Human Decency is the third collaboration between blues and soul powerhouse vocalist Sugaray Rayford and producer/label owner Eric Corne on Corne’s Forty Below Records. At this point, the two have landed on a formula of sorts as Corne writes most of the lyrics, and Rayford delivers them with, as Rayford puts it, “… some ‘sugar’ with the salt!” While the two are on the fringe of and sometimes immersed in socio-political commentary, the overriding message, now through the three albums, is one of unity. As with the previous output, this lands squarely at the intersection of blues and soul. Rayford is a force of nature who has been nominated for a Grammy and won multiple Blues Music Awards, including the B. B. King Entertainer of the Year in 2020.
Here, Corne wrote all lyrics except for “Aha,” written by Rayford. At the same time, they recruited some high-profile backing musicians, including guitarist Rick Holstrom and singer Saundra Williams from Mavis Staples’ band, along with bassist Taras Prodaniuk (Lucinda Williams, Richard Thompson), and drummer Matt Tecu (Jakob Dylan). Saxophonist Joe Sublett and trumpeter Mark Pender appear on eight of the nine tracks. Corne fills in the gaps, whether it’s bass, background vocals, or harmonica on “Hanky Panky.’
Sugaray bursts out, pulling no punches with “Failing Upwards,” aimed at the privileged and those who arrived there less than honorably to funky, horn-slathered accompaniment “…Time to pull your golden parachute before you’re found out in cahoots” to a succinct, burning guitar solo from Holstrom. The swaying soul of the title track reminds us there are no differences racially or in political persuasion. It’s an anthem of unity, imbued by Holstrom, Sasha Smith on keys, and Williams on backgrounds; one of those songs we can envision that Rayford will have the audience standing, swaying, and singing along in live performance. Bassist Prodaniuk and keyboardist Smith conjure a filthy groove as Rayford urges us to maintain our equilibrium in this polarized current state, with the funky “Stuck Between,” helped by label mate Sam Morrow on harmony vocals. “Strawberry Hill” packs a potent instrumental punch with lyrics on the lighter side and as heavily volcanic as any track here.
“Run for Cover,” the leadoff single, will inevitably evoke the glory days of soul. At the same time, “Ain’t That a Man” takes the macho bravado approach of Muddy Waters and Sam & Dave into different territory. This man has a need to ‘always be the winner,” although obstacles are often in the way. Draw your own conclusions as to whom the sarcasm is pointed. Maybe “Dirty Rat” helps you form the picture as this mid-tempo tune with a hint of Latin percussion also speaks to the unworthy entitled. On the one hand, Rayford is warning us from being conned, but on the other, he seems to be saying we are better than this and shouldn’t be so gullible. He has a gift for that kind of provocation.
“Hanky Panky Time” is not just about fun as Rayford bemoans the ‘boss man” in classic blues fashion, with Corne’s blues harp subbing for the horns. Sugarray’s lone stab at the lyrics is the autobiographical closer, “Aha,” about how he lost his mother at the age of 10 and was raised by his wise grandmother, who told him sometimes you’ve got to confront the devil by looking him in the eye and telling him “Aha, I see you, and I know what you’re up to.” Rayford, in this song and so many of the others, feels compelled to pass on what he’s learned. There’s as much power in some of these words as in the deeply grooving music and potent vocals. It’s a consistent run through these past three albums for Rayford, and although there’s little to quibble with, this listener is craving a ballad or two from those wondrous pipes.
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