Where
has Ina Forsman been all my life? Alright,
considering that she's only about a third of my age,
I'll at least ask why I haven't heard of her since
the release of her recording in 2013.
Quite frankly, this
native of Helsinki, Finland is the hottest singer
I've heard in quite some time. Her second CD as a
headliner, the self-titled Ina Forsman (Ruf
Records), has been played repeatedly by me ever
since I inadvertently stumbled on a link to the
album on the Amazon website. It's not a brand new
album, having been released in January 2016, but I
have a feeling that relatively few of our Blues
Bytes readers have heard of Ms. Forsman. Let's fix
that right now.
What's truly amazing
is that Ms Forsman, barely into her 20s, has such a
mature tone to her voice, not to mention the fact
that she wrote 10 of the 11 songs on this disc. The
music here can best be described as a mix of blues,
soul, swing, R&B and jazz. As if Ms. Forsman's
powerful voice and creative songwriting isn't enough
to make this a CD worthy of being played repeatedly,
it was recorded in Austin, Texas using some of the
best blues session musicians on the planet --- Derek
O'Brien and Laura Chavez (guitars), Russell Jackson
(bass), Nick Connolly (keyboards), Tommy Taylor
(drums), and the Kaz Kazanoff-led Texas Horns. Also
present was Finnish harp player Helge Tallqvist, who
helped start this young woman's career in their
native country (be sure to also check out the 2013
album they did together).
The album opens with
Connolly's piano intro on which he sounds just like
Professor Longhair, leading into the New Orleans-ish
"Hanging Loose." Ms. Forsman gives her sassy vocals
a bit of a staccato enunciation to keep in sync with
the piano notes. As expected, the Texas Horns
provide a jazzy foundation in the background. We
also hear the first similarities in her vocal
phrasing to that of the late Amy Winehouse. (If you
liked Amy's Back To Black album, then you
will dig this one just as much, but Ina's disc is
brassier and not quite as dark).
The soulful "Pretty
Messed Up" opens with a Memphis-style horn intro
somewhat reminiscent of a solo heard on the Curtis
Mayfield classic "People Get Ready," but then this
tune turns into a cry for forgiveness and
redemption. The flute solo midway through the song
makes it all the more interesting.
The slower jazzy
number "Bubbly Kisses" is the first number where Ms.
Forsman sounds more like Winehouse, although I
believe Ina's got a little more power and range to
her voice than Amy had. Muted trumpet accompaniment
makes this one sound like it's from a much earlier
era, which makes it even more incredible that it was
written by someone just out of her teens.
"Farewell" is another
one in which Ina's vocal phrasing resembles that of
Winehouse. It's a quirky tune with a bit of a reggae
backbeat and ska horn accompaniment, and at times
her vocals really just soar through the octaves. I
often found myself saying, "Wow!" This song, more
than any other, shows just how great a singer she
is. Tallqvist comes in with a nice blues harmonica
solo midway through the song. For my money
"Farewell" might be the best song here.
"Don't Hurt Me Now"
is a slow blues featuring a nice guitar intro,
followed by sultry, raspy vocals from Ina. Her voice
takes on a more tortured quality here, while she
emphasizes her pain by moving through several
octaves during the course of the number. This song
is jam-packed with blues feeling, making one wonder
how Ms. Forsman acquired such pain and agony at a
young age. More blues content follows on the
shuffling "Talk To Me," with strong harp playing
from Tallqvist.
"You Want Me Back" is
an anthemic soul number in which Ina stays resolute
to the lover who jilted her and now wants back in
her life. The whole band is tight as a drum behind
her strong vocals, and Kaz comes in towards the end
with a nice sax solo. "Devil May Dance Tonight"
takes a more mysterious and ethereal tone, and the
backing instrumentation, especially Connolly's
piano, works well in reinforcing that mood behind
the vocals.
"Before You Go Home"
is another one that could have come out of the Amy
Winehouse songbook, with Ina begging her man to love
her just a little bit more before he heads out the
door. This one feels like old school R&B, and Ina's
voice gets more desperate-sounding the further she
gets into the song. "No Room For Love" gets back
into a soul vein, but more up-tempo this time, as
she's now got no room for that man of hers. Another
extremely strong number with the horns really
sounding great here.
This gem of an album
ends with the lone cover, a version of a slow Nina
Simone blues, "I Want a Little Sugar in My Bowl."
