The Dedicated Men of Zion
caused a global sensation with 2020's
Can't Turn Me Around
, their debut for
Bruce Watson
's
Bible & Tire Recording Company
. Their sacred soul amalgam of funk, R&B, and Black gospel resulted in a triumphant NPR Tiny Desk Concert, and performances at globalFEST and Fresh Grass Fest.
The Devil Don't Like It
was again produced by label founder
. Singers
Anthony "Amp"
and
Antwan Daniels
,
Marcus Sugg
, and
Dexter Weaver
are backed by
Watson
's session group, the
Sacred Soul Sound Section
. Their lineup includes guitarists
Will Sexton
Matt Ross-Spang
, bassist
Mark Edgar Stuart
, organist
Al Gamble
, and drummer
George Sluppick
's steady drumming. The majority of these ten tunes are gospel standards rendered in radical new ways.
Opener "Lord Hold My Hand" is a case in point. While the singers retain the original melody, the band reinvents it rhythmically, dynamically, and harmonically in a direct nod to
James Brown
Famous Flames
, complete with bumping bass, swelling B-3, and whammy bar guitars. The bubbling, strutting tempo frames the sweeping call-and-response vocals to match the funky intensity. By contrast, the title track offers a slow gospel processional framed by simmering Delta blues as the singers testify. It is only after the protagonist encounters God's grace that the Devil appears with his fiery yet impotent anger and discontent. "One More River to Cross" is an altar-calling uptempo stomper, complete with unruly handclaps, soaring choruses, and biting guitars. "Rock My Soul (In the Bosom of Abraham)" is a swaggering, sultry gospel-blues that stacks tight, resonant vocal harmonies against spiky organ fills and biting guitar lines. "God's Got His Eyes on You," arguably the album's finest track, is offered at a driving tempo, the conversation between lead vocals and harmonies are seamlessly tight, as rapturous piano, organ, drums, and a popping bassline push hard toward spiritual ecstasy. The wah-wah guitar funk in "A Change Is Gonna Come" (not the
Sam Cooke
classic), is a choogler that weds funky, sacred soul to a vocal chart that recalls
War
's "Slipping Into Darkness." "I'm Going Home" channels the Delta juke joint boogie of
John Lee Hooker
R.L. Burnside
while claiming the backbone-slipping groove for Jesus. By contrast, "I Know I've Been Changed" weds deep soul to backcountry hymnody and steamy blues.
Sister Rosetta Tharpe
's "Up Above My Head" is rendered faithfully as a fingerpopping rocker with fat distorted guitars, a wafting B-3, and swinging drums. Set-closer "I'm a Soldier in God's Army" is a slow, stirring waltz in four-part harmony that weds polished post-war gospel to deep, '70s soul and folk-blues.
As an album,
is stronger than its predecessor. It contains better source material offered in a looser, more relaxed presentation; it's due to these singers and players being better acquainted with one another. If it has a shortcoming, it's that at 38 minutes, we're left wanting more. That's a good problem to have. ~ Thom Jurek