Here's one that got
past all of us last year. Be Somebody (CD
Baby), from guitarist extraordinaire Mighty Mike
Schermer, was without a doubt one of the best
blues releases of 2013. But we didn't get a review
published after this fine disc came out last
February, nor did any of our reviewers include it on
our individual Top Ten lists for 2013. So let's make
up for lost time and set the record straight right
now!
Schermer has always
had a stellar reputation as a guitar player's
guitarist, and isn't a half bad vocalist either. I
first became familiar with Mike when the Bay Area
cat was co-leading, along with harmonica cat Andy
Santana, the vastly underrated band The Soul Drivers
in the late '90s before launching his solo career
with the 2000 CD 1st Set. After his second
solo release, aptly named Next Set, Schermer
joined forces with Elvin Bishop as that band's lead
guitarist.
This latest CD kicks
off with the upbeat title cut, "Be Somebody," featuring special
guests Marcia Ball and Angela Strehli, the Austin
royalty members who provide awesome background
vocals and Ms. Ball's always excellent piano work.
Following that song is a Memphis-style funk number,
"Things Ain't Everything," that also incorporates
elements of New Orleans soul.
Elvin Bishop joins
his former guitarist on the mid-tempo Southwestern
sound of "Corazon," with its Texas-style fuzzy bass
line and a killer slide solo from our special guest.
The song that I
originally heard on Sirius/XM that compelled me to
download this album was the soulful "Do Me Like
That," with its gospel-ish intro featuring nice
harmony vocals. It's one of the album's many
highlights.
Schermer really gets
to stretch out on his guitar on the up-tempo blues
"Someday." This one's full of catchy hooks that will
have you singing along long after you've popped the
CD back into its jewel case.
"Over My Head" is a
mid-tempo shuffle that pulls the most evocative
vocals from Schermer as he admits that he's
consistently going to give love still another try
despite past failures. Here he sings, "...maybe I'm
one of those poor lost souls who don't really know
when to stop, but it won't be the last time I'm
going to jump in over my head ..." Wow, what a great
tune!
Schermer continues
the same theme on the Texas ballad "Lonely Hearts,"
with Emily Gimble, granddaughter of original Texas
Playboy Johnny Gimble, joining on vocals. Nice sax
work here. The band heads further east for the New
Orleans novelty number "My Baby Only Loves Me When
She's Drunk," on which Schermer puts a lot more
fuzzy vibrato to his guitar playing.
Ms. Gimble is back
with harmony vocals on the pleasant mid-tempo love
song "Stickin' To You." Her inclusion on this album
now has me searching for more of her Texas swing
work.
Be Somebody
closes with a solid blues shuffle, "Keep Reachin'
for the Top," urging the listener to never stop
pushing on to a better day. And really, that's what
the blues is all about. Just in case we forgot about
it, Schermer takes one more opportunity with a
blistering solo to remind us that he's really a very
fine blues guitarist.
Is it too late to
change my 2013 "Best of " list and move
Be Somebody right to the top of the list? This is
really a very good album, one that deserves to be on
every blues fans wish list. While you're at it, you
may also want to pick up some of his older work,
including the 'hard to find' Tight White Dress
from The Soul Drivers. You won't regret it!
---
Bill Mitchell
Around 1988 a friend
called to say that his date canceled and he wanted
to know if I wanted to go to the L.A. Forum to see
some music --- The Human Rights Concerts. I
naturally jumped at the chance.
I didn’t realize just
how amazing that show would be: Bono walking
blindfolded on a stack of speakers to demonstrate
the helplessness of political prisoners around the
world. Aaron Neville and Joan Baez dueting on
"Amazing Grace." Madonna came out to speak for a
minute. Lou Reed performed. Bonnie Raitt shared the
stage with Brian Adams, and Peter Gabriel played a
long set.
The following year
another friend took me to the L.A. Coliseum for a
second Amnesty show. She was excited to see Bruce
Springsteen. He came on about midnight or 2 am and
tore it up. Prior to that, Sting played. Peter
Gabriel was there again, as was Yossou N’Dour. Not
as many players as on the first show, but an equally
spectacular show. Among the best pair of concerts
ever.
The 28 shows that
Amnesty International produced around the world were
to raise money for and consciousness about the
important work that the organization does. Now comes
a 6 DVD set and double CD overview of those shows.
!Released! The Human Rights Concerts 1986-1998
just out on Shout Factory. This is pretty
impressive: U2, Peter Paul and Mary, Third World,
Miles Davis, Fela Kuti, Carlos Santana, Jackson
Browne, Yoko Ono, the Police, Jimmy Page and Robert
Plant, Joan Armatrading, Tracy Chapman, and others
are shown in spectacular footage performing in New
Jersey, Santiago, Buenos Aires, and Paris. They are
here to remind us that music is noble --- especially
anti-war peace-driven music.
Get the CD first and
let it draw you into the stunning visuals of the
DVDs. Jackson Browne ("For America"), Joni Mitchell
("Hejira"), Peter Gabriel ("Biko"), Springsteen
("Born In The USA"). This is music of substance,
music of inspiration, music of celebration. If
that's your criteria for music, this is highly
recommended!
