By: Tom Coulson

Albert Cummings' story is a bit different. Born in Western Massachusetts, he makes his primary living representing the third generation of an award-winning family of New England custom housing constructors. He learned bluegrass banjo at an early age, apparently influenced by his also musical father, but had a life-changing guitar experience first with Stevie Ray recordings, then the man live. He didn't start playing out until age 36. Of all the up-and-coming blues stars he's shared the bill with, his proudest is opening for B.B. King 19 times.

After marrying, serving in the military and starting a family, Albert Cummings built a following through the electrifying shows he performs in the Eastern U.S. and via a fine first solo album, From the Heart, also on Blind Pig, featuring the guitarist backed by Stevie Ray Vaughan's full Double Trouble lineup of Chris Layton, Tommy Shannon and Reese Winans. Bassist Shannon is held over for this new release True To Yourself containing 10 original tracks. Between that accomplishment and the fine producing of guitar sound expert Jim Gaines (Santana, Luther Allison, Stevie Ray and maybe a hundred other guitar recordings) I'm quite taken by this disc. Cummings does the second rhythm guitar himself, otherwise keys and drums round out the quintet. I'm sure the experienced producing helps, but this is GREAT guitar. And not really at all like SRV. Dazzling, in very good taste. His vocals are sometimes a bit forced, but often relaxed and right there.

Let's call it medium-duty, compared to his very heavy-duty guitar. The first cut is a great introductory statement with confident vocal. It gives way to a two-step number just oozing wonderful guitar at the solo. Cummings' writing becomes evident by cut three, "Come Up For Air," a very attractive chord structure jumping key steps in the right places, and good wah-wah in the guitar parts. "Blues Makes Me Feel So Good" is like Little Walter's "My Babe" in shuffle rhythm and this is one of his better vocals on the album. A funky selection with tight end, (like the opposite sex toward closing time?) is followed by a Canned Heat-flavored boogie. By now the sequencing has tired me out. I might have preferred the first slow number earlier in the program. It's called "Sleep," inspired by one of Albert Cummings' sons but words altered to become couple talk. A medium rock, "Separately," brings things up a little and then the REAL slow number of the set, "Lonely Bed." If any moment of the record is a nod to Stevie Ray this would be it.

The closing tune, "Follow Your Soul," is rocky and the verse has pop sensibilities. There's not a weak song link in the bunch. My only criticism being the delayed slow down in tune sequence, and on his writing there are a couple places where the B. B. King-type "Thrill Is Gone" chord progression is predictable. Otherwise crank it up and let the lubricated steel strings give your soul an oil change.

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