Ms. Forsman slurs the vocals from a lower register,
appropriate for a good, bawdy tune like this one.
I just can't say
enough good things about this album. How it evaded
my attention for nearly a full year will be an
unsolved mystery, but I'm sure glad I clicked on
that random link the other night.
---
Bill Mitchell
The Knickerbocker
All-Stars are a loose collection of blues cats
who spend time at the Knickerbocker, a renowned
music venue in Westerly, Rhode Island. They jam
there when not out on the road with bands like
Roomful of Blues, Fabulous Thunderbirds, Sugar Ray &
the Bluetones and the like, and about once a year
they gather in a studio to create fantastic albums.
Texas Rhody Blues (Jp Cadillac Records) kind
of brings it all full circle, with veterans Duke
Robillard and Jimmie Vaughan joining in on three of
the album's cuts. Other sterling musicians found on
this album include Roomful alumni Al Copley (piano),
Doug James (sax), and Rich Lataille (sax), as well
as guitarist Monster Mike Welch and guest vocalists
Sugar Ray Rayford, Brian Templeton and Willie J.
Laws. The rhythm section of Brad Hallen (bass) and
Mark Teixeira (drums) also come from Roomful of
Blues. It wouldn't be totally inaccurate to label
this disc as "the missing Roomful of Blues album."
It certainly captures that Texas blues vibe of their
earliest recordings.
Welch starts out the
first cut, "Texas Cadillac," with a stinging guitar
solo that serves notice to the more senior members
of the group that he's every bit deserving of
acclaim. Rayford pours out some extremely powerful
vocals on this up-tempo blues shuffle, a great start
to what's going to be a great album. Equally strong
vocals follow on the next cut, the slow blues
"You've Got Me Licked," which once again serves as a
showcase for Welch's prodigious talents on guitar.
Another really good slow blues is "Respirator
Blues," with tasty piano work possibly from Bruce
Bears and what is Welch's best guitar playing.
Robillard and Vaughan
get their first action on the mid-tempo blues
shuffle "Going to the Country," with Duke handling
the vocals. Good sax accompaniment here and tasty
guitar licks from Jimmie. The Duke and Jimmie Show
return for a Roy Milton blues number, "I Have News
for You," that features really nice piano work from
Bears, and the a slow, plodding number, "Blood
Stains on the Wall."
Welch and Rayford are
both back to thrill us on "I Still Love You Baby,"
and Welch really shines on the T-Bone Walker classic
"Tell Me What's the Reason." The latter follows a
snippet of the real T-Bone talking about how he got
his name --- a nice extra for this fine disc.
There's a lot more
here than what I've mentioned, and it's all good
stuff. This disc makes it 3-for-3 on my own annual
top ten list, so obviously I really like these guys.
I can't wait for album #4, but in the meantime I'll
be digging Texas Rhody Blues.
---
Bill Mitchell
Close to 20 years
ago, a friend of mine turned me on to the musical
charms of Trudy Lynn, and I am forever in his
debt. A native of Houston’s Fifth Ward, Ms. Lynn
started singing as a teenager, serving as vocalist
for local greats I.J. Gosey and Clarence Green
before striking out on her own. Since the late ’80s,
she’s released 12 albums for, among others, the
late, lamented Ichiban Records, Ruf Records, Jus’
Blues, and most recently Connor Ray Music, which
just issued her latest, the splendid I’ll Sing
The Blues For You.
Ms. Lynn, backed by a
sharp, seasoned set of musicians (Steve Krase –
harmonica, David Carter – guitar, Terry Dry – bass,
Randy Wall – keys, Matt Johnson – drums), positively
rips through this sparkling 10-song set, which was
recorded in Houston under the supervision of
producer Rock Romano. Nine of the ten songs are
covers, but you’d never know because the lady pretty
much takes ownership over most of them, beginning
with a high-powered, harp-driven take on Big Mama
Thornton’s “Alright Baby.”
Lowell Fulson’s
“Black Night” gets a smoky after-hours treatment and
most will dig the interplay between Ms. Lynn’s
vocals and Krase’s harmonica, along with Carter’s
classy fretwork. Lynn also takes on the country (and
blues) standard, “Honky Tonk Song,” a couple of
tunes associated with Memphis Minnie (the slow blues
“World of Trouble” and the playful “Kissin’ In The
Dark”), Big Maybelle’s “Ramblin’ Blues,” a fierce
version of Esther Phillips’ “If It’s News To You.”
