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In the late 17th century, the town of Salem, Massachusetts was gripped by a frenzy of fear and paranoia. Accusations of witchcraft ran rampant, leading to the infamous Salem witch trials. During this dark period in American history, innocent men and women were falsely accused and executed for practicing witchcraft. Interestingly, while the Salem witch trials were a pivotal event in American history, there is no photographic evidence of the trials themselves. This is due to the fact that photography did not yet exist during the 1690s when the trials took place. However, there are a few contemporary illustrations that provide some visual representation of the events.

Pat DeSalvo: I am in Florida.

And they do different kinds of upbeat stuff well, ranging from the excellent No Classic Love Song , which is jazzy, witty and lively, with some European undertones, to Wild , which leans on an All Along The Watchtower -like chord sequence while Jones delivers a lyric about suppressed yearnings to be daring, with Bruce eventually letting rip on guitar. Armed with a couple of resonator guitars in different tunings, he serves up an energetic solo selection of choons from the likes of John Lee Hooker and Muddy Waters.

However, there are a few contemporary illustrations that provide some visual representation of the events. One such illustration is a woodcut that appeared in the book "The Wonders of the Invisible World" by Cotton Mather. This image shows three women hanging from a tree, surrounded by a crowd of onlookers.

Blues Enthused

Well, here’s an unexpected pleasure. Matt Pearce plays guitar with hard rock outfit Voodoo Six. I did not know this. I’ve heard of Voodoo Six, and maybe heard a couple of minutes of their music. That’s it. It seems though, that about a year ago Matt Pearce had an epiphany. For whatever reason, he had a sudden urge to draw upon some of his listening habits, and “just knew I had to form a seriously funky blues band.” And lo, Gotta Get Home is the result – and it’s pretty damn good, folks.

That funk element is in play to some degree across much of the album, but especially on ‘Dig Deeper’, with its infectious hand-clapping dance groove and climbing melody, and also on the closing ‘Who Do You Think You Are’, which is funk-blues with bite, melding a steady rhythm, a gritty guitar riff that throws in a nod to ‘The Wanton Song’, slide guitar undercurrents, and good use of vocal harmonies.

They dial the funk down a tad on the likes of ‘Ordinary Blues’ and ‘Like A Hammer’, but still swing. Both tracks are driven along by twisting and turning riffs of different kinds, and on both there’s clever use of effects to give an inventive dimension to the sound. The former mellows in its middle eight, with languid slide ahead of a spot on solo, before a coda plays around with the rift again. The latter is a rockier affair with a tough chorus, softened with some female backing vocals but with a head-over-heels bridge.

There’s a bluesier feel to the mid-paced ‘Set Me Free’, which rolls along on an electric piano riff, while a contemplative opening guitar line sets the tone for Pearce’s subsequent soloing. Bluesier still though, is ‘Worried’, which features Delta blues like guitar picking over a simple metronomic beat, with just some crooned female “oohs” as a sweetener.

On a more soulful level is ‘Some People’, a slower song that’s one of the highlights of a strong album, with a nagging melody that’s liable to become an earworm, a momentary snatch of which evokes the Staple Singers’ ‘Respect Yourself’. Layering Pearce’s guitar with cascading piano runs and lush organ chords, it again makes good use of vocal harmonies, but in particular it showcases an expressive guitar solo. And taking that soulfulness into gospellated territory is the title track, with a bullhorn vocal on the opening verse as a precursor to some excellent female backing vocals from Acantha Lang. It’s got a good hook and another bout of impressive slide soloing, which carries on underneath more Lang vocal explorations to add to the atmospherics.

Gotta Get Home is a very good album – not a great album perhaps, but easily good enough to make me enjoy repeated plays over the last week. Matt Pearce has done a bang up job of delivering original material with arrangements that make engaging use of funky rhythms, on the money slide playing, some handy vocal harmonies, and refreshing guitar effects to liven things up. On extended listening I can recognise some of the influences he cites, such as the Black Crowes - but only fleetingly. Mostly what I hear though, is a sound that is distinctively and effectively that of Matt Pearce & The Mutiny.

It is believed to depict the execution of accused witches in Salem. Another illustration, known as the "Parker Brothers Print," shows a group of people, presumably witches, flying through the air on broomsticks. This image, though fictionalized, reflects the popular belief and fascination with witchcraft during that time. While these illustrations offer some insight into the visual culture surrounding the Salem witch trials, they cannot provide a firsthand account or accurate representation of the events themselves. They were created after the fact and may have been influenced by the sensationalism and hysteria that characterized the trials. Despite the lack of photographic evidence, the Salem witch trials remain a haunting and important chapter in American history. The trials serve as a stark reminder of the dangers of mass hysteria and the consequences of false accusations. The absence of photography from this period further highlights the power and limitations of visual documentation and reminds us of the importance of critical thinking and skepticism in times of crisis..

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