---
Mark E. Gallo
Tommy Castro and
the Painkillers were here in December to play a
benefit for the Lyons Community Foundation, one of
the areas hardest hit by the floods in Colorado and
played an amazing set of a music for a good cause. I
hadn’t crossed paths with Tommy for awhile, so it
was good to talk with my old friend and see how life
had been treating him. The ups and downs of the last
couple of years for Tommy have been well chronicled
so I won’t rehash them here, but it was refreshing
to see was his enthusiasm and passion for the music
he’s back to making now with the Painkillers.
To my way of
thinking, a passionate and happy Bluesman is
definitely one to listen to and Tommy pulled out all
the stops on his new record, The Devil You Know.
For his newest release on Alligator Records, Tommy
called in a bunch of favors from his friends (Marcia
Ball, Tab Benoit, Joe Bonamassa, Samantha Fish, the
Holmes Brothers, Mark Karan, Magic Dick, and Tasha
Taylor to make a record that definitely caught my
ear and assaulted my senses. Let’s give it a listen.
Hill Country
distortion and edginess provide the backdrop for the
title cut, “The Devil You Know,” and here we are
with Tommy, deep in the Mississippi Delta making
deals our butts can’t cover. And of course, the
woman in our song is trying to warn Tommy to be wary
of his choices. “You Dance with the Devil…you only
have hell to pay…the Devil you know is the Devil you
don’t…I’m going to stick with the Devil I got.”
The intensity of our
first cut is ratcheted down a notch with the
keyboard intro from James Pace on “Second Mind.”
Here we find Tommy in an area of indecision, trying
to make a choice. “I’ve been searching…for a
sign…and I will go…until I find…my second mind.”
With a clear vision Tommy will be ready to move
ahead and he’s not going anywhere until he reaches
that point! Joe Bonamassa takes the guitar lead on
the next cut, “I’m Tired.” Here we find that Tommy’s
had enough of everyone else’s opinions of what he
should and shouldn’t do. “I’m tired of trying to
be…something that I know ain’t me…I’m tired of
living up to…what people expect me to be…now
wouldn’t it be a real drag…if we were all the same.”
It's Tommy’s life…it’s his music…he can go where
ever the hell he wants to with it!
Up next is “Center of
Attention,” and here we find Tommy with his eye on a
woman who’s making sure that everyone knows she’s
there. “You’re playing games…you’re dropping names
as if somebody cares…you drink too much…you get
messed up…and everybody stares…why you got to be…the
center of attention?” A hard driving back end from
Randy McDonald on bass and Byron Cage on drums
underscores this woman’s desperation to find someone
to love her. A New Orleans flavored beat gives rise
to our cut with Tasha Taylor on it, “The Whale Have
Swallowed Me.” “They say the whale…swallowed
Jonah…out in the deep, blue sea…sometimes I get the
feeling…the same whale…will follow me…o…oh!”
I like the Whale song
and it’s a nice prelude to Tommy’s duet with Tab
Benoit on “When I Cross the Mississippi.” The mighty
Mississippi River has always been one of the primary
symbols of the Blues in the Delta and our boys are
expounding on what crossing the river means to them.
“When I cross the Mississippi…I feel like I’m going
home…when I cross the Mississippi…don’t mind being
alone…that river runs so strong…that river cleared
my brain…when I cross the Mississippi…got muddy
water in my veins.” Guitars are blazing and it’s
clear that Tab and Tommy are enjoying performing
this tune. I’m always amazed by the sight of the
river when I cross the bridge from Arkansas into
Memphis, and there’s something about it that
definitely tells me I’m home when I get into
Memphis.
We move a little
further south into Louisiana to find Marcia and
Tommy telling us the story of a character named,
“Mojo Hannah.” This one is familiar with the Voodoo
traditions of the bayou and sounds like a good woman
to avoid. “Now…I’m talking about a woman named
Hannah…down in Louisiana…they tell me she’s a Mojo
worker…she’s gonna work that thing for me…she’s
gonna end my misery.” Let’s hope it’s that simple
for Tommy’s sake.
I hear some B3 in the
background and the Holmes Brothers with it as Tommy
continues to encounter obstacles in “Two Steps
Forward.” “What don’t kill me…might make me
stronger…it might just take me a little longer…I
take two steps forward…and one step back.” Throw in
a little harp from Magic Dick and Tommy’s moving
forward but his journey isn’t always in the straight
line he was hoping for. A little funk on the back
end echoed by B3 notes finds Tommy telling us about
a woman he encountered in the club on “She Wanted to
Give It to Me.” Here we find Tommy faithful to the
woman in his life and he’s telling her that he
managed to avoid all of the temptation that this
woman presented to him. “I tried to be strong…but
her legs were long…she must have been some kind of
dancer…she was working on me…it was plain to see…she
wasn’t taking no…for an answer…she wanted to give it
me…but, I didn’t take it.” Tommy’s will prevailed in
the end, but this woman sounds like the ultimate
temptation!