One of my favorite Johnny Clyde Copeland songs,
“Down On Bended Knee,” closes the disc.
Lynn only brings one
original to the table this time, “Thru Chasin’ You,”
but it’s a great one that fits perfectly with these
standards and really captures her personality and
style to a tee. The album title comes from her
business cards, which read “Trudy Lynn: I’ll Sing
the Blues for You.” Truer words were never printed.
This album is a
keeper, and so is Trudy Lynn.
---
Graham Clarke
Mississippi Heat
continues to be one of the most potent of the
Chicago-based blues bands with a multi-talented
line-up of singers, songwriters, and performers.
Since harmonica player Pierre Lacocque assembled the
group in 1991 and over 25 years later, despite
multiple changes in personnel, they remain a driving
force not only in the states, but also overseas.
The band’s latest
release, Cab Driving Man (Delmark Records),
finds the group basically intact from their previous
effort, 2014’s Warning Shot. Lacocque
continues his superlative harmonica work, with
Inetta Visor on vocals, Michael Dotson on guitar and
occasional lead vocals, Brian Quinn on bass, and
Terrence Williams on drums. There’s the usual bevy
of guest artists as well, including Giles Corey
(vocals, guitar), Ricky Nelson (bass), Kenny Smith
(drums), Chris “Hambone” Cameron and Sumito Ariyo
(keys), Dave Specter (guitar), Ruben Alvarez
(percussion), and Sax Gordon (tenor and baritone
sax).
Cab Driving Man
includes a whopping 16 tracks, 11 written by
Lacocque, 3 by Dotson, with 2 covers. Visor ably
handles the vocal chores on most of the disc,
turning in fine performances on tracks like the
spunky R&B opener, “Cupid Bound,” the title track,
which is inspired by the legendary Cab Calloway, the
somber slow blues “Flowers on My Tombstone,” the
funky rocker “Icy Blue,” the jazz-flavored “Life is
Too Short,” and “Rosalie,” which packs a tight Latin
rhythm.
Dotson’s three songs,
“That Late Night Stuff,” “The Last Go Round,” and
“Can’t Get Me No Traction,” feature the guitarist on
vocals. His gruff and gritty vocal style is a nice
complement to Visor’s smooth and sophisticated
style, and his guitar work is particularly inspiring
on all of the tracks.
The covers are the
Oliver Sain tune, “Don’t Mess Up A Good Thing” (a
mid-60s hit for Fontella Bass and Bobby McClure)
which features Visor in an entertaining vocal duet
with Corey, and “Smooth Operator,” a long-ago hit
for Sarah Vaughan, among others. The disc closes
with Lacocque taking center stage for the swinging
instrumental “Hey, Pipo!”
If you want to hear
the blues at their best, you can’t get much better
than Mississippi Heat. Cab Driving Man is
just the latest jewel in this excellent band’s
catalog. There’s not a dud in the bunch…..just an
impressive set from start to finish.
---
Graham Clarke
On Blue Highways
(True North Records), Canadian
singer/songwriter/guitarist Colin James
decided to record some of his favorite blues songs
by his favorite blues artists, each of which had
inspired him in one way or another during his own
storied career. Less than a week after completing
his previous tour, James and his band began working
on this album and completed it in two days --- 13
inspired covers of blues classics.
James covers songs
from Freddie King (a dazzling “Boogie Funk” that
kicks off the album and a raucous take on “Going
Down”), Tommy Johnson (a rocked-out “Big Road
Blues”), Amos Milburn (a gently swinging acoustic
“Bad Bad Whiskey”), Muddy Waters (a Delta-soaked
“Gypsy Woman”), Jimmy Rogers (the slide-driven
“Goin’ Away”), and Junior Wells (an up-tempo version
of “Hoodoo Man” that works really well).
Other, less familiar,
fare stands out as well, including tunes from
Fleetwood Mac (a tasty reading of Peter Green’s
“Watch Out”), Memphis Slim (a swinging “Lonesome”),
Blind Willie McTell (a splendid “Ain’t Long For
Day”), and an acoustic medley of a pair of tunes
from Howlin’ Wolf and Jimmy Reed (“Riding In The
Moonlight/Mr. Luck”). James also covers Robert
Johnson on the closer, “Last Fair Deal,” playing
solo in the old Piedmont style, and moves to the
soul side for an excellent vocal performance on
William Bell’s “Don’t Miss Your Water.”
