Otha Turner And The Rising Star Fife & Drum Band Everybody Hollering' Goat Birdman Odds Against Tomorrow challenges contemporary solo guitar practice in a way that simultaneously nullifies hazy dreams of folk purity and establishes a new high-water mark for blues-rock reconstruction” (Tom Carter).
With the exception of the unreconstructed Elmore James-isms of Stray Dog’ and the Layla-finale-like haze of All Your Buried Corpses Begin To Speak, the remaining non-overdubbed tracks dovetail snugly with Orcutt’s previous solo output, reeling gently in a Mazzacane-oid mode or vibing up the standards (Moon River). The Writhing Jar’s crashing overdubs recall the brassy six-string voicings of This Heat or Illitch. Specifically evoking John Lee Hooker’s double-track experiments on 1952’s Walking the Boogie, the steady chord vamps of Odds Against Tomorrow and Already Old form a harmonic turf on which Orcutt solos with lyrical abandon.
‘Returns to original composition and the blues… with a freshness and authority that nostalgic retreads cannot deliver… Three songs (Odds Against Tomorrow, The Writhing Jar, Already Old) are multi-tracked, an innovation that, for guitar buffs familiar with Orcutt’s stripped-down vernacular, jumps out of the grooves like a Les Paul sound-on-sound excursion in 1948, or a Jandek blues rave-up in 1987. Bill Orcutt Odds Against Tomorrow Palilalia
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