A cover of the
classic “Keep on Smilin'” follows next and the
entire tone of this tune is very mellow and laid
back as Tommy and the Painkillers give it their best
shot. “You got to roll with the changes…until the
sun comes out again…you got to…keep on smilin’." Up
next is “Medicine Woman” and the entire pace is
frenetic with Samantha Fish doing the honors on the
vocals along with Tommy. “I’ve got a medicine
woman…you know…she about to cure all me ills…I said…Vooooo…got
your remedy….but you…got to come to me…my Medicine
woman….she don’t need to cast a spell…she’s soothes
with the feeling…got the magic touch….that keeps me
well.” Samantha provides the perfect foil for Tommy
on this tune and there’s no doubt she’s got the
medicine that Tommy needs.
I find our next tune,
“That’s All I Got,” is a bit of a respite from the
intensity of “Medicine Woman” and here we find Tommy
pleading his case for the love of a good woman.
“That’s all I got baby…that’s all I got…nothing…but
love for you.” The Devil You Know closes with
the single Tommy released last year, “Greedy.” Here
we find Tommy reveling in the presence of excess,
“Money is all I need…I’m going to take it to my
grave…I’m Greedy!”
This disc has been
quite the ride and I’m appreciative of all of
Tommy’s friends who lent their considerable talents
to the result. Tommy’s passion in performing his
Blues with the edge he’s created with the
Painkillers is obvious, and I know he appreciates
having longtime friend and bassist Randy McDonald
back in the fold. I told him in Boulder that we’d
been missing his presence at the Blues Music Awards
and I’m confident this disc will get him back on the
guest list.
Tommy is touring
extensively behind this disc with the Painkillers
and is coming to a venue near you soon. Grab a copy
of The Devil You Know from Tommy when you see
him and appreciate all of the hard work that went
into this recording. Tommy’s back…and he isn’t
taking any prisoners!
---
Kyle Deibler
Deb Ryder’s
name crossed my path rather serendipitously when I
sat down to listen to a webcast of Sheldon Abbott’s
“Cure for the Blues” out of L.A. My friends Kennan
and Julie were sitting in as guest hosts, one of
their last acts of farewell to L.A. before joining
me here in Fort Collins and are almost real
Coloradoans at this point. Sheldon played a cut off
of Deb’s new disc, Might Just Get Lucky, I
immediately noticed her powerhouse voice and it
stuck with me. Fast forward to her disc arriving in
the mail and it turns out that Deb is also a pretty
good songwriter, with all of the cuts on her disc
being original tunes. So let’s give it a spin.
A scintillating
guitar riff from Kirk Fletcher kicks the party off
as Deb tackles “Get a Grip,” a tune she wrote about
the man in her life and the choices he needs to
make. This girl’s working her fingers to the bone
while her man sits at home and fails to appreciate
the efforts she’s making, “Now….now…baby…I think I’m
better off alone…so…get a grip…get real…or get
gone.” The choice is pretty clear and hopefully he’s
smart enough to make the right one. There’s a sexy
growl in Deb’s voice and she’s already starting to
win a fan over here.
Next up is “Blue
Collar Blues” and after a long week of working, it’s
time to Par-tay. Albert Lee is handling the picking
here as Deb and her friends are ready to let loose.
“Turn it up…turn it up…yea…that’s how we roll…week
is done…we’ve paid our dues…check out those blue
collar blues.” A little melancholy harp sets the
back story for “Really Gone,” a tune where Deb
discovers her man has really left her this time. “I
just can’t stand it…you left me here all alone…I got
a bad….bad, feeling baby….this time you’re really
gone.” Yes Deb, he’s out the door and down the road
but I have this feeling you’ll be just fine. A
strong woman is sexy and you’re more than holding
your own girl.
The title cut, “Might
Just Get Lucky,” finds subtle keyboard work from
Greg Hilfman behind Deb as the object of her
attention could be a lucky man tonight. “So…if you
want to take a chance…on something less than
romance…come on by…I’ll be here tomorrow…flatter and
woo me…baby, hoo chee coo me….baby…you just might
get lucky…and baby…you just might get lucky
tonight.” Our next cut, “Come on Home to Me,” finds
Deb in a supportive mood and appreciating the
challenges her man is facing: “things are tough all
over…going to get tougher…before we’re through….so
when you need a little comfort…baby, you know what
to do…come on home to me…I got what you need.” For
some reason I have no doubt that Deb does indeed
have what her man needs.
A funky, Zydeco
backbeat provides the ambience for Deb’s next tune,
“Ce Soir Ce Soir,” which roughly translates into "Tonight,Tonight."
“Everybody here…and raring to go…c’mon baby…don’t be
slow…I’m cooking up a recipe…for romance…all I need
is some, funky old sex." Nuff said, I’m thinking.
The tempo slows way
down on our next tune, “Bad, Bad Dream,” as Deb
bares her heart to the man she loves. “Now you
know…just, what you lost…a love like mine, you can’t
find at any cost….I’m awake now…my eyes are open…it
was all…a bad, bad dream.” He let a good woman go
and she’s not the forgiving kind, time to move on.
