Little G Weevil

Little G Weevil


By Georgetown Fats
December 2013

Try as I might, sometimes a new-to-me slips through my clutches. For you see, though we receive volumes and volumes of new releases from new-to-alot-of-us artists at the Boston Blues Society, I still take the time to skim the majority of what comes in my office before it is sent off for review. While I do randomly assign most discs, I’d be lying if I didn’t admit to a few ‘set asides’ for my personal stash of reviewable material. Normally these discs are ones that elicit strong initial reactions from me either from their greatness or from the feeling I’m dealing with yet another poor retread.

When Moving by Little G Weevil came through my office, I couldn’t help but make sure that it didn’t get out to the general assignment discs. Unfortunately, due to a major move, Moving was packed away in a box and only recently resurfaced. Thankfully, due to contents of the disc, I may be very late to the show here, but Moving still warrants a review.

As the winner of the 29th annual International Blues Challenge for the solo/duo competition, the story of Budapest-born Gabor Szucs has been told all around the web. Basically it goes a little something like this: Gabor Szucs comes to America from Hungary to steep himself in the blues scene in Memphis. Paying his dues in the hospitality industry of Memphis, Szucs meets an Atlanta woman, puts down roots in Kennesaw, Georgia and adopts the Little G Weevil moniker. If it seems like I am blowing through Weevil’s back story, it is simple. I am. I want to talk about Little G’s music and not about Little G.

From the down-home opening track of “Shook it and Broke it” to the closing track jump blues of “Swing in the Middle,” Little G Weevil and company do more than authentically reproduce acoustic blues. These guys embrace every ounce of the low-fi sound and produce a timeless recording worthy of inclusion in a time capsule.

Special kudos to producer Lee Jones Mitchell and Jeff Bakos at Bakos Amp Works Studios for showing complete restraint in the recording, mixing and production work of Moving. While there must have been temptation to unnecessarily add production to Moving, these two pros deserve thanks for their restraint.

Given the amount of current press already out for both Little G Weevil and Moving, I only hope future releases are a foregone conclusion. While I was certainly late to the game on Moving, expect me not to make the same mistake twice if Szucs makes his way to Boston for touring or when future releases hit the market.

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