Clinton Curtis grew up around reggae music, as his parents were promoters and managers for top level reggae artists, such as Gregory Isaacs and Desmond Dekker. But you’d never guess this after listening to the hot “Smoldering Youth”, the track that opens Curtis’ debut album of the same name. On it, Curtis applies smoking Fender electric guitar licks that bring to mind Elvis Presley at his rocking-ist. Reggae enters into the picture during “Jump this Ship”, however, before filling out the whole frame of “Revolution (Turns Sofia On)”. On the latter track, soulful organ trades notes with chugging electric guitar, while wandering bass and thumping drums lead the way for a truly authentic island sound.

Curtis obviously learned his lessons well from observing all the talented musicians around him growing up. He also plays bass, piano, organ, clavinet, harmonica, accordion, drums, and saxophones. He also sings in a delightfully unique way, which brings to mind Fleetwood Mac’s Lindsey Buckingham one moment, then Billy Joel the next. He’s comfortable rocking out completely, as is demonstrated by “Smoldering Youth”, yet perfectly comfortable during the hushed “Not In Vain”. Curtis returns again to his acoustic guitar for “Honest Land”, which also closes out the CD.

Lyrically, Curtis has a strong dosage of Bruce Springsteen-the-storyteller in him. Songs like “Mexican Scandal” contain details only he can completely comprehend. “Jasper should be on the street, packing up my old car,” he tells us. “But Jasper drank himself off his feet, at Mayor Ferdie’s bar,” he continues. Who is Jasper? We may never know. Nevertheless, we are hopeful about figuring out “Miss Aretha”, the very next tune. Certainly, it’s an ode to the Queen of Soul, right? Nope, no such luck. Instead, when this number is put to a jazzy groove worthy of Steely Dan, Aretha turns out to be a much more anonymous girl. Even so, Steely Dan’s “Hey 19” prominently name dropped the Aretha Franklin. Yet with all of its supposed soul singer connections, these clues only lead to a dead end cold trail.

By the way, Curtis can be more than a little cryptic lyrically, as happens on this disc’s title cut. “We were a wonder/We were a burning bush/We were a minstrel show/We were the last to know.” This might well be about the music business, which is sometimes little more than a cruel minstrel show. But it could also concern the sapped enthusiasm of youth culture. But as with most talented lyricists, Curtis is wise to leave a whole lot to the imagination, which might make you frustrated, might make you intrigued.

“Crawfish Hole” starkly contrasts with “Miss Aretha” earlier, as it trades relative studio slickness for a loose, blues-soul feel. This one prominently features plentiful New Orleans piano, harmonica, and playful backing vocals.

Smoldering Youth is a startling debut. Whereas many musicians come off like diamonds in the rough during much of their virgin efforts, Curtis sounds ready for the world from the very get-go. His guitar playing is lyrical and emotional, and his voice makes you pay attention to every word. There are times, in fact, when he brings another special artist to mind, John Hiatt. These are only mere hints of Hiatt, however, because Curtis is true original and one to keep a close eye on. Smoldering Youth is the work of one hot kid.

Reviewed By Dan MacIntosh

Dan MacIntosh, Reviews Clinton Curtis, Smouldering Youth

Clinton Curtis embodies the true spirit of indie music.  He rocks his semi-hollow Telecaster with a fervor that is sincerely apparent in every original tune he belts out.  As a bonus, Curtis is also easy on the eyes.  No doubt that a live show featuring this exciting young man makes for an awesome, memorable night.

Curtis’ up-tempo rockabilly flair is the perfect combo of loud, raunchy guitar work, rough, powerful lead vocals, busy background vocals, swimming drums and bluesy piano.  The energetic title track and the lively “Crawfish Hole” make you feel like you’re at your favorite bar or dive.

The guitarist does have a sensitive side as his gruff voice melts away in “Raining Anyway.”  This ballad follows the Keith Urban formula of “You’ll Think of Me” where the Aussie croons, “Take your cat and leave my sweater…” while the Jamaican native sings, “Keep your tea from China, your wild horses / They won’t ever make me stay…” 

Following the country-folk tradition of clever musical storytelling, Curtis has quite a few such ditties like the underage love affair in “Mexican Scandal,” the wearied sailor and the prostitute in “Jump this Ship,” and the servant and the lady of the house in “Miss Aretha.”  The standout however is “Revolution (Turn Sofia On)” and not just for the wild, unsavory nature of the characters but Curtis’ enjoyable, quirky vocal stylings.  Sofia and her lover are doing drugs and running from the law as Curtis presents their tale with smooth falsetto jumps up and down throughout the tune laced with tasteful guitar work.

Smoldering Youth is a highly entertaining debut from Clinton Curtis who has the songwriting ability, the chops and the innate talent to be a long-time favorite performing musician. 

Reviewed By Kelly O’Neil

Kelly O'Neil, Reviews Clinton Curtis, Smouldering Youth