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While some musical genres rely heavily on the youth of the artists involved, others demand a certain level of, shall we say, lifetime experience. Compared to the glossy Rolling Stone cover models that comprise the typical top-selling pop acts, your average bluesman comes off looking more like a dog-eared paperback in a secondhand bookshop. Turning this weathered cliché on its wrinkled ear, Edmonton’s Michael Rault has already dedicated himself to the blues at the tender age of 19.
“I have a strong blues background, and it has always been present in my music,” Rault says. “My dad and uncle have been playing the blues forever as The Rault Brothers. One of my first band experiences was going onstage when I was still just in Grade 9. They enjoyed terrifying me because I had only been jamming with friends, and they’re vets who never practise. I had to pick up the songs on the go, and I was really nervous. I somehow managed, and I’ve been performing ever since.”
Outside the family blues business, Rault found success rocking out with Edmonton punk bands The Nightshades and The Morellos. June of 2005 saw the release of his solo debut, Michael Rault and the Mixed Signals, which became a minor hit about town and was tapped for the third and final compilation put out by Edmonton indie record store Ruckus. Thriving on a basic garage rock sound infused with traditional blues sensibilities, the album brought Rault and company to the attention of Juno-nominated producer Nik Kozub, who worked on their three-song CDR single Sure Are Fun in December of 2006. Finding himself increasingly attracted to a stripped-down version of the blues, Rault sought out the fundamental sources behind the sounds he had come to love, eventually cutting his musical entourage down to just himself.
“I kind of took the idea from the concept of a one-man band,” the singer-songwriter says. “I’ve added a rhythm section to my guitar work — a kick-drum to accompany the tambourine I tape to my foot. I wanted to show that a solo artist can present exactly what a band can if they choose to.… The emphasis that’s put on [technical ability] is killing the blues as a genre. Too many young bluesmen get into it because they want to play Stevie Ray Vaughn licks and show off their chops. I think that whole Guitar Hero mindset is detrimental to the art. Many people my age have no interest in the blues, because they see it as a bunch of virtuosos just, pardon me, self-indulgently wanking with their instruments.”
Proving that young men can wield the world-weary style the blues demands of its practitioners, Rault continues to impress audiences with his rootsy garage-rock sound. Keeping to the acoustic side of things for his latest solo effort Crash! Boom! Bang!, his original tunes employ simple arrangements that shine a light on his intense vocals and dynamic guitar playing. Crafted with care, Rault’s latest CD breathes new life into old-school conventions, even as he seeks to preserve them in their purest form.
“When I think ‘garage,’ I think of ’60s reissues and psychedelia,” Rault says. “More often than not, my shows are high-energy and fast-paced. I go on the attack mode live, especially when I’m playing in clubs, but my albums tend to be laid back. It seems like any musician who’s rough around the edges is declared to be garage, just as the folk label is applied to anyone who goes the acoustic route. I’ve always embraced parts and try to go deep down and use building blocks from both traditions. I consider that an asset.”
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