Deb’s personal
observations of a man at a party are up next in “The
Angels Cried.” The man in question is facing a
losing battle with his demons of the bottle and no
one seems to be able to get him to realize that,
“the angels cried…I can hear the crying…I swear…if I
had another chance to turn it all around…I’d keep
another heart from breaking down…oh, oh, oh…the
angels cried!” His woman reached out to Deb for help
and at the time she couldn’t see her way clear to be
of assistance to her friend. The ending is
inevitable and could have been avoided.
We move on to Deb
facing a man in her life that is less than true in
“Love Stealin Liar.” “What in the hell does he
expect from you…he’s stepping out on me…and he’s
stepping out on you….love stealin liar!” This one’s
been caught and all the women involved will soon see
his way to the curb for the way they’ve been
treated.
Deb closes with a
little Hill Country dobro in the form of James McVay
in the background on “These Hands.” “Take these
hands…and use them, Lord.” I love the religious
sentiments of “These Hands” and a little Gospel
seems to be the appropriate ending to a very good
album by Deb Ryder and friends.
Deb’s been toiling
her wares in Southern California for quite awhile
now and grew up seeing an amazing amount of great
music at her stepdad’s club in the canyon, The
Topanga Corral. She’s learned her lessons well,
writes great tunes and sings with the best of them.
Her disc, Might Just Get Lucky, was submitted
by the Southern California Blues Society in the
Blues Foundation’s 2014 Best Self-Produced CD
competition and was indeed, a worthy entry. It’s
obvious Deb and the band had a good time on this
record, and thanks to Sheldon Abbott and his guest
DJs for bringing her to my attention.
---
Kyle Deibler
Sitting here
listening to Smokin’ Joe Kubek & Bnois King’s
new disc, Road Dog’s Life, feels like a good
friend has come to visit. It’s warm, friendly, tells
good stories and is at least going to stay around
for a little while. It’s the 15th recording for
these Texas Bluesmen and their second on the Delta
Groove label. Let’s sit around the kitchen table and
take the time to hit “play.”
We start out with
Joe’s guitar in the forefront and Bnois is telling
us about a high roller named “Big Money Sonny.”
Sonny wasn’t the trusting sort, kept all of his
money in the trunk of his car, but when a big game
came around Sonny would definitely be there. “Sonny
loved the dice…sometime he played the cards…whatever
game he chose…you know Sonny played it hard…if you
played against Sonny…you know your money had better
not be slim.” Sounds like Sonny won more than he
lost and had the trunk full to show for it.
“Come on In” finds
Bnois happy to see a wandering woman show back up at
his doorstep. “Come on in, baby…relax, stay
awhile…won’t be upset when you go…cause I know it’s
just your style.” While he’s happy with the time she
spends with him, Bnois is also mindful of the fact
that the next time she knocks, he might have a woman
of his own in the house and won’t be able to let her
back in. The band slows down into a slow shuffle and
both Randy Chortkoff and Kim Wilson are on hand to
blow a little harp and sing a little in “Nobody But
You.” “My friend’s say…it’s all in my mind…they say
you’re just another woman…been a long time…I just
can’t get over you…now the things my friends
said…seems like it just ain’t true." This is the
woman Bnois wants and as he says, “ain’t nobody but
you.”
Life on the road
isn’t for everyone and Bnois tells us all about it
in “Road Dog’s Life.” Smokin’ Joe is doing exactly
that on the guitar and Bnois expounds on the road.
“We’re all packed up…and on our way…travel all
day…up all night…that’s the story of a road dog’s
life…and we wouldn’t have it any other way.” Our
next cut, “K9 Blues,” talks about a dog of a
different breed. “My fiancé called me up…said I’ve
been thinking about it…you’ve got those roaming
eyes…I think I want out of it…I’ve seen you sniffing
around…like a regular, street mutt…is she calling me
a dog…I think she just called me a K9, I mean the
very worst kind.” Sounds like she’s got Bnois’s
number and is smart to let him roam the streets like
he’s definitely prone to do.
Tempo slows down just
a tad and Bnois is worried about what’s on his
woman’s mind in “That Look On Your Face.” “Talk to
me baby…set my mind at ease…I got to know what
you’re thinking…cause your mind…I cannot read!” It’s
never clear what’s on his baby’s mind, but hopefully
Bnois will weather the storm. The subject of our
next tune, “Face to Face,” is all about technology
and the impact it has on relationships. “Well, I
can’t be texted…forget about the tweet….we will have
to meet…eyeball to eyeball…come into my space…I like
to meet…baby, face to face.” I can relate to Bnois
on that one. Communication and conversation are
rapidly becoming lost arts in this techno society
we’re living in today, so I applaud him for his
insistence on the human interaction.
