American Blues Scene

Clear the Tracks – It’s ‘Victor Wainwright & The Train’

It had to be a train. The name of Victor Wainwright’s new band – and the sleeve image of their debut album – is also the most fitting of metaphors. As Wainwright himself hollers in the ivory-pounding title track: “If you wanna boogie get aboard this train/Get yourself a ticket or get out of the way…” The eponymous release Victor Wainwright and the Train hit the streets on March 9th, via Ruf Records. When some multi-award winning artists would be slowing down a bit, this Georgia born piano man is stoking the furnace bringing us a dozen original tracks. Starting things off is the barrelhouse blues of “Healing.” We could hear the engine building speed to launch what could very well be the album of the year. This is how you kick off an album. Wainwright handles the vocals, piano, B3, and more on this collection. Pat Harrington is the guitar man, Terrence Grayson lays down the bass, and Billy Dean keeps the clock on drums and percussion. All three band members add vocals on 3 of the 12 of the tracks as well. A gathering of ace musicians guest on the album. The horn section is made up of Mark Earley and Doug Woolverton. Guest guitarists include Dave Gross, Greg Gumpel, Josh Roberts, Monster Mike Welch, and Jeff Jensen. Invited vocalists Reba Russell, Nick Black, and Patricia Ann Dees add a sweet ambiance. Things get swamp funky on “Wiltshire Grave.” The old saying goes, “the devil is in the details.” The adage couldn’t be more true than on this song. Woolverton’s muted trumpet, Russell’s sanctified shouts, and Dean’s use of non-traditional percussion instruments including a knife, bicycle bell, and baseball bat just goes to show that a little creativity can produce wondrous results. The title track is a crowd-riling, boogie-woogie masterpiece. If this one doesn’t get you going, hit the button on your LifeAlert. Things slow back down on “Dull Your Shine,” with Wainwright’s vocals conjuring images of Dr. John meets Leon Redbone. Then it’s all about the funk on “Money.” Wainwright has always been on the soul side of the blues, and “Money” doesn’t let us forget it. His talking parts throughout the song had us feeling we were right in the studio with him. “Thank You Lucille,” is a tribute to the late, great B.B. King’s guitar, with Monster Mike providing the lead licks. Wainwright’s homage to Lucille is thankful and heartfelt. We’re sure the King is smiling down. “Boogie Desperation” is another song that begins with an audible image of a train picking up speed. Wainwright is always on top of his game when he pounds the 88s in a boogie fashion, and this is no exception. The song is about “playing the piano to cure my depression,” as the big man says. Hell it cured ours too! This one is going to get tons of spins and live plays. Wainwright takes us to church on songs like “Everything I Need,” and particularly on “Righteous.” Find us the church where this is played and it will be our every Sunday morning stop. From “Righteous,” Wainwright starts preaching again on “I’ll Start Tomorrow.” It only takes a few seconds though to realize this tongue-in-cheek tune is all about procrastination. Its cleverly written lyrics are something to which we can all relate. Things start real mellow and almost psychedelic on “Sunshine.” At almost three minutes into the song Wainwright’s vocals come in, combining with Earley’s flute and some killer slide guitar, with some very minimalist lyrics about the sun shining. This could easily have been an instrumental, but Victor’s 20 seconds of vocals during the 7-minute song only add to it. Victor Wainwright and the Train ends with the slow-burning “That’s Love to Me.” Clocking in at 8:37, it’s the longest track on the album, but unquestionably left us wanting more. Did we say this could be in contention for album of the year? Victor Wainwright and the Train will undoubtedly be in the running. If you like a little soul in your blues, appreciate the barrelhouse boogie of a master piano player, or just need a new feel-good album on your turntable, this is it!


Victor Wainwright has gone for a blank canvas while retaining the best elements of his previous music.

