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New York soulful blues singer Eric Bibb is as busy as the instrument room featured on the cover of In the Real World, his second album this year (Live at the Scala Theatre was released in April) and follow-up to last year’s studio album Ridin’ (which is another fifteen track, hour-long release, like this one). Here is a musician who is clearly in it for the love, and as fans of Eric Bibb would expect, there are no signs of going through the motions on this set; each song is freshly arranged and sung with plenty of vim, that lovely signature soulful burr beautifully framed by the songs’ accompaniments.
Perhaps unsurprisingly, In the Real World was recorded at Peter Gabriel’s Real World Studios, where Repute head Glen Scott produced, arranged, and mixed the songs. The sound throughout is beautifully balanced and expertly crafted, with wonderfully rich harmony vocals enhancing most songs.
Considered by Eric to be something of a ‘self-portrait’ album, it feels right that, although there is plenty going on in many of these songs, the arrangements are sympathetic, and Eric’s guitar sound feels up front and handled delicately. A big fan of Cumbria’s excellent Fylde guitars, Eric is no stranger to a fine tone, and it feels central to these songs. Listening to Best I Can, a piece built very lightly, with the subtlest string section supporting Eric’s fingerstyle playing, it’s clear that the song is the important factor here, and this arrangement perfectly frames a sweet message of pride and resilience.
Elsewhere, Walk Steady On is terrific, with Glen Scott’s banjo and Robbie McIntosh’s electric guitar leading the band. Violin from Esbjörn Hazelius, handclaps and some ace backing vocals from Sara Bergkvist Scott complete an irresistible gospel tune with a wicked beat. Everybody’s Got a Right is another example of Eric’s keen ear for a killer beat, with a nippy guitar tone backed by finger snaps and some very slinky electric and slide guitar propelling a simple, heartfelt message. There is something pure about this music and Eric’s writing that isn’t trying too hard to impress or challenge, and it makes each song a pleasure to hear.
Further on, King of the Castle hits us with a traditional rolling blues refrain that Eric sings over through a vocal effect, while Glen Scott and Robbie McIntosh provide a danceable backing with drums, electric guitar and harmonica. This one is a ton of fun and sounds like it could have been played in the fifties. Saying that, Neshoba County could hark back to a hundred years ago. A more sinister song than many here that sees rattlesnake percussion combining with Eric’s banjo guitar, this one is dusty for the first half before bass and electric guitar give things a more modern character that changes the shape of the song. It’s a clever, subtle decision, quietly demonstrating creative freedom and plenty of ideas. And that can be said about this set as a whole.
It seems miraculous that Eric put out a fifteen-strong album last year with no fat and follows it up here with another, again with nary a wasted moment. With strong, solid songwriting coupled with immaculate, eclectic music, all beautifully performed, this album comes with the strongest recommendation.
In the Real World (18th October 2024) Stony Plain SPCD/LP1487
Order details here: https://stonyplainrecords.com/ericbibb/