James gets a big hand
from his band on these tunes. They include guitarist
Craig Northey, keyboardists Simon Kendall and Jesse
O’Brien, bassists Norm Fisher and Steve Pelletier,
drummers Pat Steward and Geoff Hicks, and
MonkeyJunk’s Steve Marriner on harmonica. Backing
vocals are provided by Chris Caddell and No Sinner’s
Colleen Rennison.
Like any good
collection of blues classics, Blue Highways
is a loving and reverential set that will encourage
listeners to check out more of Colin James’ catalog
as well as the original versions of these songs.
---
Graham Clarke
The wit and wisdom of
the Rev. Billy C. Wirtz is on full display
via his new EllerSoul release, Full Circle.
Wirtz is part serious blues piano man, having been
mentored by the great Sunnyland Slim, and part manic
rock & roller in the Jerry Lee Lewis tradition. For
this latest masterwork, the good Reverend is joined
by several special guests, including guitarist Bobby
Driver, harmonica player Li’l Ronnie Owens, and the
legendary Nighthawks.
The album is split
between a live acoustic setting and a few studio
tracks. There are also recreated fan favorites, such
as “Mama Was A Deadhead,” “Mennonite Surf Party,”
and “Daddy Was a Sensitive Man,” with a few new
tracks (“Too Old,” “One Point Five,” “Daddy Passed
Away,” “I’m A Senior,” and “Who Dat (Rev’s Theme),”
) that should become fan favorites.
Wirtz also goes
serious (somewhat) on cover tunes like Bill Black’s
“Smokie” (here as Part 2 and Part 2.5), a rowdy
reading of Charlie Rich’s “Breakup,” the classic
“Drinkin’ Wine Spo-Dee-o-Dee,” and a gorgeous take
on Floyd Cramer’s “Your Last Goodbye.” Wirtz also
covers John R. Butler’s “The Hand of the Almighty,”
which is definitely not one you’d want to play for
Grandma.
Wirtz is a dazzling
piano player, and his vocals are as entertaining as
his songs. It’s been a long time (ten years) since
his last release, so Full Circle is not only
a welcome sight for longtime fans, it will also
serve as a first-rate introduction to newcomers,
whether they dig the blues or rock n’ roll.
---
Graham Clarke
Lady
"A has
been a fixture on the Pacific Northwest blues scene
for nearly 20 years. She’s toured with and opened
for an impressive list of blues stars, including
Denise LaSalle, Little Milton, Bobby Rush, Super
Chikan, and Shemekia Copeland, and Dexter Allen. Her
previous two albums have both been nominated for
Blues Music Awards, and her third release, Loved,
Blessed & Blues looks poised to follow suit in
short order.
Lady "A" ventured to
Joey Robinson’s JRob Studios in Jackson, Mississippi
for this excellent set of soul/blues. She composed
four of the ten tracks, with her longtime
collaborator/producer John Oliver III writing three,
and new producer Dexter Allen contributing a pair.
Allen mans the guitar, bass, and piano, while
Robinson doubles up on keyboards and drums and Lady
"A"’s sultry, smoky vocals do the rest.
Lady "A" pays tribute
to a list of many of these artists in the title
track, a smooth shuffle which opens the disc. “Honey
Hush” is a funk-driven recalling some life lessons
learned at an early age, and “Don’t Let Your Blues
Become A Crime” finds Lady "A" testifying with a punch
backed by Allen’s lead guitar and a velvety cushion
of keyboards.
The sassy “If You
Don’t Want It – Don’t Waste It” is sage advice,
soul-blues style, and “Tired Too!” is a feisty
rebuke of Allen’s 2015 hit “I’m Tired.” “Love
Calling” is a solid slow burning ballad, and
“Trouble On My Mind” finds Lady "A" fretting about a
man she can’t get out of her head. Allen joins Lady
"A" on “Happy,” an exuberant slice of Chicago-styled
soul blues. “Take Me Back To Seattle” is a charming
love letter to Lady A’s home base. The album closes
with the spiritual “Somebody Here Needs You Lord.”