Opening track “Healing” sets off at tremendous pace pushed by the horns, Victor urging us to all “board the train” and find salvation, the gospel overtones laid bare for all to hear as Victor pounds the piano, a ‘churchy’ middle section before Pat’s guitar, Victor’s wild organ and the choir take us home – quite a ride! “Wiltshire Grave” has a New Orleans flavour with Doug’s growling trumpet and Billy’s odd assortment of percussion effects, including bicycle bell, baseball bat and knife, before the rollicking title cut “Train” delivers a dose of Victor’s trademark boogie piano, the horns adding even greater propulsion to the frantic pace – just try sitting still to this one! Victor then shows a completely different side to his music on the soulful ballad “Dull Your Shine” (with Greg Gumpel’s delicate guitar work) before Victor recounts the humorous tale “Money” in which he is pursued for payment by the IRS and several shady characters. Mike Welch lends his talents to the touching BB King tribute “Thank You Lucille” as his very appropriate guitar fills complement Victor’s heartfelt vocals on another highlight of the album: “Thank you for giving my mentor’s hands a place to rest, a place to call home. The thrill will never be gone, your music will always live on. That’s just the way I feel – thank you Lucille”. After that we probably do need a touch of Victor’s wit and energy which he delivers on “Boogie Depression” – “playing the piano to cure my depression”. Victor strikes a more serious note on the affectionate ballad “Everything I Need” before his rolling left hand starts up the gospel stomper “Righteous” with Josh Roberts’ slide and the backing vocalists helping Victor to whip up a storm. Victor’s great sense of humour comes to the fore on the hilarious “I’ll Start Tomorrow”, his response to advice on cutting back on his excesses, complete with boogie piano and a superb sax solo by Mark Earley. The album closes with two extended tracks: “Sunshine” opens with Pat doing his best Derek Trucks impression over percussion effects and Mark’s flute before the tune develops into Jamband/Allmans territory, Victor even sounding like the late Gregg Allman on his short vocal part; “That’s Love To Me” is a heartfelt ballad over soulful backing with Victor on organ and Pat again showing why he is such a highly-rated young guitarist with a soaring solo. There are several strong songs here that will doubtless grace Victor’s live shows. Probably best known for his larger-than-life personality and boogie piano, this album shows several sides to Victor’s music and should take him to the next level. Recommended!


‘We already have a contender
for album of the year, wonderful lyrics, musicianship and production.

This eponymous offering is the sixth offering from Mr. Wainwright in his various guises. Joined by stalwarts Billy Dean on drums, relative newbie Terrence Grayson on bass and the incredible guitarist Pat Harrington, Victor takes you on a journey imploring in the title track “If you wanna boogie get aboard this train, get yourself a ticket or get out of the way”, great advice from a man of such stature! These twelve tracks are all originals which vary from the boogi-woogie on barrelhouse thrillers like “Healing” and “Boogie Depression”. There’s a touching tribute to BB King’s guitar, “Thank You, Lucille”, great groove! There are echos of Leon Russell on the beautifully constructed “Everything I Need”, showing that Victor has a softer side. Humor comes easy as well as on “I’ll Start Tomorrow”, on which he postpones his doctor’s advice, think we’ve all been there ! Here we are in February and we already have a contender for album of the year, wonderful lyrics, musicianship and production. The Review: 9/10 Can’t Miss Tracks – Sunshine – Healing – Wiltshire Grave – Boogie Depression The Big Hit – Boogie Depression Review by Clive Rawlings


“Boogie-woogie, barrel-house keyboards and driving
pedal-to-the-metal blues delivered with power, drive and enormous quality and
talent….an absolutely excellent release, truly top-dollar in every way.”

Victor Wainwright is a US bluesman, a recognised and admired producer and performer with a string of US blues awards to his name, and a presence that comes across as big, big, big, here. Wainwright’s voice is truly excellent, like a male version of Janis Joplin, at times, raw, powerful, strong and stellar. He hammers the keys with a rattling, melodic, driving pulse holding shades of Louisiana great, Doctor John, and the ever-wonderful Marcia Ball, both comfortably contained in the mix. At times, he turns his hand to towering, soaring B3 before again returning to vocals and keys. There is also some very fine fretwork from Pat Harrington, and horns that deliver down and dirty growls when needed. The song-writing here is lyrically strong, and the undertones of blasting gospel and pure blues-passion, are clear, evident and always paced and pitched near-on perfectly. Wainwright includes a song dedicated to BB King’s old Gibson guitar, ‘Lucille.’ Overall, this twelve-track release absolutely roars and rips along, full-tilt, balls to the wall stuff with assured ability and purpose. Boogie-woogie, barrel-house keyboards and driving pedal-to-the-metal blues delivered with power, drive and enormous quality and talent. This must surely be a band to catch live somewhere down the blues highway. An absolutely excellent release, truly top-dollar in every way.

