Rob Paparozzi’s title and cover art for his new album, Etruscan Soul, may lead a few listeners astray, especially those unfamiliar with his work, as I was when I first slipped the CD out of its jewel case and into my player. What came out of my speakers was old-school blues, thumping rock, and some great soul—and all done expertly, right up there with the legends Paparozzi was covering. I decided then that I needed to do a little digging as I listened to track after track of some of the finest blues harmonica work and rock/soul singing I’ve heard in a long time.
Paparozzi has been plying his harmonica chops and voice for the past four decades. He’s played with a whole host of musical greats across a wide range of genres. He’s done rock work with Cyndi Lauper and Bruce Springsteen and taken on the pop arena with Culture Club,Whitney Houston, and Roberta Flack. Then, he’s moved into blues with B.B. King and Dr. John, and then got into Irish music with James Galway and added his licks to singer/songwriters Carole King and Randy Newman. Paparozzi has ventured into jazz realms and even into country areas where he appeared with Dolly Parton and George Jones on late night talk shows.
He’s been touring with the Original Blues Brothers Band and been singing with Blood Sweat and Tears since 2005. When he’s back home in the Jersey/New York area, he gigs with his own band, The Hudson River Rats, some of whom support him on Etruscan Soul. Those very talented musicians playing here are Ed Alstrom (Hammond organ), John Korba (piano), Bernard “Pretty” Purdie (drums), George Naha (electric guitar), Chris Eminizer (tenor sax), and Bailey Gee (bass).
Paparozzi’s musical talents have also graced Broadway in SRO shows such as Big River and The Will Rogers Follies. He’s also done work with two films, Flirting With Disaster and Ride, and even some TV programs, including the Bill Cosby Show, CBS Early Show, Conan O’Brien, and David Letterman’s Late Show. I suddenly realized that I probably heard him playing on commercials for Scotch 3M BLUE tape, KFC, Pizza Hut, Maxwell House, Wendy’s, Lincoln Mercury, Stouffers, Dodge, Ford, Coke, Pepsi, Dominos, and Tylenol.
As I read the liner notes and discovered more about Paparozzi and this album, it came as no surprise then that fellow Hudson River Rats band mate John Korba decided to produce Etruscan Soul. Korba, used to tour with Hall & Oates and currently is gigging with John Waite and Phoebe Snow, as well as playing in his own band. Korba, like Paparozzi, has been around the block and has played with or recorded with many A-list artists, including Todd Rundgren, Carly Simon, and Chuck Berry. Korba also has been the Associate Conductor of several Broadway shows, such as Rent, Civil War, and the Rocky Horror Show. In addition, he has a solo CD out called No Turning Back that was released in 1993.
Another Hudson River Rats band mate, guitarist George Naha, has gigged or recorded just about with everybody it seems. He’s done work with Bill Doggett, Livingston Taylor, Duck Dunn, Mick Fleetwood, Roy Orbison, Melissa Manchester, Bernadette Peters, Willie Dixon, Wilson Pickett, Junior Walker, and Sam & Dave. He has some serious connections that appreciate his killer chops.
As Korba and Paparozzi began putting this album together, they brought in some killer backup singers, a horn section, and a ton of guest artists to fill in on drums, guitars, and bass. But one special guest’s appearance alone is worth buying this album (though, I guarantee blues and rock artists will not be disappointed with Etruscan Soul). Phoebe Snow adds her pipes to Delbert McClinton’s lyrics on “Monkey Around,” producing quite a tasty repartee with Paparozzi.
Though Paparozzi says he’s written a few songs throughout his career, he consciously chose to his own arrangements of some his favorite songs. Etruscan Soul then is a buffet of fine tunes done up with Paparozzi’s blues tough. His renderings of Allen Toussaint’s “I’m Gone” and Quincy Jones’ “In the Heat of the Night” are stellar, ripe with all of the passion and soul these songs intended. Ed Alstrom’s organ is intense on “In the Heat of the Night.” Very tasty, indeed.
I did find Paparozzi’s tinkering with Stephen Stills’ “Love the One Your With” interesting. The work moves all around the original melody, but it still comes out as a very fine rock/jazz tune.
Then there are his vocals on the Elton John-Bernie Taupin favorite, “Border Song,” which offers a fresh look at this material that adds an emotional depth to the song. And the backup work Vanessa Thomas and Antonique Smith do here is outstanding! The harmonica additions, though thoughtful and musically correct, are an addition that I felt, as someone who grew up on this Elton John-Bernie Taupin gem, to be intrusive.
To give Paparozzi credit, though, he is experimenting with trying to merge some of the pop sounds of the harmonica (that for me solidify into the kitsch of the Harmonicats who were more novelty act than serious musicians to me) with rock, blues, and soul. Sometimes it works—and, well, sometimes it doesn’t. Paparozzi tips his hat overtly to the Harmonicats’ 1947 best seller, “Peg of My Heart,” when he slips in a short track, done up much like these players, as an intro to the Steely Dan blockbuster “Peg.” It works because it’s a separate track, yet the track comes very unexpectedly unless you read the liner notes.
Yet, Paparozzi returns to another pop harmonica rendering in “Body and Soul” It works but I did prefer the next track, Keb Mo’s “Keep It Simple,” which he delivers with style and wit.
Moreover, Paparozzi’s harp work on the Cream tune “Strange Brew” produces a bluesy grunt that makes this tune shine. Normally, it’s the guitar whine (coming from Eric Clapton) that highlights this song, but Paparozzi’s harmonica with his addition of throat and cheek sounds turns it into a very unique and very tasty rendering.
Then Paparozzi goes naked on Randy Newman’s “I Think It’s Going to Rain Today.” It is pure Newman, recorded simply with just Paparozzi’s vocals and piano. Sweet!
For me, though, I thoroughly enjoyed Paparozzi’s blues harp and his gutsy singing that permeate the album. His versions of Sting’s “She’s Too Good for Me,” the R&B tune “Let Them Talk,” and blues tune “Love and Peace” allow Paparozzi’s voice to shine through and the harp is just there for that underline that is needed.
All told, Etruscan Soul may have come from Paparozzi’s own northern Italian roots but is solidly ground in American blues and rock and roll. Very highly recommended.
Reviewed by Janie Franz
