You would have thought
that Pinetop Perkins and Jimmy Rogers
came up playing together in Chicago, especially
since they both spent time in Muddy Waters’ band,
but that really wasn’t the case. Perkins didn’t
arrive on the Chicago scene until the early ’60s,
shortly after Rogers took his sabbatical from music.
Their paths didn’t cross until the mid ’80s, but
they worked together regularly from that point until
Rogers’ passed away in December of 1997.
Perkins played and
recorded with the Legendary Blues Band, which
originally consisted of members of Waters’ band,
until the mid/late ’80s. After that, he began to
play regularly with the New York City blues band
Little Mike Markowitz & the Tornadoes. It was with
the Tornadoes that Perkins released his first
domestic solo recordings, After Hours, on
Blind Pig Records. Markowitz was also booking
Perkins on some east coast appearances and Perkins
recommended him to Rogers, so soon he was handling
both of them and it evolved into a tour featuring
the pair.
Genuine Blues Legends
(ELROB Records) captures a May, 1988 live
performance of the duo, backed by Markowitz and the
Tornadoes (Tony O Melio – guitar, Brad Vickers –
bass, Michael Anderson – drums) at the Grand
Auditorium in Ellsworth, Maine. Perkins kicks off
the set with the Tornadoes and works through several
standards: Cleanhead Vinson’s “Kidney Stew,” Tommy
Tucker’s “High Heel Sneakers” and a nice, extended
reading of St. Louis Jimmy’s “Had My Fun” (a.k.a.
“Goin’ Down Slow”).
Rogers joins Perkins and
the band for an enthusiastic take on Paul Gayten’s
“For You My Love,” and takes the mic for the next
three songs, “Big Boss Man,” and a pair of his own
tunes, “All In My Sleep” and “The Last Time.”
Perkins then takes vocals on his own “When I Lost My
Baby” (borrowing from Ivory Joe Hunter’s “Since I
Lost My Baby”), an entertaining version of
“Pinetop’s Boogie Woogie,” and the set closer, “Pine
and Jimmy’s Jump,” brings this inspired set to a
close.
Perkins and Rogers are
both in fine form on this set. It would have been
nice to hear a few more Rogers tunes, but that’s a
minor quibble. Though they hadn’t always
collaborated, only in the previous few years, you’d
never know it by listening to these tunes. Little
Mike and the Tornadoes provide excellent support,
successfully capturing the sound and feel of the
’50s/early ’60s era where most of this music
originated, just like they’ve always done, and
continue to do today.
Fans of traditional
Chicago blues owe Mike Markowitz a debt of gratitude
for ensuring that Genuine Blues Legends has
finally been made available. It’s a rock-solid set
of blues the way they used to do them.
--- Graham Clarke
Benny Turner is a
50-year vet of the music scene. He, and his
legendary brother Freddie King, learned to play
guitar from their mother, Ella Mae (King) Turner,
and her two brothers, Leon and Leonard King. He
played and recorded with the gospel group The Kindly
Shepherds in the late ’50s, toured with his brother
for a decade, and served as bandleader for Marva
Wright for over 20 years. When She’s Gone
(Nola Blue, Inc.) is Turner’s fourth album, and it
includes six tracks previously released on his 1997
debut recording, Blue and Not So Blue, and
four new tracks that feature Turner’s take on some
blues classics.
The reissued sides
include a funky duet with Wright, recorded shortly
before her death, “Pity On This Lovesick Fool,” and
Turner holds his own and more with the powerhouse
Blues Queen of New Orleans. The gospel-flavored “I
Can’t Leave” is a gently swinging opener, and the
lovely “Because of You” is a tender ballad with Dr.
John backing on guitar. “So Deep” is a delightful
slow blues that features a bevy of background
singers and the irrepressible Charles Brown (in what
were some of his last recordings before his passing
in 1999) manning the keys.
