Bluzy Q by Liquidirts Colabs

This song would sit snugly in what used to, before a dreadful perplexing genre-hijack incident, be called Rhythm & Blues. It’s a strolling, chugging helping of good noise which wants to have some fun with you. But it’s pretty much a song in two parts.
The vocals seem like they’re sitting on top of the tune rather than being part of the whole. It would’ve been better to risk burying them . And because the song begins and ends with the vocals it feels like one was written or adapted to serve the other. There’s an altogether sharper tone in the vocal which was obviously the result of bad recording. I mean, you can totally hear the room as she back off the mic to push the power. Somebody needs help.
Whilst the singing is accomplished in a Blondie sort of way, it needs much bigger balls. She sounds like a singer who subliminally learned all the blues rules, feels them in the belly but wasn’t graced with enough rough to dirty the clean. We need a bit more Janis Joplin and a lot less Karen Carpenter here.
The backing vocals go to unusual, not-so-blues places, and there are lots and lots of words.
Words which are well composed and either tongue-in-cheek or bleakly autobiographical. Either way, it takes a lot of spunk [sic] to list all the men you’ve ‘tried’ by name, especially in a small town (the reunion is a nasty porn scene waiting to happen), even in this age of wimmin’s liberation. I mean, even Tracey Emin hasn’t gone so far as brag about shagging everything with a John Thomas and without a relationship. During this interesting account however, the old tart’s more concerned about having her finely honed lyrics heard than singin’ the blues. For shame, good woman!
Alas, it’s in this regard that the fresh, sweetness of the voice lacks success.
The quite surprising deceleration brings in cool shredding from the main man, swimming like a flaccid shark through sea of reverb. This is the kind of guitar playing that chattering classes will sit down and listen to. Meanwhile the drums know their place but get deserved attention via a bit of creative panning, with the bass in its place so you can’t see its face.
So, Bluesy Metal Pop without exactly the right qualifications. ‘Cos there’s no sign of remorse nor melancholy at the failure so far of Madame’s quest for a sufficiently endowed male counterpart.
Good luck finding him luv; you’ll need it.

well then ... from the very first note - this is obviously female driven hard rocking blues ... damn roadshouse shit with a leg over!

but there's some true differences in the approach and attack that shows it's originality and might even irritate purists to the style ... I like that.

a very hot gain level on the sound - pretty modernish cus it's loud and proud ... drums are a bit simplistic but they work ... wouldn't call 'em pocket cus they do seem a bit digital in that the beat is soooo hard core straight on perfect ... and the overall sound is not really all that great ... a kick that comes through but sounds a bit like paper and a snare that is got some snap despite the heavy verb but does sound as narrow as a country road in devon. and the bass isn't gonna win any big prizes in blues low end supremacy I'm afraid - it does the standard root note progression to a T both on real time and double but it won't be much more than adding to the tune sonically any time soon.

but that's all really all right cus the point ain't about being all that special here with that - it's about crunchy guitars and the somewhat - well, not somewhat - the total slutiness of the "lady" telling her story of going through guys like a modern day victorian man pleaser.

cept she thinks it's all about her.

anyway, the guitars - massive crunch. loads of dirt - lots of edge. and on the top of it all to be sure. what proved a bit interesting about the solo wsa that it wasn't really all that blues based but sorta leaned towards a little bit of 80's hair band action. no real shredding but more stuff that the man could pose around while he easily fingered it out.

the vocals are pretty decent - a few times I sorta thought the lady would move a bit more janis like but instead she opted for a bit safer route. not bad but on a rocker like this - she really might have considered adding more growl and less restraint. she leads up to letting it all go a few times but never quite commits. and given her lyric, being able to give it that exciting edge would have given full cred to her story. but alas ... I'm thinking maybe she weren't quite as worldly as she lets on. but a good attempt at making me believe she has been around the block in the bed. and proud of her method of finding the best around. shame she never knocked on my door - she'da looked no more. but the line about doing some guys dad was a little funny if not a bit sick.

still - all in all, pretty decent job on the sing sing sing. especially cus I am gonna guess that this lady ain't ventured too much into this style prior. she carries herself more like a popper than a living loving sad state of affairs that the true blues voices bring to the table. she lacks the intuitive sense of stumble. and in lots of genres - that's a good thing. here, it still works but takes away a bit of street cred.

the strongest aspect of the song is the arrangement. rocking/driving/rocking/driving and thenthe slowdown parts - dragging along so suddenly and then going back to z was a brilliant move. making for a bit of unexpected flavor and certainly beat daringness that you don't normally see - or hear - or feel.

all in all, I like it. I think it needs a little bit more overall attention and real life intervention to make it truly authentic but it is fun.