Terry Quiett Band | Just My Luck

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Blues: Blues-Rock Rock: British Blues Moods: Featuring Guitar
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Just My Luck

by Terry Quiett Band

"Terry Quiett explodes every power trio cliché by cutting a broad swath of striking original material from haunt­ing Delta blues and sophisticated jazzy swing to chesty rock featuring his flawless guitar technique and deeply soulful vocals." ~ Dave Rubin
Genre: Blues: Blues-Rock
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Tracks

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1. Karma
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4:23 album only
2. Work for It
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3:17 album only
3. You're My Kind
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3:34 album only
4. Big Man Boogie
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2:43 album only
5. Getting Through to Me
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3:12 album only
6. Judgment Day
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3:41 album only
7. The Woodsman
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3:38 album only
8. Pound of Flesh
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4:42 album only
9. Some People
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3:46 album only
10. Signs of Decline
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4:05 album only
11. Satisfied
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3:39 album only
12. Fool's Gold
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4:51 album only
13. Close to You
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4:15 album only
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ABOUT THIS ALBUM


Album Notes
Terry Quiett explodes every power trio cliché by cutting a broad swath of striking original material from haunt­ing Delta blues and sophisticated jazzy swing to chesty rock featuring his flawless guitar technique and deeply soulful vocals. Emerging from the rural plains of Kansas and evolv­ing in the last decade from a solo acoustic singer/songwriter to lead the band of bassist Aaron Under­wood and drummer Rodney Baker since 2006, Quiett has a com­manding presence onstage and in the studio. His latest release Just My Luck, produced by the legend­ary Jim Gaines and augmented with keyboardists Rick Steff and Beau Jarvis, is a modern master­piece of highly charged, blues-based music.

"Karma” comes out swinging hard with a limber groove provid­ed by the always locked in Under­wood and Baker as Quiett vents his story of “karma coming back around” on a duplicitous romantic interest, his slithery slide guitar and muscular lead riff­ing driving the tune to the point of delirious exuber­ance. The contrast of the cool, evocative late night jazz of “Work for It” shows Quiett creating clever and sexy metaphors to describe the “hardball” played by ladies who throw themselves at musicians. The funky rock of “You’re My Kind” presents an inviting, hook-driven dance groove while Quiett is even more direct in his negotiations with a woman for her favors, his passion intensified with a snarling, wah wah solo. The shuffle blues with a southern rock flavor of “Big Man Boogie” is a taunting jab at a conniving woman that exemplifies the way Quiett combines taste, tone and technique ev­ery time he sets pick to strings. The mood turns starkly darker on the minor key blues of “Getting Through to Me” with Quiett amping up his braggadocio with the startling imagery of “karma’s a bitch alright, in six-inch heels” while peeling off a brutally aggressive solo.

He returns to his roots like a prewar Delta preacher via a haunting solo resonator guitar performance on “Judgment Day” that describes a love triangle he will likely lose. Updating country blues with electric slide guitar and full band backing, Quiett spins a nasty tale of being cuckolded with the horrifying metaphor of a woodsman killing a wolf on the searing “The Woods­man.” Over grinding electric slide riffing on “Pound of Flesh,” however, he admits his own transgressions and bravely faces that “The devil wants his pound of flesh.” A whiff of reg­gae rock on “Some People” allows Quiett a political rant about being, “…stunned by what they think is going down” and, “I tell you ain’t nothing gonna save this town.” In “Signs of Decline” Quiett bemoans his thoughtless behavior that, “… may have cost me my home” with a soaring chorus and solo where he heartbreakingly wails “I’ve been blind” both verbally and in­strumentally. On “Satisfied” he strives to strike a lover’s bargain over his “crime” and her “lies” as his alternating roaring and jazzy guitar “plays” both parts of the dialogue. Maintaining his theme of “mea culpa” on “Fool’s Gold,” Quiett cops to “all my creeks have run dry, panning fool’s gold” while building to a rock anthem climax with a surging guitar solo.

“Close to You” draws down the curtain with a re­strained power ballad that finds Quiett at his most vul­nerable, laying bare his heart to the object of his desire with gently pleading words and sensuous guitar mus­ings. It is fitting resolution after being chased by “hell hounds” through the dense thicket of romantic rela­tions and Terry Quiett is the best man to clear the path with his songs, voice and guitar.

~ Dave Rubin, 2005 KBA winner in Journalism


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