If you get a dictionary and look up the word smooth, it's likely that a photo of Robert Cray will appear alongside it, such is the nonchalant cool he brings to his music. This latest release is no exception, as the veteran master once again provides a bridge between Motown and the Mississippi with a laid back collection of cuts that pushes more in the direction of Detroit soul than Delta grit.
Since introducing the blues to a legion of MTV viewers with 1986's 'Strong Persuader', the man from Georgia hasn't made a bad record. Five Grammy wins, 15 nominations and 12 million album sales help back that up, while being one of the youngest living musicians to be inducted into the Blues Hall Of Fame - at 57 - proves he has the respect of his peers.
'In My Soul' is Cray's 17th studio album, so fans know what to expect. He's never going to unleash the electrifying fire of Buddy Guy, roar with the primitive passion of Howlin' Wolf or shred in the style of young contenders like Joe Bonamassa. What he delivers is style, substance and a depth of emotion that's expressed through a slick combination of R&B, soul, rock and blues.
Whereas Cray's previous album, 2012’s superb 'Nothin' But Love', was a wonderfully rounded blues-rock album, this outing finds him reunited with producer Steve Jordan to indulge his love of all things soul.
Opener You Move Me is the closest this record gets to blues-rock as its crisp and crunchy grooves are adorned with creamy fretwork and heavenly vocals. A version of Otis Redding's Nobody's Fault But Mine follows and finds Cray sharing vocals with drummer Les Falconer, while a storm of triumphant horns and carnival rhythms provide a nice juxtaposition to the lyric.
Although his eloquent guitar work shines, it's in more of a supporting role this time out. That's not to say there aren't some tasty solos, though, with the brassy R&B funk of I Guess I'll Never Know ending with fizzing six string plucking, as does the emotionally wrought You're Everything.
But his sumptuous crooning is the real trump card here. I Was Fine Yesterday is so soft and sweet that the Reverend Al Green would be proud of its melancholy beauty, while the tender declaration of love that informs piano ballad Hold On is so enchanting it could thaw the coldest of hearts.
Likewise a slow burning cover of Isaac Hayes and David Porter's Your Good Thing (Is About To End), which treads a fine line between heartbreak and the need to reclaim some pride. It's a masterful balancing act that only someone with Cray's instinctive understanding can pull off.
His range is also demonstrated on an achingly claustrophobic version of Bobby Bland's Deep In My Soul. Mournful horns bring a funereal sorrow to its bare boned honesty as Cray's voice breaks into an impassioned wail.
This album’s flaws have nothing to do with the quality of the music. The middle sags a little because, even though Cray has never been in danger of over stimulating the average metronome, it's a touch too slow in tempo. Only Booker T instrumental tribute Hip Tight Onions breaks a sweat after the opening numbers.
The other problem is that he mines similar lyrical themes throughout, and although beautifully expressed, it does get repetitive. In spite of those gripes, Cray has produced an album that's perfect for late nights with the lights dimmed low.
Fri May 02 2014 - BASINGSTOKE Anvil
Mon May 05 2014 - BIRMINGHAM Town Hall
Tue May 06 2014 - LONDON Barbican Hall
Thu May 08 2014 - HARROGATE Royal Hall
Fri May 09 2014 - GATESHEAD Sage
Sat May 10 2014 - CAMBRIDGE Corn Exchange
Tue May 13 2014 - TUNBRIDGE WELLS Assembly Hall
Wed May 14 2014 - CARDIFF St Davids Hall
Fri May 16 2014 - MANCHESTER Bridgewater Hall
Sat May 17 2014 - EDINBURGH Queens Hall
Sun May 18 2014 - GUILDFORD G Live
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