Dion – Stomping Ground: Album Review

Dion – the heart and soul of New York City in human voice, presents Stomping Ground as an immersive Rhythm’n’Blues experience with a harder edge than last year’s great Blues With Friends. He brings along with the usual suspects – big names and cult faves – as accompanying artists.

Astonishing to hear this legendary voice and see him in the flesh. In video interviews at least. He is eighty-two but sounds and looks ageless. The light shines as bright, the mind is sharp and you experience all this when he sings.

If you thought this was the coolest guy on Earth when you first became captured by Runaround Sue at age six, then this is a lifetime addiction I confess to here. If life could be so effortless and transcendent.

Legend has it that he sustained himself listening to Robert Johnson King of the Delta Blues Singers in the darkest depths of a heroin addiction. That would be the Truth whatever the facts may be.

On this album’s best moments, he achieves the intense and disturbing drama of Johnson’s voice. Makes it his own and goes further. I Wonder Why? This magical aspect has been there from the start all along with the great Doo-Wop music. The words get you there but it is the Sound that takes you over the top and Into the Mystic. Van Morrison sits out this album.

Take It Back. This is the harder edge of the singer. He belongs with the great American Italian tenors (with connections) like Sinatra, Bennett, Martin. Enunciates clearly and the voice is as natural and unforced as breathing. Joe Bonamassa plays classic Chicago Blues guitar licks with restraint, and stretches out a little towards the end. Reminiscent of Otis Rush.

Hey Diddle Diddle. Cat come ‘round my back door. Yes, it’s that Back door man. Better get out of town/ Don’t let the Woke Cat rock ya’. I stand to be corrected on Woke. G.E. Smith has the thick, note-bending style of Albert King. Or it could also be Hubert Sumlin.

Dancing Girl and a stand-out guitar lead from Mark Knopfler. He takes equal billing here. Some Latin Soul swing and touches of Gypsy Jazz. She danced alone and it’s a Scorsese tracking shot in a smoky nightclub, with Michelle Pfeiffer and Ray Liotta.

There Was a Time. All the guest guitarists bring their special gifts and Peter Frampton can match Knopfler here. Excels in his Blues phrasing and extended melody lines. Sounding like Lonnie Mack and his classic Why.  They combine in a stellar performance here, as the ghost of Johnson steps forward with Dion. There is pain and longing and the singer makes you crave it and wrap it around yourself like a blanket. The salvation you hope comes in your darkest moments.

If You Wanna Rock’n’Roll. And what does the Man do here? Eric Clapton is understated and economical and the Master Guitarist is right on the button. The sound of his Derek and the Dominoes days and includes a little of the thick warm tone of Duane Allman. Straight up Rock’n’Roll from the singer, but always with those little flourishes and accents.

The Night is Young. The closest song to the Doo-Wop days with the Belmonts. 42^nd Street/ Summer heat/ 2am neon shines like the sun/ A face that takes your breath away/ See those eyes/ There’s nothing you can say. An homage to the great city.

Feels like a classic Doc Pomus/ Mort Shuman number. Sounding like Rudy Lewis who had the closest to a Blues voice amongst the Drifter’s great lead singers. Committed suicide on the eve of recording Under the Boardwalk.

That’s What the Doctor Said. With Steve Conn who’s from Tennessee but his playing is from Louisiana. Opens with a New Orleans piano which is pure Professor Longhair. The accent on the off-beat. A tall tale about going to consult Doctor John, Doctor John/ Looked at the place where I once kept my heart/ Ain’t nuthin’ there/ Ain’t no pill that can cure what she stole.

Heads off to New Orleans to find a woman. Man ain’t nothing but a fool. In the tradition of Fortune Teller, Love Potion Number 9 and Ray Charles I Don’t Need No Doctor.

Bruce Springsteen and Patti Scialfa pop up on Angel in the Alleyways. Gospel tones from Patti. Delta Blues Swamp guitar bending from Boss. Dion is inspired and the voice flies in the stratosphere. Name-checks BB King and Stevie Ray. A junky cries and no one hears. The angels of Wim Wender’s Wings of Desire.

Red House. This is the Jimi Hendrix classic and this version is a masterpiece. Keb’Mo’s slide guitar is economical and precise. The percussive style of Robert Johnson and Son House. Conjures up a mystic atmosphere. Dion transforms Hendrix in the same fashion that Hendrix swallowed Dylan whole with All Along the Watchtower. Not as symphonic, but with some sympathy and some taste.

I’ve Been Watching closes the album.  Rickie Lee Jones is a strong co-lead to counter-point Dion. An affirmation of Spirit or spirituality. Looking at the red sky like I’ve never seen it before/ Everything is looking like the heck or something more/ Watching the sun go down/ Watching miracles all around.

Christianity was important in Dion’s path back from self-destruction. Rock’n’Roll is basically Gospel music and Rhythm’n’Blues said Elvis. He also ran to the Tent Shows of the White Pentecostal Church. Very funny to think that AC-DC carry that flag.

The truth is that the two albums are King of the Delta Doo-Wop Blues Singers Volume One and Two.

Rev Orange Peel

Marty Duda interviewed Dion – one of his best interviews ever. Watch it HERE.

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