Up next is the band’s
take on a Beatles tune, “Don’t Bother Me.” “So go
away…leave me alone…don’t bother me…I can’t believe…
that you would leave me…all alone.” We move on to
find that Bnois is evidently a single man and
cooking just isn’t in his wheelhouse as we hear in
“I Ain’t Greasin.” “Got to find me a woman…that
cooks real good…cause I ain’t greasin…like I know I
should.” Kim Wilson’s harp emphasizes Bnois’s
desperation in the kitchen and hopefully he’ll find
an acceptable solution soon.
Willie J. Campbell on
the bass and Jimi Bott on the drums are laying down
an extra thick back end on our next tune, “Talkin’
Bout Bad Luck.” What seems to be bad luck to others
has the appearance of well to do to Bnois. “A
diamond on every finger…on her feet…Vera Wang…I’m
sitting there thinking…the girl don’t have to worry
about a thing…hell, I’m living on the edge…thinking
I’m doing ok…her old man’s sitting there
crying…cause his stocks dropped another day…uh
huh…they’re doing really bad…on the rich part of
town."
We move on as the
band covers the Rolling Stones tune, “Play with
Fire.” “Well, don’t play with me…cause you’re
playing with fire.” Bnois has given the girl fair
warning, what she chooses to do after that is up to
her as Randy Chortkoff lays some more harp on us in
the background.
The band closes out
their disc with another original tune, “That Don’t
Work No More.” They’re off the road for a bit and
Bnois is facing the lack of power he holds in his
current relationship. “Oh…but she’s up getting
dressed…I don’t want her to go…but telling her she
can’t…oh, that don’t work no more.” His woman is
going to do what she wants to do and there’s not
much Bnois has to say about it at this point. It is
what it is.
I like Road Dog’s
Life. It’s a story we all can relate to and 15
records' worth of recordings have found Smokin’ Joe
and Bnois in a very comfortable groove. I do believe
they’ll be here in Colorado shortly and that’s
definitely a show I’ll need to see. You can grab a
copy of this disc from them on the road or hit up
the band’s
website. I know the disc will sound just as
comfortable in your CD player as it did in mine.
---
Kyle Deibler
Niecie has
traveled a long and winding road with her Blues.
Born and raised in Detroit, Niecie was a fixture on
Motown’s Blues scene for a number of years before
hitting the road to Chicago, L.A., Boston and all
points in between. She’s settled nicely into
Nashville now and uses the Music City as her home
base for all of her adventures to follow. She’s back
in the mix with a new disc, Wanted Woman.
Let’s see what she’s got.
She starts out with
the “Traffic Light” and bemoans her fate at being
unable to move in any direction. “Stuck here at this
traffic light…I’m holding onto to this wheel to
tight…spend too much time…waiting in line…stuck here
at this traffic light.” Hopefully the traffic will
ease up soon and Niecie will be on her way. Johnny
Neel is displaying his wizardry on the B3 as Niecie
tells us of her survival after the breakup of a
relationship in “You Wouldn’t Know It Now.” “I don’t
need you…hanging around…since you’ve been gone…this
isn’t the same old house…you wouldn’t know it now.”
The time to be crushed has passed and Niecie is
moving confidently in a new direction with no regret
in sight.
The title track,
“Wanted Woman,” is up next and there’s a very solid
back end to this tune from Daryl Burgess on drums
and Dennis Gulley on bass as Niecie lets us know
that everyone is after her. “I got a bounty on my
head…oh, Lord…I’m scared to death…I’m a wanted
woman.” Don’t know the crime, but if she’s caught
Niecie definitely sounds like she will have to do
the time.
“Crying for My Baby”
finds Niecie lamenting her man leaving her behind.
She’s eager to have him come back home and be next
to her. “Crying for my baby…won’t you come back
home…can’t live my life without you.” Johnny’s
keyboard work on the B3 underscores Niecie’s desire
to have her man return, and perhaps he will.
Blistering guitar
work by Chris Anderson provides the intro for our
next adventure, “Strange Way,” and here we find
Niecie at a crossroads. “I know there’s something
missing…I can feel it down in my bones…cause when
I’m lying beside you…I feel so all alone…if this is
love…you’ve got a strange way of showing it.” Her
man isn’t paying the right attention to her and I’ve
got a feeling that Niecie is about to make an
executive decision to move on. We move on to “Blues
Ain’t Nothin” and here we learn Niecie’s definition
of the Blues. “The Blues ain’t nothin…you know the
blues ain’t nothing…but a woman feeling bad.” Not
exactly Son House’s definition, but close enough for
Niecie’s purposes.
The band manages to
slow the tempo down just a tad and Niecie segues
into more of a ballad in “Just Can’t Walk Away.”
“But they don’t scare me…half as much as that
woman…she’s trying to take my man away…it’s a bad,
bad feeling…I can’t shake…but I just can’t walk
away.” Niecie’s dealing with a lot of pain in her
life that the doctors just can’t help her with,
unless they have the cure for this cheating woman
who has her eye on Niecie’s man. Niecie’s running
out of options and like it or not, this time she
just might have to walk away.
The saucy “Typical
Chick” is up next and I’m finding that Niecie is
anything but “typical”. “I ain’t your typical
chick…don’t waste my time…don’t give me no lip…I
ain’t your typical chick.” I believe her on this one
and you’ve got to love a woman with attitude.