I just had the opportunity to review the most recent self titled release, Victor Wainwright and The Train and it's rockin. Wainwright on lead vocal and keys pushes a nice duel with guitarist Pat Harrington, on Healing, backed by Billy Dean on drums and Terrance Grayson on bass. Also adding a nice bit of oomph are Mark Earley on sax and Doug Woolverton on trumpet. Nice opener. Train is a hot boogie woogie track with Wainwright really driving hard on vocal and piano. Woolverton and Earley fill nicely and Reba Russell's vocals are super. Excellent track. Soulful, Dull Your Shine is a really nice track that puts me in mind of D'Angelo with a suspenseful approach to the song and super vocals. Also of particular note on this track is a sweet guitar solo by Greg Gumpel. Blues with a distinct R&B feel, Thank You Lucille, is possibly my favorite track on release featuring some of Wainwright's best vocals on the release and Monster Mike Welch handling the lead guitar spot, backed by Reba Russell, Nick Black and Patricia Ann Dees on vocal. Boogie Depression is another driving boogie with super piano and excellent slide work by Harrington. Nice! Foot stompin rocker, Righteous really gets that tent revival feeling going with a solid bottom, powerful vocal by Wainwright, super slide work by Harrington, and vocal backing by Russell. Very cool. Rocking boogie, I'll Start Tomorrow is a real mover with cooking piano and organ, tight drums, a great sax solo by Earley and punchy trumpet work by Woolverton. Another track with strong slide lead by Harrington is Sunshine. His slide work is inspired and fat, soaring into the music nicely. A track, seemingly built around his excellent slide lead, a real keeper. Wrapping the release is gospel styled, That's Love To Me, with it's rich melody, organ and soulful vocals by Wainwright. Subtle but nice acoustic guitar by Jeff Jensen adds nicely and solid lead guitar by Harrington adds depth for an excellent closer to a really strong release.


“This is a non-stop thrill ride with surprises at every turn.”

Pianist/composer/vocalist Victor Wainwright is both a Blues Music Award and Blues Blast Award winner, and, for his latest album, he and his new band, The Train, take the listener down the blues track for sure, but also takes some interesting and unique detours through the twelve original cuts that comprise this self-titled album for Ruf Records, produced by Victor and Dave Gross. Victor intended to create the majority of this music himself, and the fans are the winners, as this is a varied and eclectic set that mixes eight-to-the-bar boogie woogie with Southern rock, straight blues and some good ole New Orleans funk. Victor leads off with the gospel-fired, testifyin’, horn-heavy romp of “I Need A Healing,” then weaves a spooky, NOLA-ish tale of tollin’ bells, ostracizing and scrutinizing, “down by Wiltshire Grave.” Victor holds nothin’ back with the clickety-clack boogie groove of “Train,” and keeps that groove rockin’ with the perfect prescription for that “Boogie Depression!” He closes the set with a couple of really cool tunes. First is he Allman-esque, jam-o-riffic romp that is “Sunshine,” then closes the set proper with a brilliant change-of-pace love song, where Victor realizes nobody’s perfect, but our flaws are why “That’s Love To Me,” with some mighty fine organ in the mix. We had two favorites, too. Victor pays a sweet tribute to B. B. King, with a shout-out to that world-renowned Gibson guitar, “Thank You, Lucille–the thrill will never be gone,” with Monster Mike Welch on that brilliant guitar work. And, another sweet boogie woogie might be a message to a lot of us who don’t necessarily want to heed our doctor’s advice, “I’ll Start Tomorrow!” Victor Wainwright is an artist who knows how to make just plain ole good music, no matter what genres’ he might bend. Either get yourself a ticket and get on board, or get outta the way of Victor Wainwright And The Train! Until next time…Sheryl and Don Crow, The Nashville Blues Society.


“Tough and tender and all points in between, this record is a trip through the larger than life soul of an inspired musician and his crew. A triumph.”

