If you've got the voice - which Harrison Kennedy has - and you've got the story - again a big thumbs up - then there's not much else you need to make a great blues album and - yes you've guessed it - Harrison Kennedy has made a great blues album. Being born into a musical family with a banjo playing aunt who taught him 'Hummin Blues' has obviously helped his cause.

However Voice and Story is built on the foundation of Harrison Kennedy's own passion and talent. In the 70s he was a member of the Detroit scene with Chairman Of The Board and after selling squillions of singles Kennedy hit the road to hone his talent as a blues man.

There's a natural easiness about Harrison Kennedy's take on the blues, his rich, velvety voice wraps around the lyrics like a cupped hand. Everything on Voice and Story is rooted in something, whether it's the gritty 40 Acres And A Mule (the promise made to freed slaves) or the relaxed 'heat of the day' Recipe For Loving. 

Harrison Kennedy provides his blues with a solid base; everything feels like it's in the perfect place. Voice and Story is not only the sum of 50 years experience but the culmination of generations of sometimes bitter history.

Album Review

Harrison Kennedy has always been seen as being 'different'. Different – but in a good way. When Harrison was riding high as part of Chairmen of the Board – one of Detroit's smoothest soul acts of the early '70s – no less than Edward Holland, Jr. of famed writing/production trio, Holland-Dozier-Holland, singled him out, had him buy a $75 guitar and asked him to write some 'story songs'. "Write what you feel", he told him – and Kennedy's been indebted to him since, as this detour has taken him down a lifelong path of mastering 3-4 minute story songs and he's been doing so for the past six releases. He won't admit to it, but he's on a personal mission. Harrison writes to serve people. Regular people, working people, people dealing with their own problems and people in need of help or, at least, a moment of personal reflection. He loves the blues but he also loves country music and he often equates the two – as both lean heavily on storytelling, revolving around real people and their problems – but his pedigree includes R&B, gospel, funk and soul, with a strong emphasis on the soul. A prolific songwriter, everything here is his own save one cover by his hero, Ray Charles. Nothing he does sounds repetitive, each song driven by his message, his messages driven by a big-hearted desire to help. His is a rich, deep-down blues yet he prefers to think of what he does as real roots music because of where it comes from. You won't find colourful guitar solos or power chords here – or anything stamped with the Chicago seal of blues approval. Instead, you might find something you clearly identify with and this, coupled with Kennedy's high-energy, rhythmic and always upbeat delivery, will make you feel good all over for the listening. His contemporary blues is always rooted in what's happening right now, just as all great blues was about what was happening then. Call him an urban street poet if you will, his secret weapon comes in the form of a relentless ability to achieve intimacy, despite the passion and uncommon soulfulness that fires each song. He's incapable of casting negativity on his subject matter – you'll find real love in his love songs and sincere hope in his darkest hour. Kennedy's songs are never about him. They're about you and me. His is an irrepressible voice whose soulful assault on the blues begins with everyday observations transformed into positive, uplifting messages that work away on one's conscience, often illuminating a better way.

Across the 14 tracks included here, you get it all, with varying degrees of accompaniment. Kennedy plays guitar, slide guitar, banjo, harmonica, mandolin and percussion while long-time keyboard wizard, Keith Lindsay, adds B3, accordion and percussion. Alec Fraser plays bass while Matt King adds electric guitar.

"Cats in the Window" is a reference to, like cops in a donut shop, a moment of peace – the cats enjoy the security of their perch on high ground while relaxing cops translates to a quiet moment when there's no trouble afoot. It's also a time for savouring a solid relationship, kissing the blues good-bye.

"Trouble" is down'n'dirty blues – with Kennedy's harp front and centre, the only salvation coming from doing right by your woman – and everyone else, for that matter.

"Hound and the Rabbit" comes from the old expression where, in this case, a man is hot on the trail of a woman, augmented by banjo, accordion and spoons percussion.

"That's Just Stupid" is an instant classic, its forceful lyrics and use of wah-wah pedal recalling Curtis Mayfield, while its message is beyond straight-forward. The blend of banjo and Kennedy's heartfelt vocal hits hard and the result is a thing of beauty.

You "Shame The Devil" by telling the truth. Kennedy outdoes himself by kicking Satan in the ass with unbridled enthusiasm. Alec Fraser's bassline rubs it in. "How Long" is a song about heartbreak and sung in Kennedy's rich falsetto, revealing his love for Memphis Minnie.

While "Musta Bin the Devil" is a buck-pass for the way things have ended up, it's also a

"Hard Time Blues" is just scrappy blues, telling it the way it is right now, no matter whether it's a view from a window in Kennedy's native Hamilton or a look down main street anywhere.

"Snakes Lie" and lie low down, not to be trusted. This is the story of one trying to steal the love of one man away for himself.

"Music To My Ears" celebrates Kennedy's old-school work ethic. Walking out of the past year's Memphis International Blues Challenge, he heard the distant sound of jack hammers – which meant that, somewhere, people were working and earning a living – and doing okay. This aggressive attack underlines how important it is to him to know others are beating the odds.

"Fo' Day Train" announces itself with a lonely harp wail, telling the tale of a man who had to leave his woman behind to go find work. He returns for her in the hopes of bringing her back to his new life. Real life, making do.

"Stay" is just plain fun – a dialogue between a man and a woman, with Kennedy voicing both parts, effectively. Guaranteed to raise a smile and the only way the tale can be told.

"Shake Em Free" is what you have to do when the blues take hold. Get rid of them any way you can.

"You Don't Know Me" is a song made famous by Ray Charles, another of Kennedy's idols. Here, he manages to demonstrate his impressive range while sounding not at all unlike the great Nat King Cole in the process.

Edward Holland, Jr. had it right. Harrison Kennedy's different alright. Good different.