When I first received FIREHOUSE guitarist Bill Leverty’s latest solo release entitled “Deep South,” I must admit I was a little bit concerned after I read the liner notes that read “I recorded this album to pay homage and bring awareness to the great music that has originated from the Southern United States Of America.” I mean, after a quote like that and with the title “Deep South” that could only mean one thing… COUNTRY MUSIC! And not just any country music, OLD Country Music because as you further read the liner notes, Bill continues on to say that “Most of these songs were written over a hundred years ago.”

So needless to say, I was a bit concerned. I am not a big Country Music fan, never was and don’t pretend to be. Yes, I can appreciate the genre and even like a few songs here and there but the thought of something on the lines of Slim Whitman blaring out of my speakers was scaring the living shit out of me.

I am happy to say, though… I was wrong!

“Deep South by Bill Leverty is NOT a tribute to country music, it’s a tribute to SOUTHERN music and contains a mixture of all different styles originating from, well… the “Deep South!” From gospel to country and from blues to soul, Bill revives these old classics with his own special twist and style making this a welcomed addition to any music connoisseur’s CD collection. And what’s even more impressive about the release is the fact that Bill himself pretty much plays just about everything on the release! In addition to guitar, “Deep South” contains a wide variety of instruments including the banjo, mandolin, lap steel guitar, dobro and guitarele! I am not even going to pretend I can recognize all these unique sounds so I’ll just call ‘em as they sound to me from time to time.

The CD opens with a track called “Trouble So Hard” which was written by Vera Hall in 1937. This is a really interesting track as it has a really bluesy, funky feel to it almost reminding me of something along the lines of that early 70’s “funk” sound only with the addition of a blazing guitar solo and some heavy guitar riffs in the chorus. A very well arranged track… nice job!

“Run On” is pure country. With its monotone vocals and banjo accompaniment it almost reminds me a little bit of some of the work Mark Knopfler did while in the NOTTING HILLBILLIES. As does “Rain And Snow” which comes along a bit later in the release and is a bit more electric/ acoustic guitar driven and features some nice supporting vocals by Kristina Leverty.

“Boll Weevil” is easily my favorite track on the release and is also the most “rock” sounding. It’s an edgy, electric guitar driven rocker which features vocals recorded with that monotone-echoey effect that blends in perfectly with the heavy, haunting melody.

“Nine Hundred Miles” is another “traditional” country-sounding track as is “Samson and Delilah” which has been covered many, many times over the years by artists such as Ike and Tina Turner, Charlie Parr, and Peter, Paul & Mary but was never more popular than when it was recorded by the GRATEFUL DEAD in 1977. What I really like about Leverty’s version is that while the whole country essence remains intact, Bill gives it a heavy bite with some harsh electric guitar work and an absolutely amazing guitar solo.

Another track you may recognize is “Hit the Road Jack” which you’ve probably heard a hundred times over the years. Written by Percy Mayfield and originally recorded by the legendary Ray Charles in 1961, the song has become nothing less than an American standard and with its bluesy, soulful piano melody, Leverty’s version compliments the original with the addition of a very cool guitar feature towards the end.

Overall, I think Leverty accomplishes just what he set out to do with “Deep South” which is to “bring awareness to the great music that has originated from the Southern United States Of America.”… he certainly did that for me! So if you’re a music lover and are looking for something a little bit different, I’m sure you’ll find “Deep South” just what the doctor ordered.