This is an artist that I saw perform last year up in Camden, thanks to guitar ace Todd Sharpville. This collection centres upon his dazzling keyboard style and driving feel for electric roots music..making him a distinctly different Wainwright, to say the least! More feisty than fey, you might say… These Ardent Studio sessions were produced by Wainwright and David Gross and there is a host of sharp and empathetic players aboard for the recordings. We kick off with Healing with its sprightly piano motifs and full-blooded ensemble sound. Victor’s voice has power, grit and complete authenticity. Cleverly mixing a rousing tempo with the odd pastoral passage, the song is a bit of adventure all round. Fabulous bass lines and biting guitar across swift Hammond runs. It sounds a bit churchy in that it is spirited and declamatory. On to Wiltshire Grave, a guitar-led sinister item, nightclub horns and all and a tale of a femme fatale; Train is hot piano and a breakneck pace worthy of Mickey Gilley, catchy as hell and featuring ascending horn emphasis. Dull Your Shine takes its time on a slow rickety beat, echoes for this listener of Randy Newman, melodic cadences giving an intriguing vibe to the number. Money takes the path of greasy funk, vocal to suit, something of a cautionary tale and maybe a Bo Diddley or Chuck influence in the lyric. Love the guitar break on this one! Pat Harrington, I guess. A touch of Pat Hare… Thank You Lucille has a beautiful roll to it and pure B B King axework – by Mike Welch no less – as the words testify. Maybe the best vocal on the set and clearly heartfelt. Boogie Depression starts eerily then turns into Floyd Cramer for a few bars, turning into a Rockin’ Pneumonia-tinged rocker. On to Everything I Need is a grizzled soul ballad, well delivered and originally phrased. Righteous is all about tension, pumped out of the piano chording. The words are apocalyptic and almost spat out, conjuring dark clouds overhead. I’ll Start Tomorrow gives us an old-timey barroom lament, all about dieting. Excellent! Sunshine is peaceful and haunting, based on Hammond and dirty slide guitar figures. It sounds like a storm coming or a Southern film noir opening resolving into a pacey tune with flute warbles and eventually a soulful vocal over wandering bass. It is then a Charlie Daniels Band type guitar jam for a while. The set closes with That’s Love To Me and the closest our Victor gets to Dr John vocal phrasing on a gorgeous soft-focus number. Tough and tender and all points in between, this record is a trip through the larger than life soul of an inspired musician and his crew. A triumph, imho. Pete Sargeant


“With the force of a racing locomotive, Wainwright and the Train put together an electrifying, feel-good record with plent of heart and soul.” -Victor appeared on the cover

By Rhetta Ajamatsu | Having established himself firmly in the last few years as a multiple-award winning piano player and entertainer, Victor Wainwright is making some changes. He has a new band, The Train, a new record label, Ruf and a new album, simply called Victor Wainwright and The Train, coming out March 9. I got an early listen and it’s amazing. As Victor says on the song “The Train”: “If you wanna boogie get aboard this train/Get yourself a ticket or get out of the way.” With these 12 original songs, this train is going exactly where Wainwright wants it to go, with stops at traditional, rock, ballads, his signature boogie, and even a side trip into psychedelia! It all begins with that pounding piano as Wainwright starts us off with “Healing,” a soul extravaganza with horns, organ, piano, and passionate vocals. Next is the new Orleans-flavored tale of poor Peggy and the”Wiltshire Bridge. This is one of the songs that plays down the piano for the vocals and the organ and horns. Then here comes the train. This one is going to pick you up and sweep you away! After Victor exhorts the band to get the train started, It goes faster and faster until it hits that ferocious piano and then ends with the horns. Whew! Wipe your forehead and get ready to switch gears for “Dull Your Shine,” with its message that ‘those who mind don’t matter, and those that matter, they don’t mind.” This one features a poignant guitar solo as well as more restrained piano and a persistent drum beat to underscore the uplifting message. “Money” is a sly, funny soul shuffle with a message we will all recognize. It is followed by a moving and heartfelt tribute to Lucille, BB King’s guitar. It is a highlight of the album and is likely to get a lot of play on blues radio. “Boogie Depression” is a fast boogie about the power of music to cure depression, with some real piano pyrotechnics to remind you that the man is a piano playing genius. Then the mood slows down for the slow, sweet love song, “Everything I Need.” Switching moods again, “Righteous” is a spooky song about “righteous” anger. Listen closely and you will get a chill. “I’ll Start Tomorrow” comes as a relief, with its funny message about procrastination. It is followed by the entirely different, Eastern-influenced and psychedelic “Sunshine,” which features guitar, horns, and drums and a short, plaintive vocal. It really allows the band to show off their skills, and Wainwright to show that an organ can be psychedelic. Then the album ends with another sweet, slow ballad, “That’s Love To Me” It is a huge compliment in my mind that these slow songs remind me of the great Leon Russell, while still being completely Victor’s own. Wainwright and The Train take us on one amazing journey here, with still some astounding piano but a whole lot more besides, showing that Wainwright can break out in all sorts of wonderful directions. Be prepared to jump on board, it’s coming your way soon!


