When I Hit The Floor takes you straight into Behrman's soul. It plunges into the dark places he's gone to as well as the light that led him out. He puts it all out it in the open here: his struggles with alcoholism, surviving sexual abuse as a child, and enduring a period of time when he wasn't sure he wanted to go on living. Over the course of this EP, he confronts his pain and ultimately arrives at hope and salvation. As the one-sheet brilliantly states, on the closing track "Oh Lord, Give Me Time", "Lorne gets as close to a come-to-Jesus-moment as a Jewish NYC rock n' roller can." Musically, this EP comes off like a love letter to 1970s New York City. These songs summon the spirits of Lou Reed, Johnny Thunders, Jim Carroll, and Robert Quine (among others). It's poetry meets punk rock with a touch of that '70s Stones sensibility that is permanently embedded in Behrman's musical DNA. From the old school art-punk vibes of the title track to the intensely haunting "Sandcastles" to the anthemic "I Won't Fade Away" to the soulful Dylan-esque ballad "Oh Lord, Give Me Time", this EP shows us sides of Lorne Behrman we've never glimpsed before. Of course his guitar playing is fantastic, but he also proves to be a natural at crafting sophisticated rock and roll songs with many dimensions. While Behrman is responsible for all of the guitars and lead vocals on this release, he did enlist a formidable ensemble of supporting players including veteran producer Matt Chiaravalle, drummer Hector Lopez (Alejandro Escovedo, The Sweet Things), keyboardist Rob Clores (Jesse Malin, Black Crowes, Alejandro Escovedo), and singer Dana Athens (Jane Lee Hooker). The production and musicianship on this release are truly top notch. The care and attention to detail that Behrman put into this EP over the past two years have fully paid off.
When I Hit The Floor is inspiring on multiple levels. It's one thing to preach about how surviving the dark times can lead you to the light. It's another thing to live it. Behrman has lived it and bravely bared his soul on record. He has accomplished one of the most noble goals of art: taking the pain of human experience and turning it into something that generates hope and makes others feel less alone. And with this stunning debut, Behrman has set a fine example for some of us who've reached a certain age and wrongfully assumed that we've squandered our creative powers. It's never really too late to be a late bloomer. Bouncing back from his rock bottom moment, Lorne Behrman has rediscovered hope and happiness and life and come into his own as a musical artist. I hope I'll be writing about him for another 25 years at least.