Review: 'Stony Hill' by G.E. Smith and LeRoy Bell

Stony Hill

By Chris Wheatley

It’s hard to think of a musical meeting more fortuitous than that of former Dylan sideman, blues/rock guitarist G.E. Smith and renowned soul/R&B songwriter LeRoy Bell, whose debut album as a duo, ‘Stony Hill’ drops this August 28^th on BMG Records.

Best known for his decade as musical director for Saturday Night Live, Smith’s career includes six years with Hall & Oates and stints as in-demand backup for Bowie, Roger Waters and Mick Jagger. Meanwhile, Bell was carving out a career as a hit songwriter for the likes of Elton John, Jennifer Lopez, Teddy Pendergrass, and The Three Degrees, while also releasing records with duo Bell and James, and a string of solo albums. Initially introduced by Smith’s wife, the duo discovered such instant chemistry that they began recording together almost immediately.

Stony Hill is a robust ride through soulful, R&B flavored blues/rock, characterized by emotive vocals, tasteful virtuosic guitar, and a through line emphasis on melody.

With two such eclectic-minded and veteran creatives, anticipation and expectations are bound to be high. It’s a pleasure to be able to say that Stony Hill does not disappoint. Polish and class ooze from the opening moments of this album, the deceptively straightforward rocker “Black Is The Color (of My True Love’s Hair).” Bell’s voice is something to savour; the smoothness of Al Green with the power and raw edge of Wilson Pickett. At a succinct three minutes, the track is almost over before you begin to appreciate its beauty. There are many of the elements of the easily digested blues-rock of Hall & Oates present here. It’s a mainstream song with deep foundations and enough cutting vibe to be more than just pop. The album as a whole, in fact, is easy to remember and hard to forget.

The pre-released single “America,” is a delight. Easy-rolling, classic R&B drums underpin a timely and poignant statement of modern times. “In the blink of an eye, come a mountain of lies,” sings Bell, “disillusion, constant confusion, we’re being driven, like sheep to slaughter.” Here is the true strength of Stony Hill. Like the post-Motown Stevie Wonder and Marvin Gaye, these two musicians have a lot to say and an educated musical vocabulary with which to say it. “No dreamers anymore, democracy is out the door.” Like Wonder, Smith and Bell deliver their message wrapped in beautiful and deep soul/funk, with pitch-perfect production. Accessible, moving and mighty like an oak.

Smith’s guitar is a potent weapon throughout the set, but never is it employed to overwhelming effect. Rather, his tasty, considered and considerate riffs serve to colour and accentuate, bolstering the music without ever hogging the spotlight. On “Take Cover,” in particular, his guitar’s mournful wails and slick statements are worthy of repeated listens. It is no wonder that his work has graced so many legendary recordings. Smith knows just how much spice to add to the pot.

The bouncy, bright, “Let The Sunshine In” reminds us that, in the darkest of times, there is hope and light to be found. Here, the duo call up the spirits of Otis Redding, Al Green and all the other soul/blues greats, delivering a sparkling, meaningful song whose luminescence pours out of every bar. “Under The Skies,” meanwhile, takes quite a different approach with equally rewarding results. Marching drums and some wonderful acoustic guitar adorn an otherwise sparsely instrumented track, which nevertheless delivers grandeur, passion and poise. “Will we survive the ruins that we’ve made, long enough for freedom to return.”

Stony Hill is highly recommended.

Watch “Let The Sunshine In”