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My playlist's random shuffle picked this for us.

So, good pick? What are your thoughts?

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Layne Staley, 1993 photographed by Frank Micelotta

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Sharon Osbourne at Ozzy's last concert

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Layne, Jerry, Mike, Sean - Alice In Chains article ⛓️‍💥

📸 Rocky Schenck

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Layne Staley at Seattle Center Mercer Arena December 19, 1992.

📸 Jeff McCormick

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Any volunteers for Edwards prey?? Anyone??

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My playlist's random shuffle picked this for us.

So, good pick? What are your thoughts?

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Without a doubt one of the most powerful live interpretations of the grunge scene. And the darkest sentimental song as well…

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My playlist's random shuffle picked this for us.

So, good pick? What are your thoughts?

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He’s like an excited little kid

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Jerry Cantrell / January 29, 1993 / 📸 Kevin Westenberg

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1995 ~ Sausalito, CA

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A Phenomenon Unleashed: Jonny Lang's "Lie to Me" and the Arrival of a Blues-Rock Prodigy

In the landscape of 1990s blues-rock, a seismic event occurred with the release of Jonny Lang's major-label debut, "Lie to Me." Unleashed upon the world on January 28, 1997, the day before his sixteenth birthday, the album was not merely a collection of songs but a profound statement. It heralded the arrival of a talent so immense, so preternaturally gifted, that it defied the very logic of his tender age. To listen to "Lie to Me" is to witness the unboxing of a legend, a moment when a kid from Fargo, North Dakota, channeled the raw, unfiltered soul of the Mississippi Delta and the fiery spirit of rock and roll's most revered guitar gods.

The sheer audacity of Lang's talent is immediately apparent from the opening chords of the title track. It’s a blistering, radio-ready anthem that, while commercially accessible, sacrifices none of the grit and authenticity that defines the blues. But it is Lang's voice that delivers the initial, staggering blow. Husky, gravelly, and imbued with a world-weariness that should be unattainable for a teenager, his vocals are a force of nature. It's a voice that speaks of smoky bars, broken hearts, and a life lived far beyond his years. One could be forgiven for assuming the vocals belonged to a seasoned veteran, a bluesman in his late fifties, not a fifteen-year-old in the throes of adolescence. This vocal maturity is not a gimmick; it's an authentic, soul-deep expression that lends an astonishing credibility to every note he sings.

Then, there is the guitar. Lang’s command of the instrument is nothing short of breathtaking. Throughout "Lie to Me," he wields his axe with a confidence and technical prowess that places him in the company of players decades his senior. His solos are not just flurries of notes; they are articulate, emotionally resonant conversations. On tracks like the soulful and slow-burning "Darker Side," he demonstrates a masterful sense of pace and dynamics, his licks weeping and soaring with a palpable sense of longing. He channels the stinging, clean tones of Albert Collins and the raw, unbridled energy of Stevie Ray Vaughan, yet the synthesis is uniquely his own.

The album is a well-curated mix of originals and covers, each serving to showcase a different facet of Lang's prodigious abilities. His take on Sonny Boy Williamson's "Good Morning Little Schoolgirl" is imbued with a playful swagger, while his rendition of Tinsley Ellis' "A Quitter Never Wins" is a tour de force of emotional and musical intensity. This six-minute epic is a testament to his ability to build a solo from a simmer to a full-blown inferno, each note drenched in passion and conviction. It is in these moments that the listener is reminded that this is not just a young man playing the blues; this is a young man who is the blues.

What makes "Lie to Me" an enduring classic is its raw, untamed energy. It is the sound of a young artist discovering the vastness of his own power in real-time. The production, helmed by David Z, is crisp and powerful, allowing Lang's immense talent to take center stage. The band is tight and supportive, providing the perfect canvas for Lang's vocal and instrumental pyrotechnics. From the infectious groove of "Hit the Ground Running" to the heartfelt balladry of "Missing Your Love," the album is a cohesive and compelling journey.

In retrospect, "Lie to Me" was more than just a successful debut; it was a cultural moment. It was a reminder that the blues is a timeless art form, capable of being reborn and reinterpreted by each new generation. Jonny Lang, at the tender age of fifteen, did not just lie to us about his age with his impossibly mature voice and guitar skills; he told us the unequivocal truth about the power of music to transcend the boundaries of time and experience. This album is not just a remarkable achievement for a young artist; it is a remarkable achievement, period. It stands as a powerful, electrifying testament to the dawn of a phenomenal talent, a chronicle of a boy who roared like a lion and played like a legend.

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