[rating=6.00]
Three albums on, Royal Southern Brotherhood have moved to the top ranks of the jam band legions, bringing them a certain distinction that belies their relative rookie standing. In truth, they come about their royal moniker quite rightfully, being that two members of this collective are affiliated with one of the most revered families in rock — vocalist/percussionist Cyril Neville and his nephew, keyboard player Ivan of the band Dumpstaphunk. Even with two new players in the fold — dual guitarists Bart Walker (a one time member of the Screamin’ Cheetah Willies) and Tyrone Vaughn (who’s dad Jimmie Vaughan and late uncle Stevie Ray gave him a fine bloodline all his own) — the core line-up, which also includes bassist Charlie Wooton and drummer Yonrico Scott, finds new authority with an album that absolutely affirms the mantra suggested by the title, Don’t Look Back.
Still, when you have individuals with such distinguished pedigrees among your number, and you choose to record in such an iconic location as Fame Studios in Muscle Shoals, it’s hard to set the history aside. Indeed, while all the songs, save one, are originals — the exception being “Hard Blues” by producer Tom Hambridge and Gary Nicholson — the material is so imbued with the burnished aura of classic ‘60s R&B that the musical backstory indeed looms large. Perhaps that’s unavoidable given their established musical mantra, and indeed it’s largely affirmed here, particularly in songs such as the fiery “I Wanna Be Free,” the equally assertive “Reach My Goal” and the decidedly descriptive “Hard Blues.” They settle into slower mode with “Better Half,” “Anchor Me” and “It’s Time For Love,” and even opt for a hint of a country connection with the banjo ambling “Don’t Look Back,” but sad to say, much of the album settles for standard fare, seemingly as perfunctory as possible.
There are exceptions of course. “Penszi” finds the group in a latin groove, while the autobiographical “Come Hell Or High Water” creates its connection by detailing Neville’s road warrior existence. If it sometimes seems self indulgent, suffice it to say he’s lived the life he describes. However, even when Neville seems intent on returning to his roots, as suggested by the track “Bayou Baby,” the Nah’leans references are in lyrical form only, not in style or sensibility.
The result is an album that veers from funk to funky, but offers little variation in-between. And even given the talent involved, it’s still hard to distinguish this set of songs from anything else in a similar mode. Chances are, it will work well when performed live in concert where sheer spirit and showmanship could induce the crowd’s collective enthusiasm. However for those seeking some sort of added enlightenment or perhaps a push at the parameters, there’s little here that makes that quest worthwhile. Don’t Look Back is a decent, well-executed album, but despite the entreaty offered in the title, Royal Southern Brotherhood spend far too little time concentrating on any kind of forward motion.