Another strong guitar intro presents us with Little
Milton’s tune, “Mother Nature,” and Niecie’s in the
process of tracking her man down. “I give you fair
warning…every word I say is true…if you’ve got my
man…turn him loose…if you know what’s good for
you…don’t mess with Mother Nature…you’ll be sorry if
you do.” I have the distinct feeling that it’s
probably best to not mess with Niecie on this one.
The disc closes with
a fairly funky tune in the form of “God’s Got This.”
Niecie’s faith gets her through and she knows she’ll
be fine. “God’s got this…and God’s got that…I
guarantee you brother…he’s always got your back.”
Amen to that.
I’ve got to admit it
took awhile for me to warm to Niecie’s new disc,
Wanted Woman, but I like it. Johnny Neel did an
outstanding job of producing Niecie’s disc and
surrounded her with a formidable array of some of
Nashville’s finest players. You can find out more
about this transplanted Tennessean on her
website. I missed her performance at this year’s
WIB showcase that was part of the IBC, but I will
catch her next time.
---
Kyle Deibler
James Armstrong’s
2012 release, Blues on the Border, was his
first release since 2000 and it was a welcome
return. Armstrong’s soulful vocals and savvy
songwriting had been much missed, and it was great
to hear him playing guitar so well after the
terrible attack in 1996 that left him without the
use of his left hand and arm until he underwent a
long and rigorous rehabiltation.
Armstrong cites
inspiration from four “guitar angels,” his jazz
guitar-playing father, James Armstrong, Sr.,
guitarist/bandmate Michael Ross, Coco Montoya, who
he grew up playing with, and Joe Louis Walker. From
this inspiration came the autobiographical title
track to his latest release, Guitar Angels (Catfood
Records).
The title track is
presented in album format and also radio format, and
it’s a standout both ways, with Armstrong
acknowledging his appreciation for their talents and
inspiration to the four mentioned above and others
like Hendrix, SRV, and the Kings who have passed
away, but still move him. The somber “Healing Time”
was co-written by Armstrong and Ross, in tribute to
Ross’s brother, also a guitarist of note who
recently passed away.
Other highlights
include the humorous opening track, “Grandma’s Got A
New Friend,” about geriatric love in the 21st
century, “Moving To Nashville,” which has an
appropriate country feel, the funky “Saturday Night
Women,” and a couple of strong R&B-flavored tracks
in “Healing Time” and the horn-driven “Runaway
Train,” which really packs a punch.
Armstrong also does
two strong covers: Johnny Copeland’s “Blues Ain’t
Nothin’” is well-done and pretty close to the
Copeland original. However, the other cover is truly
a reworking of major proportions. “Take It To The
Limit,” the mid 70s hit by the Eagles, gets a major
overhaul, transformed virtually into a new song by
Armstrong, who plays it as a shuffle, with memorable
results.
Armstrong sounds
great vocally and continues to improve on guitar
with some effective lead work and some excellent
slide guitar. Ross does a great job on guitar and as
producer (with Jim Gaines as co-producer) and
they’re assisted by a stellar set of backing
musicians.
It’s so good to see
James Armstrong now releasing new recordings on a
regular basis again, and even better that they’re
just as good, or better, than what came before.
---
Graham Clarke
For his latest
release, the appropriately-titled Smokin’ Blues
(Lead Foot Music), guitarist Mark T. Small
offers a sampling of what might be heard from one of
his typical solo performances, his objective being
to give listeners the feeling that he is playing a
set exclusively for them. Small has been a musician
for over 40 years, and his music takes in the blues,
old time music, bluegrass, and ragtime. In addition
to his guitar skills, he’s also a powerful vocalist.
Blues fans will find
that they’re familiar with many of these songs
(“Step It Up & Go,” Tampa Red’s “Sell My Monkey,”
“Goin’ Down Slow,” John Lee Hooker’s “My Daddy Was A
Jockey”), but that’s not a problem because Small’s
interpretations are so fresh and alive with vitality
and intensity that you find yourself hearing the
songs in a whole new way. He doesn’t emulate the
originals as much as he builds on what was already
there.
Small also does an
excellent job on Reverend Gary Davis’ “Buck Rag,”
and even breathes life into the old soul warhorse,
“Walkin’ The Dog,” and the gospel classic, “Keep
Your Lamp Trimmed and Burning.” Sam McGee’s
“Railroad Blues” finds Small revisiting his
bluegrass days, and his fretwork on Charlie Patton’s
“Stone Pony Blues” is aggressive and intense,
similar to the tune’s originator. The closer,
“America Medley” is a collection of several songs
(“America the Beautiful,” “Take Me Out To The
Ballgame,” “Yankee Doodle Dandy”) played in a style
similar to Chet Atkins and Merle Travis, two country
music guitarists with deep blues roots.
Smokin’ Blues
is a fine collection of guitar music that will
appeal to blues lovers and anyone who digs
well-played acoustic guitar in any genre. If you’re
not familiar with Mark T. Small, this is a great
place to get started.