“A piano-pounding ministry powerful enough to raise the dead and scald the living with righteous piano fervor… roaring like a conductor with a snoofull of cinders, his piano rocking so hard it's about to knock the train off the tracks.”

BY GRANT BRITT , STAFF REVIEWER MARCH 26, 2018 | It's what you would expect from a man tutored by the High Priest of Polyester and pastor of The First House Of Polyester Worship and Horizontal Throbbing Teenage Desire, electrifin' boogie-woogie at warp speed, a piano-pounding ministry powerful enough to raise the dead and scald the living with righteous piano fervor. Victor Wainwright was schooled by The Reverend Billy C. Wirtz, who in turn passed along his skills gleaned from a live-in apprenticeship with Sunnyland Slim. Pinetop Perkins is the one who helped Wainwright hone his skills, taking him on the road with him. Wainwright developed a muscular style of boogie-woogie that incorporates the best of Perkins' backwoods boogie and Sunnyland Slim's more uptown, fluid style with the fire and religious fervor of Wirtz. His band is new for this outing, but Wainwright's sound is the same hard-charging boogie he's become known for. On “Train,” Wainwright's roaring like a conductor with a snoofull of cinders, his piano rocking so hard it's about to knock the train off the tracks. Reba Russell provides the train whistle woo-woos in the background over the propulsive brass of Mark Earley's sax and Doug Woolverton's trumpet, Pat Harrington's guitar electrifing the rails. Wainwright tosses in a changeup on the Leon Russell-esque “Dull Your Shine,” a laid-back, swampy ramble till Harrington lights a searing guitar flare in the middle before Wainwright takes it back to the marsh with his rumbly narrative. Wainwright introduces “Thank You Lucille” as a song he wrote in memory of B.B. King immediately after his passing, a tribute to King's lifelong companion, his guitar he named Lucille. It turns into an old school recitation in the middle, Wainwright eulogizing King's guitar: “When I think of all the audiences you've been held in front of, all the lights you've shined under, and all the hearts you've filled with hope and happiness, I'm overwhelmed with inspiration,” Wainwright says, as Harrington invokes the spirit of King's guitar. “Boogie Depression” is a homage to Jerry Lee Lewis, a rippling, rollicking, rocker invoking the Killer's style and spirt as Wainwright proclaims that “playing the piano can cure my depression.” “I'll Start Tomorrow” is the pianist's response to his doctors advice to slow down, slim down, and start living right. Wainwright makes up his mind to do things his way, preferring to get his exercise through the pursuit of full tilt boogie. The cars may be different, but the same engineer's at the throttle, shakin' ratttlin', and rollin' this Train down the tracks at breakneck speed for a bumpy but exhilarating ride.


