Guitarist Pete Carr is primarily known as a member of the Muscle Shoals Rhythm Section. His résumé also includes being a member of Duane and Gregg Allman's Hourglass, and for declining an invitation to join the Allman Brothers Band -- they asked Dickey Betts later. Carr has played on dozens, if not hundreds, of recordings by everyone from Rod Stewart and Bob Seger to Bobby Womack, Wilson Pickett, and Willie Nelson, to mention a few. He also had two solo recordings: the first, Not a Word on It, was issued in 1975 on the independent Big Tree and was later licensed by Atlantic. Recorded at Wishbone Studio in Muscle Shoals, Carr acted as songwriter, lead guitarist, arranger, and producer. He employed the use of bassist Lenny LeBlanc, drummer Roger Clark, percussionist Tom Roady, and Harvey Thompson on saxophone. There are a slew of keyboard players here, including Chuck Leavell (the inner sleeve of the booklet credits him, the back cover does not), Clayton Ivey, and Tim Henson. Musically this is funky, jazz-inflected rock. Carr’s playing shines as much for its restraint as it does his tight, imaginative phrasing. Check the nocturnal blues of the opener “Transcumbian Lover,” that feels like a cross between Roy Buchanan and Peter Green's more refined moments. Carr's tone is biting, but every note he plays is perfectly emotive and musically sumptuous. The funky “Foxfire,” features organ, piano, and synth all tripling with his guitars. “On Lucifer’s Knee” uses a funked-up bassline and a Rhodes to create a backdrop for some mean guitar playing that moves inside and through the rhythm. “Broken Stone” is a straight-up Southern rock & roll boogie that moves. “Twisted Hair” is an anthemic closing statement with dual leads, acoustic piano, and shifting time signatures in a rock & roll guitar hero setting. Carr’s work is pretty much for guitar-o-philes and production heads, but the music is solidly played and the album is enjoyable throughout.
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AllMusic Review by Thom Jurek