Review: A.J. Fullerton ‘Closer’
By Hal Horowitz
Colorado loves it some A.J. Fullerton. And he loves the state right back.
While the blues-tinged/singer/songwriter isn’t a household name, at least yet, his home state has bestowed on him 24 Colorado Blues Society’s “Members’ Choice Awards.” The diversity of those displays his varied talents; Best Songwriter, Best Guitarist, Best Slide Guitar, Best Male Vocals, Best Band, Best Local Recording. It’s an impressive achievement.
So, it comes as little surprise that the Denver-based Color Red label, partially owned by New Mastersounds’ guitarist Eddie Roberts, connected with Fullerton. The imprint released his intriguingly titled The Forgiver & the Runaway (2021) and continues their affiliation with Closer, his third effort. It was recorded in Denver with Roberts producing.
The nine songs are a perfect capsule of Fullerton’s live sound because they were captured with only his road collective as backup. The only guests are two female backing singers who add depth to these already soulful pieces.
Recording on magnetic reel-to-reel tape, something almost unheard of with today’s digital technology, creates a warmth, intimacy, and organic atmosphere that makes the music accessible and an authentic representation of Fullerton at his best. “You hear a lot more of our closeness, our friendship. There’s a lot of openness and honesty in the recording,” he told another publication.
It’s instantly apparent that, as gifted a guitarist as Fullerton is, he downplays his instrumental talents, preferring to focus on shorter, tighter songwriting. No track hits the four minute mark, and a trio doesn’t even crack three. Rather Fullerton uses his unaffected, conversational vocals, similar to those of Dave Mason, and sharp songwriting skills to fashion tunes combining rootsy playing with blues, soul and even some gospel influences.
He often lays down an opening riff as on “Get By,”, and then embellishes it with his heartfelt singing and a band that never overplays its hand. Stellar harmonica work by Jake Friel is featured, more so than Fullerton’s guitar. When Friel bursts out on the chorus of “Sorry You’re Blue” with a raw, rugged amplified tone that suggests Paul Butterfield or Little Walter, it’s clear he is integral to this music’s rumble and roar. On “New Stories” the players lock into a Creedence groove, then bring in backing vocals to add a touch of soul as Fullerton sings “Soon enough I’ll find it…soon enough I’ll make it,” a hopeful look at his career ahead.
There is plenty of blues influence, but it’s integrated into melodies that immediately connect. Check out the opening Delta licks of the single “Good Times.” They lead into a swampy, harp-energized vibe with the lyrics “Ain’t it a shame, ain’t it a pity/There ain’t no love in the heart of the city,” borrowing the latter phrase from Bobby “Blue” Bland’s song, then giving Friel room to let loose with searing harmonica.
Elements of the Black Keys are also in evidence, especially on the gutsy approach of “Indecision” as the band grabs hold of a tough, stomping lick with Fullerton singing from the heart as Friel takes off into the stratosphere.
There’s a restraint to these performances resulting in tightly wound playing perfect for the no-frills style that makes these songs, many about keeping a positive attitude despite life’s twists, register on first spin. The only frustration is that with a playing time of less than a half hour, you’d like to hear a few more of them, particularly since this is his first album in three years.
But better nine keepers than adding some below those standards, diluting the disc’s quality. On Closer, we get as near as possible to Fullerton’s unembellished, bluesy, flawlessly crafted music and better understand what those in his home state already know…that he’s ready for the big time.
A.J. Fullerton website
“Almost There”
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