Daddy Long Legs: Back On The Street
A chat with frontman Brian Hurd about the band’s hot new album
Daddy Long Legs, the Brooklyn based trio of guitarist, harp player and vocalist Brian Hurd, slide guitar player Murat Akturk and drummer Josh Styles, jump started their career playing on the street corners of New York.
When the pandemic shutdown brought most live music to a halt, they returned to the streets to keep their chops in shape.
Growing up, Hurd was aware of the fact that the blues were the foundation of rock ‘n’ roll. Investigating the artists at the roots of the electric blues – Willie Dixon, Muddy Waters, Slim Harpo and Howlin’ Wolf – led him back to the music’s acoustic roots. Son House, Charley Patton, Fred McDowell and Furry Lewis inspired him to start playing the stripped-down acoustic/electric style that’s made Daddy Long Legs a force to be reckoned with.
In the past few years, the band has been co-writing more than before. They’re also using more electric guitar than previously, a change that’s notable on the sound of their latest album, Street Sermons. The record includes the contributions of two famous fans. John Sebastian adds his guitar to “Ding-Ding Man” and Wreckless Eric contributes backing vocals to a couple of tracks, but it’s the work of the basic trio, and producer Oakley Munson on keyboards, that makes the album shine.
“Nightmare” is an R&B rocker that could be about the COVID pandemic, with a hint of the Isley Brothers in its vocal hook. “Silver Satin” is a slow blues that has the band drinking away its troubles, as they ride the subway from Brooklyn to Manhattan. The title track brings to mind the chain gang chants of the deep South, and the street protests of the past few years, with a slow stomping rhythm and sing along chorus.
Hurd responded to The Globe’s emailed questions about Street Sermons and the band’s evolution between dates on the band’s recent European tour.
Why did you call the new album Street Sermons?
It’s a reflection of the times the album was conceived in. The future of live music was uncertain at that point and we just did what came naturally. We went back to playing on the streets around New York City and it really lifted everyone’s spirits, so the title really sums it all up for us.
All the songs were written and recorded in the studio, as a concept album. Our last release, Lowdown Ways, was more of a collection of songs that we had been playing out live for a while.
You made this album with the production help of Oakley Munson, from the Black Lips. He added some keyboard parts to the arrangements as well. How did you like working with him?
Oakley has always been a real soulful guy and understands where our music comes from. As a producer, he wanted to hear what we were working on and started playing piano and organ over what the rest of us were doing. It sounded like it had always been there.
What new experiences did you encounter making this record?
The album was recorded in a haunted house called Old Soul Studios, in Catskill, New York. There were ghosts all around us the entire time the record was being made.
You avoid the usual blues/rock clichés when you’re recording and performing. Is that in your mind as you craft a song?
It’s something we’re always conscious of when we’re writing. They stick out like a sore thumb and we know a bad one when we hear one – usually coming from another artist from our circuit. It reminds us of what we don’t want to do. It’s really important, if we want to keep this music moving forward. On stage, we don’t think about it. It’s got to come natural. We’re just letting it flow these days. We’ve learned to get out of the way of the music and let it become Daddy Long Legs – whatever that is!
What has been your biggest challenge as a band?
Well, we’re living in the future now. To some, rock’n’roll and the blues may seem a bit antiquated, but it’s really all we know and we’re never going to stop doing what we love.
How did the shows on your recent tour of Australia and New Zealand go?
Extremely well. I think they have a deeper understanding of what we’re doing there and it was great to finally make our first trip there last year. We’re really excited to be heading Down Under again in December.
Does living in Brooklyn have any influence on your music?
Absolutely. Honking horns, subway trains rattling in the distance, the heat, the cold, the trash, the energy of the city…it’s all there in the music.
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