Wiltshire Grave picked as one of the Top 10 Blues and Rock Songs of 2018

By Martine Ehrenclou | Multiple award-winner, Victor Wainwright, has a new band and a new album, Victor Wainwright and The Train, out on Ruf Records. With the force of a racing locomotive, Wainwright and the Train put together an electrifying, feel-good record with plenty of heart and soul. The musicianship is downright exquisite on the 12 all-original tracks. I’m new to Wainwright. I had zero expectations. This record completely knocked me out, and not because I’m a big fan of boogie-woogie. Victor Wainwright and The Train has boogie-woogie on it, but so much more. This album is funky, it’s rockin’, it’s bluesy roots music, with genre bending styles. The common thread throughout this expertly produced record, is Wainwright’s soulful, punchy, right-on-target vocals and blow-the-roof-off piano playing. Each musician in the band offers off-the-charts performances, including the fantastic guitarist, Pat Harrington, drummer/percussionist Billy Dean, bassist Terrence Grayson, a full-on horn section, and plenty of featured guest musicians. This album has the energy of a freight train, but it’s artfully channeled by Wainwright and the band. Sometimes records with this much energy can fall off the rails. Not so with Victor Wainwright and The Train. “Healing” opens the record with Wainwright’s mastery of the keys and a chugging, get-out-of-your-seat kind of vibe. It’s fun and kicks off the record right. “Wiltshire Grave” is a swampy, funky, blues groove with a New Orleans twist. What I love about this song are the syncopated rhythms and how Wainwright’s vocal phrasing is so in sync with the lyrics and melody. The song loops in with a guitar riff and muted trumpet by Doug Woolverton. Harrington’s guitar solo punches through the bridge and matches Wainwright’s top-notch skills on the B3–that says it all right there. You can envision this tune performed live in a New Orleans club with the audience dancing in the aisles. This is one strong band with tons of talent and Victor Wainwright is dead center in the middle of it. Photo: Austin Britt “Train” takes off with Wainwright’s award-winning piano playing. Energy is the name of the game with this fun, boogie-woogie number. Wainwright sings, “If you want to boogie-woogie, get up on the train. Get yourself a ticket or get out of the way.” All aboard. It’s not easy to swing a full horn section into place, especially on a fast-paced tune like this one but the band does it, and does it in style. Quick-fingered guitar player, Pat Harrington works his magic with an outstanding solo. Seriously, this guitarist is really something and the piano by Wainwright is downright masterful. And fun. “Dull Your Shine” is a standout track, not just because it’s a beautifully written song about support for a friend, but because of the groove, the jazzy chord progressions, and… because Wainwright’s vocals really shine on this tune. Smoky, deeply soulful and tight with the rhythm, this guy has it down. This tune reminds me of the quality songs written by Randy Newman. Wainwright’s piano chops are exquisite and played with passion. The guitar sings with beautiful tone and precision, and I might add, without losing one ounce of feeling. It’s no wonder Wainwright has won so many music awards, including the “BMA Pinetop Perkins Piano Player of the Year Award” three times, and the coveted, “BB King Entertainer and Band of the Year Award.” Another tight and rhythmic, syncopated winner is “Money.” It’s funky, blues, roots fun. This song is all about the rhythm, Wainwright’s creative vocals and outstanding piano playing. His piano solo gave me chills. No joke. Wainwright’s gift as a story teller and songwriter are all over this album, but in particular with songs like “Everything I Need” “Righteous,” the aforementioned, “Dull Your Shine” and the funny, “I’ll Start Tomorrow.” For an almost instrumental treat, listen to “Sunshine.” It opens with a monster slide guitar part that’s very much like an acapella vocal with spare backing from the band, complete with mood and feeling. The song shifts to a jam-band section that showcases the musicians’ talents, of which there are many. The guitar playing at minute 3 is stunning. I have to guess that solo is courtesy of Pat Harrington because there are five (yes, five) guest guitarists on the album. Wainwright then graces us with another example of his command of the keys but this time on the B3. The horn section, coming in toward the end of the track, is exceptional. You can hear that Victor Wainwright and The Train are having a blast. He said, “We wanted to capture how we feel performing right smack-dab on this record, and I believe we’ve done that.” I believe it too. They are so present, so together, it doesn’t take much to envision them performing live simply by listening to the record. A+ album. For more information on Victor Wainwright and The Train: Website: Facebook: Apple/iTunes:

“The relentless boogie bear changes it up with some relentless rocking in the mix and the kind of high energy that can only be describes as that of a runaway train. Smokingly in touch with his show band side, this righteous, raucous rollicking set is just what the doctor ordered for jaded ears that need a mash-up with energy to spare. Hot diggity hot stuff throughout.”


“Victor Wainwright and the train is one stellar record”

By Phillip Smith; March 2, 2018 | Victor Wainwright, one of my favorite keyboardists playing the Blues today, has released a spectacular new album with his new backing band, The Train. Making up The Train is drummer Billy Dean, bassist Terrence Grayson, and guitarist Pat Harrington. This album features a dozen original songs from Wainwright which ranges from barrelhouse blues to boogie-woogie. No matter what he’s playing, it’s performed with precision and soul. Wainwright’s lush keys and ominous lyrics stand tall on “Wilshire Grave” as it sinks its claws in. A seductive hook, the growling trumpet of Doug Woolverton, and the backing vocals of Reba Russell make this song the embodiment of cool. With a bluesy Randy Newman vibe, “Dull Your Shine” emits a message of positivity as it reinforces the characteristic of individuality. There hasn’t been a better song about debt collection than “Money”. Wainwright’s piano prowess is quite amazing and Harrington’s guitar performance is terrific. “Thank You Lucille” is a wonderful homage to the great B.B. King. In a fitting tribute, guitarist Monster Mike Welch seemingly channels the man himself. A slow-burn start on “Sunshine” breaks into a rejoicing Phish-phriendly jam with tiny nods to the great Frank Zappa. Harrington’s smokin’ guitar performance coupled with Billy Dean’s amazing drum fills put a gigantic smile on my face. Victor Wainwright and the Train is one stellar record, and certainly deserves to be heard.