If you enjoyed
southern soul blues over the past couple of decades
from labels like, say Malaco Records or Ecko
Records, for example, Lady "A" and Love, Blessed &
Blues should do the trick nicely.
---
Graham Clarke
For their third
release, Champagne Velvet (Underworld
Records), Jason Elmore & Hoodoo Witch changed
directions a little bit. The Texas trio’s previous
output leaned more to the rock side of the blues,
but while that rocking edge is still present,
there’s more of a blues and soul focus on the 14
original songs featured here. All were written by
Elmore (vocals, guitar), who is backed by his
rock-solid rhythm section of Mike Talbot (drums) and
Brandon Katona (bass).
The festivities kick
off with the sizzling “House Rockin’ Boogie #7,” a
rousing jump blues that will make you want to hear
#’s 1 – 6. The amusing Lone Star shuffle “Double
Your Money” sounds like a mix of Lightnin’ Hopkins
and the Fabulous Thunderbirds, and the sleek
urban-styled “Midnight In Memphis” is a marvelous
number. “Maybe” is a fine blues rocker with a bit of
southern flair, and “Shine Your Light” is a nice
countrified soul ballad.
The clever
“Cross-eyed Woman” has a slick West Coast feel with
humorous lyrics, and “Lament For Evelyn McHale” is a
somber instrumental that features dual guitar leads,
both from Elmore. The funky “Right As Rain” allows
Elmore some space to show off his soulful vocals,
which he also does to great effect on the solo
acoustic- driven “Wish.”
“Land of Plenty” is
an entertaining tongue-in-cheek country shuffle, and
the title track is a swinging instrumental that
finds the trio leaning into jazz territory. Elmore
and friends have a ball on the downhome Delta blues
“Green To Gone” (some splendid slide guitar on this
track) and close the disc out with the raucous
rocker “Mary Jane.”
Champagne Velvet
is a stone blast from start to finish. Jason Elmore
& Hoodoo Witch have previously established their
blues rock credentials, but with this release, they
prove that they’re more than capable of turning out
more traditional blues fare as well. This is a fine
effort that will appeal to fans of both styles.
---
Graham Clarke
Deb Ryder’s
third release, Grit Grease & Tears (BEJEB
Music), just hit the racks and features her best
batch of songs and performances yet. Surrounded by
an all-star cast of musicians, including
drummer/producer Tony Braunagel, guitarists Johnny
Lee Schell and Kirk Fletcher, bassist Ric Ryder, and
keyboardist extraordinaire Mike Finnigan, plus a
special guest list that includes guitarist Albert
Lee, singer Sugaray Rayford and harmonica ace Bob
Corritore, Ryder blows through this 12 song set like
a hurricane through a Kleenex.
Kicking off with the
funky shuffle “Ain’t Gonna Be Easy,” certainly grabs
the listener’s attention with Ryder’s boisterous
vocal. Her duet with Rayford on the spicy “Get A
Little Steam Up” is a standout, too, as is “Blink Of
An Eye,” a southern rocker with a crisp turn on
harmonica from Pieter Van Der Pluijm. The title
track is an edgy Delta-fueled adventure with
Corritore’s harmonica providing subtle backing and
guitar work from Fletcher and Schell, and the
soulful “Sweet Mary Anne” features horns from Joe
Sublett (tenor sax) and Darrell Leonard (trumpet).
Ryder outdoes herself
on the wonderful slow blues “Lord Knows I Do,” with
a sultry vocal turn perfectly complemented by
Finnigan’s piano and B3 and some subtle guitar work
from Fletcher. The horn section returns for the
funky “Panic Mode,” which also includes a guest
appearance from Robert Cray keyboardist Jim Pugh.
Meanwhile, guitar legend Albert Lee and Little Feat
bassist Kenny Gradney guests on the “Dixie
Chicken”-styled “Just Her Nature.”
“New Mechanic
(Patrick’s Blues)” is a sweaty bump-and-grinder with
an inspired vocal performance from Ryder. “River’s
Forgiveness” has a strong gospel feel, and segues
into the Texas boogie of “Prisoner of War” before
the album closes with the upbeat “Right Side Of The
Grass.”
Deb Ryder just gets
better with every new release. Grit Grease &
Tears continues her hot streak as one of the
best blues vocalists and songwriters currently
practicing.
