Fresh Blood is a bracing, beguiling record and a bold advance for White. Opener “Take Care My Baby” is his step-into-the-light moment, a sophisticated but instantly winning soul number where love becomes a panacea for woe. That enthusiasm crosses over for “Fruit Trees,” a smiling, seductive number where White-his voice traced and teased by horns, strings and harmonies-begs for a paramour to “let me sleep in your tent tonight.” Sometimes these situations don’t go well, though, which White confesses during “Feeling Good is Good Enough.” It’s a breakup song in ecstatic pursuit of temporary carnal relief.
And while it’s got nothing to do with love, lust or leaving, the sassy “Rock & Roll is Cold” radiates the aplomb of an artist who has stumbled into success and taken charge of the circumstances. White’s having fun, trading lines with backup singers and saxophones alike, teasing components of the gospel, soul and rock form that shape the very backbone of the music he makes. This is White’s party, and he’s a most welcoming host.
And so, at the record’s center, White delivers a trilogy of beautiful reflections on the world as he sees it. An agitated but elegant excoriation of sexual abuse in the church, “Holy Moly” rages like a missing midpoint between Neil Young’s Harvest and Tonight’s the Night. “Tranquility” meditates on the death of Philip Seymour Hoffman, a consummate artist whose dual force and frailty has long resonated with White. And in “Circle ‘Round The Sun,” a look at the suicide of a dear friend’s mother, White finds one of the most exquisite moments of balance in his entire career. It is a love song written from the perspective of the recently departed, calmly exploring a tumult of conflicting loyalties-to Jesus, to family, to life, to death.