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Right there, at two minutes and ten seconds into the first song, “Long Way Down.” The part where Gary Nichols sings, “Girl, we both know where your soul is bound.” Only he bleeds it as much as he sings it. He sounds murderous, maniacal. Her soul is bound for nothing skyward, for nothing heavenly. And he’s fine with that.
Richard Bailey’s banjo plays funky, little Kentucky-goes-to-Memphis rolls. Tammy Rogers’ fiddle soars. Brent Truitt’s mandolin chops time, and Mike Fleming’s bass pounds the downbeat. And all that is righteous and right-on. Elevated, even. But Nichols—he lets loose something the opposite of righteousness. It’s a howl, full of hurt and anger and life. Starts on the highest E note that 99.9% of male singers can hit, then ascends into a sweet falsetto, and then opens up like the gates of Hell, into a reeling screech.
“That made me dizzy for a second,” Nichols says, remembering the moment he sang the line. “Really, I almost passed out. There are certain lines in SteelDrivers songs that require a little bit of Wilson Pickett.”