Stuart Pearson “Devil Whammy”
Stuart Pearson invites you to a Devil’s dance party in “Devil Whammy,” where you’re being tested, tempted, and bewitched by something bigger than you and understands the nature of your existence better than you. “Devil Whammy” has a wicked charm that sees the hysterical and extreme, almost liberating side of pure celebration and fun making with a rusty, golden sonic palette of the black and white. It’s the rush, combined with the daredevil-like challenge and the reclaim of something ancient and forgotten.
Pearson’s music is deep rooted in America’s history. The sins, the redemptions, the mistakes, the regrets. The devil, in the center of his music, as well as the rusty country tone and dimmer blues chant digs into the modern ghostly phantom — the technology, electricity, and production. As deep, cigar-soaked, and mysterious as Pearson’s voice is, he represents the storyteller, not the devil. Through him, we capture the action, the movement, the clues and hints. He’s like the sonic version of Tony Todd’s William Bludworth in Final Destination. He sees it all and he sees it through.
“Devil Whammy” gives out the similar iconic whickness in Uma Thurman and John Travolta’s Pulp Fiction dance scene, when they dance to Chuck Berry’s “You Never Can Tell.” It’s sexy and tempting. The mood is rich. You can even see the devil dancing along the people. It’s the almost tangible invisibility within the sonics that is simply so fascinating.
The history never gets lost in Stuart Pearson’s music, and neither will the stories and the sonics. He tunes into the haunted side of the history where it’s never lost int he wind and gives you something authentic, original yet awfully nostalgic.
