Intimate, atmospheric and emotional song writing for every mood...
Recorded in the vibrant setting of New Orleans, 'The Hustler' takes a slightly more eclectic turn in comparison to the stripped-down singer-songwriter vibe of the critically acclaimed, 'Everybody Loves A Winner'. However, it doesn't lose any of the darkly sexual attitude and intimate song writing that makes Klein's music so intense and enticing.
Undoubtedly the most captivating song on the album is the opener and title track, 'The Hustler'. Slow and sultry and exposing Klein's sexy drawl to the maximum, 'The Hustler' draws upon Klein's experiences of New Orleans with a seductive melody and haunting steel guitar, before flowing beautifully into the equally intoxicating '19th Hole'. Instantly intense and similarly slow and introspective, this is another track that allows you to be drawn in Klein's voice, rocked gently by its rhythmical melody and left to wallow in its emotional intensity. 'Nearly Motionless' picks up the beat slightly, before the fantastic 'Suzanne' brings the album to life; Klein's raw, whiskey-soaked vocals work perfectly here alongside the up-tempo guitar and brass backing.
The diversity of New Orleans and its pervasive influence on the flavour of the album is apparent again in 'Ironside', in which Klein draws on the talents of an Australian exotic dancer that he met in the city for the desolate female vocals that accentuate the desperately painful chorus of this deeply moving track. 'Pity' continues to emphasis Klein's intensity perfectly, with its electronic, synthesized sounds contrasting with the vocals to produce a track that is at once frightening, raw, angry, sexy and suffocating. 'Stripped' is a driving song, with metallic electric guitar, drums and bass that build throughout, while 'The Red Lantern' returns to the more up-tempo beats of 'Suzanne', with its catchy melody and prominent bass line and sees Klein's raw, sexy voice used to the max in a final frenzied howl.
Don't let the thought of this being a more eclectic album put you off; whilst Klein describes this album as being a lot richer and 'more musical' than 'Everybody Loves A Winner' the intensely personal songs of love and lust are still here as well as the more diverse inspirations of its New Orleans conception. At times Klein comes close to the singer-songwriter stylings of Rufus Wainwright, while tracks like 'Stripped', 'Suzanne' and 'Ironside' are often reminiscent of the kind of melody-fuelled, introspective Americana of Counting Crows. Intense, atmospheric and emotive, 'The Hustler' seems to have a song to cover every mood and emotion, creating a beautiful album from start to finish.