Review: Drunken Prayer – The Devil and the Blues

FINAL-1024x1024Exhibiting a showman’s flair for the dramatic, Morgan Geer as Drunken Prayer sells rock and roll snake oil that the listener is too quick to buy. Taking advantage of half-infused patrons on a Saturday night, Geer extolls the virtues of his brand of Tejano music with the help of barkers Lance Wille and David Wayne Gay of The Reigning Sound fame, and a chorus of plants to urge followers along on his twang-fueled journey from Portland, Oregon, to the Texas-Mexico border, passing through San Francisco’s Mission District, laughing all the way.

Greer packs The Devil and the Blues, his fourth album as Drunken Prayer, with rockabilly (“Hellraiser”), barstool baptism (“Hand of God”), benediction (“Echo of a Heavy Slamming Door”) and vindictiveness (“Captain And Tennille”). One can sense the delight Geer enjoyed in penning the surrealist “Machines” and cliché-ridden waltz of “Love Looks Like a Master.”

What may at first sound like an off-the-cuff sally thanks to the ridiculousness of “Unicorns” and the nasal voicemail message of “Johnny Paycheck’s Cocaine,” The Devil and the Blues proves itself to be a journey through American roots music; having studied Robert Johnson, Carl Perkins, Leon Russell and John Prine, Geer is a sly musical devil with one foot on the wrong side of the track at all times. Thumb a ride with The Devil and the Blues for it’s one hell of a trip.

Watch the video for “Hand of God” below and purchase The Devil and the Blues via Fluff & Gravy Records.

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