---
Graham Clarke
Donald Ray Johnson
has been playing music nearly all of his life,
working as a drummer performing with a host of blues
(Big Mama Thornton, Phillip Walker, Percy Mayfield,
Lowell Fulson) and R&B stars (the Isley Brothers,
Teddy Pendergrass, the Commodores), even striking
platinum as part of the ’70s disco group A Taste of
Honey with the classic #1 hit, “Boogie Oogie Oogie.”
Now based in Calgary, he’s focused on singing for
several years, having released a “Best of”
collection about two years ago.
Recently, Johnson
released Bluesin’ Around, a sterling set of
traditional blues covers with a few well-crafted
original tunes, all mostly in the smooth urban blues
vein. He’s backed by the Gas Blues Band (Gaspard
Ossikian – lead/rhythm guitar, Pierre Cayla –
lead/rhythm guitar, Philippe Scemama – bass, Yannick
Urbani – drums) along with guest musicians Daniel
Antoine (keyboards), Samuel Dumont (saxophone), and
Nicolas Gardel (trumpet).
Johnson covers tunes
from B.B. King (“Bad Luck”), Willie Dixon (a funked
up “Ain’t Superstitious”), Phillip Walker (“Ninety
Proof,” “Big Rear Window”), Lucky Peterson (“You’re
The One For Me”), and Nat Dove (a raucous “She’s
Dressing Trashy”). He does a fine job transforming
Joe Louis Walker’s “Bluesifyin’” into an
autobiographical track of sorts, and he also covers
“Distant,” a funky track from A Taste of Honey’s
debut release written by former bandmate
Janice-Marie Johnson.
Johnson also
contributes a pair of original tunes, “Watching You”
and “Should’ve Been Gone,” a pair of old school
tracks that mix blues with R&B nicely. With The Gas
Band, Johnson appears to have found a band that fits
his vocal style to a tee. Ossikian and Cayla
alternate on lead guitar and both are superlative,
as is the rhythm section.
Bluesin’ Around
is a fantastic set of blues that should satisfy any
blues fans who like the traditional style of urban
blues and R&B. Donald Ray Johnson is a blues singer
who deserves to be heard by a larger audience.
---
Graham Clarke
The Charlie
Wheeler Band is a blues/rock trio based in
Northern Pennsylvania. While the trio (Wheeler –
vocals/guitar, Rad Akers – drums, and Dave Fink –
bass) can really rock the house, they’re also highly
regarded for their original compositions and that’s
readily apparent in the group’s latest release,
Blues Karma And The Kitchen Sink, a stellar set
of original tunes that successfully fuse blues and
rock.
The funky rocking
opener, “People Keep On Talkin’,” kicks things off
smoothly, followed by the atmospheric “Shiver,” the
southern rocker “Choir of 1000 Angels,” and the
country-tinged “One of These Days.” “Flicker Away”
is a muscular rocker, and its intensity is offset by
the freewheeling “Never Can Tell” and the funky wah
wah effects of “Darlene.”
“Promise of Daylight”
is a smooth slow blues ballad, and “Love Gets In The
Way” turns up the funk mightily. “Love You The Same”
is a loose-limbed rock workout, and “Follow Me Down”
is a somber pop-flavored ballad. The disc closes on
an impressive note with the midtempo “Butterfly.”
Wheeler is a strong
vocalist and has guitar chops to burn. Akers and
Fink are a steadying presence in a variety of
styles, all rooted firmly in the blues. Blues
Karma And The Kitchen Sink is a first-rate
listen for anyone who digs blues that lean toward
the rock side of the aisle.
---
Graham Clarke
The McKee Brothers
are Denis McKee (guitar/keyboards/bass/vocals) and
Ralph McKee (bass/vocals/lap steel/guitar). The
brothers have been a part of the Michigan music
scene since the ’70s, playing blues, reggae, funk,
jazz, fusion, and rock. Brother Denis relocated to
California, while Ralph remained in Ann Arbor, but
the two have joined forces, along with some of the
finest musicians from L.A. and Michigan, for a
project, Enjoy It While You Can, that puts
their talent and versatility on full display.
This is a fun and
entertaining album, with some inspired and
enthusiastic performances. The 14 compositions are a
combination of originals, with a couple penned by
both of the McKee brothers, several written by
keyboardist Bobby West, and three covers. The songs
cover the gamut from urban blues to southern soul to
New Orleans-flavored R&B.
