Blues run soul deep on ‘The Page Brothers Band’

ADEL — Make no mistake going in: The Page Brothers Band’s new, self-titled album is a Blues album. No dabbling here or there – except for a very interesting swing toward country in the excellent, and self-reflective “Overdose and Tattered Clothes,” on which frontman Dakota Page exorcises some of his well-documented demons – no foray into rock or Southern rock that has long been a staple of the Adel-based band.

No, “The Page Brothers Band” is, songs 1-8, steeped in traditional Blues, a choice that might leave some who are accustomed to Travis Page’s blistering rock guitar solos feeling cheated. But it’s actually Travis’ subtle Blues licks – along with brother Dakota’s Dr. John-like vocals that rumble like the bass of a cheap stereo in a low-rider turned up to 11 – that make “Page Brothers” such a compelling collection.

The songs, all written by the brothers, flow together nicely during a listen, telling the stories of characters who might call Adel or south Georgia home. But Travis’s guitar licks, Dakota’s booming voice, and nifty, understated percussion work by Paulie D. Delmar and a collection of drummers who were called on when Paulie D. took ill — including John Hightower, Derek Hall, Steve Satterwhite, Dan Patterson and Timmy Carter – turn the collection into a go-to listen when the mood calls out for a Blues infusion.

Travis Page’s guitar work on the album may be some of his best yet, not because he takes off on any number of his ringing Dicky Betts-like solos, but for just the opposite. On “Page Brothers,” Travis holds back – a listener can almost feel him doing so – restrains himself to licks that fit each track. Some of his best work is on album opener “Biscuits N’ Gravy,” “God’s Movin’ Water,” a little Bo Diddley-like choogle in “Norma,” and his fusion with backing horns on “Love on the Surface.”

The Page Brothers guitarist can play a rock guitar solo with one hand tied behind his back, but it’s his restraint on the album that makes his playing stand out.

Delmar is turned loose behind the drum kit on the slow-burn build of “Candle Flame,” and Patterson’s keys on “In the Night” add to that song’s mix. Chuck Hutcherson adds a new element — horns — to the band’s palate; bassist John Graham is steady throughout, and Russell Brantley’s pedal steel adds an interesting ingredient to album closer “Mournful Hymn #11,” which with “Overdose” and “Candle Flame” are the best songs among a very good group of songs.

Dakota Page’s rumbling vocals are relentless on “Page Brothers,” and there are lyrics that, especially for those who know the band, are the equivalent of opening up their hearts and letting their inner truths flow like a ruptured vein. In “Overdose and Tattered Clothes,” Dakota confesses “I miss the needles and I miss the pills” and laments, “There’s a certain point where you can’t sink anymore. All that’s left is overdose and tattered clothes.”

But the Pages bring the mood back up in the album’s closer, which includes the line “Don’t you mourn for me; rejoice, rejoice, for I’ve found my peace.”

There are other fine couplets – “Biscuits ‘n’ gravy ain’t never gonna save me, but they damn sure good to eat,” and in the soulful “Love on the Surface” – which sounds as if it came from the Holland-Dozier-Holland catalog – “Try so hard to make something worthless worth it, They throw you once you’ve served your purpose.”

“The Page Brothers Band” is not a turning away from the things that first got the band noticed. It’s moving in a natural direction toward the music that speaks to the band. The album is available on the Pages’ website. Grab yourself a copy, and let the Page Brothers’ Blues wash over you. You’ll come away cleansed.