Gamble on drums and bassist Will Lowrimore, who was replaced shortly after this release by Blake Rhea. The solid foundation allows Al and Art plenty of freedom, to the point where they "don’t need no damn guitars" (from Tiki Bar.) Record Store, the opening track is one of the strongest and at the same time, one of the most puzzling and revealing. Are these guys a funk/soul band or a pop band? Are they looking for a hit? Truth be told, I don’t think they know. Or care. "No use preachin’ to empty pews," but then Al sings "I’m just as happy on the floor." Land of Soul, a B-3 driven tribute to their influences, drives the point home with the line "southern livin’ is good for you." The Gamble Brothers Band’s style is one that invites comparisons, from Booker T to New Orleans funk, but ultimately, their smart songwriting gives them an original edge that’s essential to get them to the next level. Having said that, another essential benchmark is a band that takes covers and imprints them with their own stamp. The Gamble Brothers do that here with Love is Alive, a Gary Wright 70s radio staple that under their influence morphs into a funk romp, and Randy Newman’s Little Criminals, which is an inspired choice, one of Newman’s underappreciated gems. Hard-core funksters and soul survivors may look down upon the Gamble Brothers’ pop leanings but the truth is, it’s all good. |