Bob Schultz, who
served as Bob Seger’s original keyboard player)
handles most of the vocals, 11 tracks worth, and he
has a flexible and robust vocal style, which is
equally effective on both the blues and R&B tracks,
such as “One Of Us Gots To Go,” “Guaranteed,”
“Qualified,” “Slide,” and the funky cover of Earl
King’s “It All Went Down The Drain.” Denis McGee
takes the mic amiably on the swinging “Modern Fraud
Women,” Larry McCray plays guitar and sings “A
Little Bit of Soul,” and Melissa Mei McKee sings the
lovely closer, Nancy Griffith’s “Up To The
Mountain.”
The McKees have a
huge supporting cast on these tracks, including
guitarist McCray and Kirk Fletcher, former Janiva
Magness keyboardist Jim Alfredson, former Tower of
Power horn players Lee Thornburg and Doug Webb, and
former Rufus bassist Bobby Watson, just to name a
few.
Enjoy It While You
Can should have something to satisfy any music
lover. The McKee Brothers cover a wide range of
musical styles --- blues, rock, soul, funk, gospel,
and Latin --- with this enticing collection.
---
Graham Clarke
The Smoke Wagon
Blues Band recently celebrated their 20th year
of existence by releasing their seventh album,
Cigar Store, which features 13 tracks (a dozen
originals with one cover) of rocking blues and R&B
that show why they’re considered one of the best
Canadian blues bands. Fronted by singer/harp player
Corey Lueck, the band includes Mike Stubbs
(guitar/backing vocals), Nick Succi (keyboards),
Gordon Aeichele (saxophone), Jason Colavecchia
(bass), and Tibor Lukacs (drums).
One of the things I
enjoy about this band is how versatile they are,
playing a variety of blues styles. They are
comfortable tackling blues rockers (“Walking Cane,”
“Must’ve Read It Wrong,” “Quarter Mile”), soulful
R&B (“I Tried,” “I Can’t Change,” “Set Me Free”),
New Orleans-styled R&B (the title track and
“Directly Under Her Thumb”), or traditional blues
(“Hoodoo Woman,” “Put The Quilt Out To Dry,” “White
Mule,” and “You’ve Been A Good Old Wagon”). They
also turn in a funky cover of King Biscuit Boy’s
“Mean Old Lady.”
Lueck’s rugged vocals
are a perfect fit on this varied set of tunes and he
blows some serious harp on several of these tracks.
The band settles into groove after groove snugly and
are supplemented by producer Steve Sherman, who
provides percussion, organ, bass, and backing vocals
where needed.
Cigar Store is
another fine addition to the catalog of The Smoke
Wagon Blues Band, one of Canada’s finest musical
exports.
---
Graham Clarke
Nashville guitarist
Randy Stephens’ latest effort, Treat Me
Like A Stranger, offers a dozen original tunes,
ten written by Stephens plus two covers. He’s backed
by his band, The Groove Makers (Carl Greico – drums,
Marty Bednar – bass, Bob Robinson – keys), with
special guests John Reece (sax/harmonica), vocalist
TJ Hitt, and guitarist Steve Arvey.
As on previous
releases, Stephens’ brand of blues incorporates
other genres, but the emphasis this time around is
more in the rock and pop vein. He’s established
himself on his earlier albums as a first-rate
songwriter and that continues with impressive tracks
like the moody “Blu Moon,” the roadhouse rocker
“Keep These Blues Alive,” the slow burner “Stay With
Me,” and “Hair of a Dog.” He also shines on a few
more pop and rock oriented originals, such as
“”Leaving You,” the lighthearted “Escape,” and the
ballad “Wait For Me.”
Stephens also
includes a pair of unique cover tunes that you
probably won’t find on many blues albums. First up
is a blues/rock interpretation of the Morris Albert
mid ’70s soft rock hit, which works surprisingly
well thanks to a inspired vocal from Stephens. The
other cover is a previously unreleased tune penned
by Prince, “If I Had A Harem,” also well done.
Treat Me Like A
Stranger is Randy Stephens’ strongest release
yet, a strong set of original tunes and performances
that focus on blues rock with pop overtones. This
set should please any discriminating fan of blues
rock.
---
Graham Clarke