New Audio: Eric Krasno Takes Up Vocal Duties on a Slick and Soulful Blues-Leaning Rock Song


Eric Krasno is a Grammy-winning guitarist, songwriter and producer, who’s written for and produced an impressive array of artists including Norah Jones, Tedeschi Trucks Band, 50 Cent, Talib Kweli, Aaron Neville, The London Souls, and Allen Stone but he’s probably best known as a co-founder of cult-favored, genre-mashing/genre-defying acts Soulive and Lettuce.  Over the last couple of years, Krasno has developed a reputation as a highly-regarded solo artist — and his solo debut effort was released to critical applause.

Krasno’s forthcoming sophomore effort Blood From A Stone was co-written with Rustic Overtones’ Dave Gutter and features guest spots from Derek Trucks and members of Soulive, Lettuce and The London Souls — but what makes the effort truly interesting is the fact that it marks the first time Krasno takes up vocal duties. Figuratively and literally, Krasno finds his voice on the album and as he explains in press notes “”I’ve been writing songs with vocals for other people for a while. With these songs, we initially wrote them thinking others would sing them, so when I was in the studio with different artists, sometimes I’d introduce one of the tracks and they’d record it, but it wouldn’t necessarily work out. Eventually, I realized it was because I’d written these songs for myself.”

Blood From A Stone‘s swaggering first single “Waiting On Your Love” is a decided departure from the jazz fusion, funk and jam band sound and aesthetic that has caught the attention of jam band, funk and jazz fusion fans for years as the material is reportedly draws from Bobby “Blue” Bland’s Dreamer and Muddy Waters’ Electric Mud as the songs are much more tightly structured. Interestingly, “Waiting On Your Love” is based on an old school 12 bars blues that pairs Krasno’s coolly soulful vocals with enormous power chords, tweeter and woofer rattling boom bap beats, a shuffling and bluesy guitar solo and an anthemic hook in a song that not only possesses an urgent, plaintive need but also manages to sound as though it drew from Eric Clapton, Lenny Kravitz and Steve Miller — but with a slick, modern touch.