---
Graham Clarke
It’s been just over
seven years since Eddie Cotton’s last
release, 2006’s triumphant return to the Alamo
Theatre (a sequel to his excellent 2000 debut), and
over a decade since his last studio recording,
Extra. Cotton’s latest release, Here I Come,
is one of the inaugural releases on his friend Grady
Champion’s new label, DeChamp Records, and it finds
the Jackson, Mississippi-based singer/guitarist in
excellent form, as he was when we last heard from
him.
Cotton was raised
playing and singing gospel music in his father’s
church and playing the blues at home. Like many
musicians his age, he grew up listening to those two
styles of music, plus soul music and funk. He blends
all of these styles together to produce an unique
and irresistible blues style, mixing funky rhythms
with soulful vocals in a Hi Records vein and some
positively fierce guitar work.
The title track opens
the disc and really captures the essence of Cotton’s
music with the stinging, piercing lead guitar, funky
backdrop, and the smooth vocals……just a great
all-around track. “A Woman’s Love” is a supple slow
blues that continues the momentum, and “Pay To Play”
is a real standout with Cotton really tearing it up
on guitar in a B.B. King vein…my favorite track on
the disc. “Friend to the End” leans toward the R&B
side of things and finds Cotton testifying about
true friendship, while “Get Your Own” gets down on
the funk in a classic James Brown mode. If this one
doesn’t at least get your head bobbing, seek medical
attention.
“My Boo” settles into
a nice, mellow groove and brings to mind the greasy
70s-era Memphis sounds of the aforementioned Hi
Records. The boogie shuffle “Leave Love Alone” teams
Cotton with Champion, who blows some nice downhome
harmonica in support. On the countrified “Back in a
Bit,” Cotton gets an assist from harmonica player
Carlos Russell. “No Love Back” is a soul-drenched
number that really brings out Cotton’s gospel roots,
and the closer, “Berry So Black,” is a
Chicago-styled shuffle with more impressive harp
from Champion.
The only problem I
have with Here I Come is that there is not
enough of it. It goes by really fast, clocking in at
less than 40 minutes. However, that’s not
necessarily a bad thing because it just leaves you
wanting more, which is the sign of a great
recording. Once you listen, you will definitely want
to hear more from Eddie Cotton, as quickly as
possible.
---
Graham Clarke
Singer J.J. Thames
may only be 30 years old, but she has been
performing since she was 9 and has performed all
over the world as a backing vocalist for blues/R&B
stars like Marvin Sease, Bobby “Blue” Bland, Peggy
Scott Adams, Willie Clayton, and Denise LaSalle.
She’s also backed reggae-rockers Outlaw Nation,
Fishbone, Bad Brains, 311, and Slightly Stoopid.
Possessing a stunning voice comfortable singing deep
Southern soul or traditional blues, Thames is now
stepping out front with her wonderful debut
recording, Tell You What I Know, on DeChamp
Records.
The disc contains 11
tracks, ten originals written by Thames, producers
Grady Champion and Sam Brady, Eddie Cotton,
Frederick Knight, Jon and Sally Tiven, and Jim
McCormick. The opener, “Souled Out,” should raise
goose bumps right from the beginning, with its
gospel feel. “Hey You” has more of a country blues
vibe with Champion’s harmonica backing Thames’
vocals. The sultry and playful “I Got What You Need”
adds horns in a Stax Records vein. “My Kinda Man” is
a smooth slow blues that finds Thames extolling the
virtues of her lover.
“No Turning Back” is
a bluesy R&B track with some smoking guitar from
Cotton, while the soul ballad “Can You Let Somebody
Else Be Strong” features an excellent vocal turn
from Thames. She also offers up a sassy and defiant
vocal on the Eddie Cotton tune, “I’ma Make It.” I’ve
heard many versions of the Ray Charles classic, “I
Believe,” and I have to put Thames’ version near the
top of the list…..just a marvelous performance. The
Knight/Tiven-penned “Just Enough” is a
Memphis-styled tune of regret, complemented by a
smoldering guitar solo from Danny Scallions.
The disc closes with
“Rhinestones,” a lovely song loaded with vivid
imagery, and the autobiographical title track where
Thames recounts her struggle to reach the top and
pledges that it won’t be long before she makes it
there. One would have to agree with her sentiments
based on this powerful debut release.
---
Graham Clarke
Rattlesnake Cage
(Black Hen Music) is the new release from Steve
Dawson. Dawson is responsible for some mighty
fine blues and roots music releases from Black Hen
over the past few years, including releases from Jim
Byrnes, The Sojourners, and that wonderful
Mississippi Sheiks tribute CD/DVD from a couple of
years ago, serving as a producer/arranger/and
guitarist. Recently, he relocated from Canada to
Nashville, and has released this outstanding disc,
which consists of 11 solo instrumental tracks….just
Dawson and his guitar.
