Ronnie Earl, The Luckiest Man

Ronnie Earl named The Broadcasters after one of the first Fender guitars, distributed in 1950, which originally had been labeled The Broadcaster. The first group of Broadcasters included Darrell Nulisch (vocalist), Jerry Portnoy (harmonica), Steve Gomes (bass), and Per Hanson (drums). In 1988 they released their first album, Soul Searchin, followed by Peace of Mind in 1990. Their album Language of the Soul was released in 1994. The lineup for the Broadcasters album was Bruce Katz (keyboards), Per Hanson (drums) and “Rocket” Rod Carey (bass). The next album The Colour of Love, featured Marc Quinones (percussion) and Gregg Allman (keyboards). The latter association led to Ronnie Earl and the Broadcasters’ opening for the Allman Brothers Band at Great Woods, and to Warren Haynes (guitarist for the Allman Brothers Band) sitting in with Ronnie Earl and the Broadcasters at Johnnie D’s in Somerville.

About the Album

Earl offers both traditional blues covers and originals on the twelve track album, The Luckiest Man. He also augments his lineup to include: Nicholas Tabarias and Peter Ward on guitar, and Peter’s brother, “Mudcat” Ward on double bass and fender bass. Additionally, he adds Mark Earley on baritone saxophone and Mario Perrett on tenor saxophone. Vocalist Diane Blue returns, but there are also some instrumentals tracks. The album is dedicated to the Broadcasters’ late bass player, Jim Mouradian, who passed suddenly in early 2017. The three-time Blues Music Award winner for Guitarist of the Year keeps things about tone, spiritual intensity and emotions. Earl brings us a traditional blues album of remembrance, love, and unwavering resolve to live with faith and gratitude.

Our Favorite Track

Our favorite track is “Ain’t That Loving You.” Blue’s vocals are strong and full of soul and Earl’s guitar playing over the shuffle blues form is amazing. The horn background lines add to the track. The band hits are also a nice touch. Earl’s strat is still the perfect timbre to convey blues guitar, a Fender Strat with a cable connected to slightly over driven Fender Amp with a touch reverb, everything else is Earl’s magic touch. Earl always delivers great original blues tunes, but respects the idiom, not trying to make it “modern.” Earl and the band just kill on shuffles.

In Conclusion

Earl continues to be one of the most touching blues guitarists today and The Luckiest Man confirms Earl’s status as one of the most soulful blues/soul/jazz guitarists working today, for sure! This album is the real deal and Earl speaks to loss and healing, gratitude and love, compassion and passion.