The disc was recorded
using a vintage tube microphone that was rescued
from an old Detroit church. The sound is amazingly
clear and vivid, almost as if you’re in the room
with Dawson as he plays. It’s just a joy to listen
to and fans of acoustic guitar will be blown away by
this recording. The challenge for most instrumental
albums is that the music has to be solidly
structured and distinctive, or it will just fade
into the background. That is not an issue at all for
Rattlesnake Cage, as Dawson moves from 6 and
12-string guitar to National tricone to Weissenborn
Hawaiian guitar, giving the music diversity and
depth.
The opener, “Blind
Thomas At The Crime Scene,” brings to mind the ’60s
work of John Fahey and Leo Kottke and sets the table
for what’s to follow. “Flophouse Oratory” has a
faster pace and a country blues feel. “The Medicine
Show Comes To Avalon” is a lovely tribute to
Mississippi John Hurt’s gentle blues.
The brisk title track
finds Dawson switching to resonator, and “Lighthouse
Avenue” is a more reflective number. The sound is
really crystal clear on this track. “Butterfly
Stunt” offers more exquisite slide guitar. “J.R.
Lockley’s Dilemna” is in a country vein, and fans of
the Reverend Gary Davis will love the album closer,
“The Altar At Center Raven.”
Rattlesnake Cage
is a masterful set of acoustic guitar, with new
treasures being revealed during each listen. Steve
Dawson makes it sound pretty effortless, but guitar
fans will truly appreciate what an impressive work
this is.
---
Graham Clarke
Terry Gillespie
has been one of Canada’s finest musicians since
relocating there from Michigan in 1968. He formed
Heaven’s Radio, one of Ottawa’s finest bands of the
’70s. Though his music is blues-based, he also
incorporates hints of jazz, reggae, R&B, and African
rhythms and plays guitar, harmonica, and trumpet.
His seasoned vocals bring to mind Mark Knopfler and
J.J. Cale at times. Bluesoul is his latest
release, recorded live at the 2012 Maxville
Musicfest in St. Andrew’s Presbyterian Church.
Bluesoul
offers a wide variation of blues styles, from the
opening shuffle, “The Devil Likes To Win,” which is
kicked off by a sizzling Elmore James slide riff, to
the aptly-titled “What Would Bo Diddley Do,” with
its irresistible Diddley beat, to the New Orleans’
R&B of “My Tipitina,” There’s also a couple of
boogie tracks (“It Wasn’t Me” and “16 Days”), a
strong, cleverly-written rocker (“Her Mind Left
First”), and a soulful ballad (“Magnolia Tree”).
Gillespie also turns
in four well-chosen, and well-done, covers. The soul
classic “You’re Gonna Make Me Cry” gets a really
inspired vocal performance. The traditional track,
“My Mama,” is a moody blues with an urban feel, and
“Early in the Morning” is a down and dirty
Mississippi Delta blues track with some nice harp
from Gillespie. The Professor Longhair tune, “She
Walks Right In,” is one of several tracks showcasing
the keyboard skills of Peter Measroch.
Giving Gillespie a
hand on these 13 tracks are Measroch (acoustic and
electric piano, organ), Lyndell Montgomery (bass,
violin), and Wayne Stoute (drums, percussion). The
background vocals are ably handled by The Toasted
Westerns (Jody Benjamin, Ann Downey, and Sally
Robinson).
Well-produced and
recorded in front of an enthusiastic and supportive
crowd, Bluesoul is an interesting and
versatile set of blues and roots music from a
seasoned vet of the Canada music scene who should be
a lot better known than he is beyond the Canadian
border. Hopefully, this release will help to rectify
that issue.
---
Graham Clarke
In the spring of
2013, Debbie Bond and the TruDats appeared on
Radio Free Nashville WRFN’s Mando Blues Show, as
part of a trip to appear at the annual Nashville
Blues and Jazz Awards. Their intention during the
performance was to give their audience a taste of
what one of their regular shows was like, mixing in
a few new songs that would be appearing on their
next album. The performance went so well and was so
well-received that Bond decided to release the show
as a live album, That Thing Called Love
(Blues Root Productions).
The TruDats settle
into a groove right off the bat with the funky
“You’re The Kind of Trouble,” then ease into a New
Orleans-styled “Steady Rolling Man,” with some nice
piano from Rick Asherson and sax from guest Tom
Pallardy. “Feed My Soul” will be familiar to Holmes
Brothers fans, and Bond ably handles with this
soulful ballad. “I Like It Like That” finds Asherson
pulling double duty on piano and harmonica. Bond
shines on the ballad, “Still Missing You,” both
vocally and on guitar.
“Tarragona Blues” is
a tribute to the band’s fans in Spain, and the
Latin-flavored track is offered in two versions, one
extended, and Bond does a wonderful job on the
ballad, “Falling,” and the bluesy title track, which
also includes some fine instrumental work from her,
Asherson, and Pallardy.
That Thing Called
Love turns out to be a nice reward for all of
Debbie Bond’s fans as it paints a vivid picture of a
typical performance, mixing blues with soul, funk,
jazz, and a bit of the swamp thrown in for good
measure. For newcomers, it’s a great starting point
for hearing this talented artist, too.
---
Graham Clarke