The mid-tempo “If I
Can’t Have You” kicks with a funky backbeat and
“Have You Ever Been So Lonesome” features an
emotional vocal from Turner, who also plays lead
bass guitar on this number, and the previously
mentioned “So Deep.” The four covers are
superlative. Bill Withers’ “Ain’t No Sunshine” is
one of two tracks which feature Bob Margolin on
guitar, the other being Lowell Fulson’s “Reconsider
Baby.” While neither cover ventures far from the
original versions, Margolin’s fretwork and Turner’s
vocals lift them well beyond the perfunctory.
The final two covers are
Jimmy Rogers’ “That’s Alright – I’ll Get Over You,”
with Turner taking lead guitar duties, and a
masterful version of “Black Night,” originally
recorded in New Orleans (with Brown on piano) at the
time of Blue and Not So Blue that was
believed to have been lost during Hurricane Katrina.
Fortunately for us listeners, it was able to be
salvaged. “Black Night” also serves as an homage to
Freddie King.
When She’s Gone
is dedicated to Turner’s mother, who was such a
musical influence on him and King. It also pays
tribute to the others on the disc who have passed
away: King, Wright, Brown, and Andy “Bluesboy” Grigg,
the late publisher of Real Blues Magazine, who
worked tirelessly to help promote Turner’s music.
Fans of Southern blues & R&B will enjoy this
excellent release.
--- Graham Clarke
With Music From
Hurley Mountain (Woodstock Records), the 12th
release from Professor Louie & The Crowmatix,
the New York ensemble takes listeners on a musical
short story about a typical day on Hurley Mountain,
from daybreak to the end of the day. Professor Louie
plays all manner of keyboards, from piano to
accordion, and shares lead vocals with Miss Marie.
They are backed by drummer Gary Burke,
guitarist/vocalist John Platania, bassist/vocalist
Frank Campbell, lead guitarist Josh Colow, and
violinist Larry Packer.
The band’s repertoire
mixes blues, country, rock ‘n’ roll, gospel and
roots, and the album features 12 songs, including
three covers. The originals are standouts, with
highlights including the spirited “Ulster Outcry,”
which features a fiery vocal turn from Miss Marie,
the piano-driven “Ashton,” and “Crop Dustin’ Blues,”
with some dandy slide guitar from Platania and
Hammond organ from the Professor. “Rock ‘n’ Roll
Barn” is a dazzling roof-raising rocker, but for me,
the show-stopper was the stunning and soulful “Light
In Your Eyes.” This song would be heard in every
household and would be a bona fide hit if there was
any fairness in the world at all. Professor Louie’s
earnest and heartfelt vocal sell the song even more.
The cover tunes include
a funky reading of Jimmy Reed’s “You Got Me Dizzy,”
the glorious old school country “Family Reunion,”
and the lovely “Angel Band.” The lead vocals from
Miss Marie and Professor Louie are just perfect for
these tunes, and they also provide wonderful harmony
on the backing vocals (with Campbell). The album is
bookended by instrumental interludes, the opener,
“Golden Morning,” representing sunrise and the
closer “Goodnight, Hurley,” signals the end of the
day. Both feature the Professor’s accordion.
While not all of
Music From Hurley Mountain is blues, the music
featured here is steeped in the blues. It’s an
excellent set of American music --- blues, gospel,
and roots --- that will please any music fan who
gives it a spin.
--- Graham Clarke
Several years ago, Ruf
Records released a two-disc set called Blues Guitar
Women that showcased, and in several cases
introduced, some fantastic female guitarists to
blues fans. Now comes a sequel of sorts from Ruf,
called Blues Harp Women, that’s the
brainchild of Norman Davis, who was inspired after
playing a Big Mama Thornton track on his syndicated
radio show, The Midnight Flyer. Davis became curious
about the number of women who played the harmonica
and, after searching and finding a sizable list ---
nearly 200 --- he decided to create a website,
www.hermonicas.com to pay tribute to them.
Soon, Blues Harp
Women was in the works, featuring 31 lady harp
players, the first compilation of its kind. Disc One
contains a boatload of standout tracks such as
“Harmonica Girl,” from New Orleans’ Paula Rangell
(of Paula and the Pontiacs), Roxy Perry’s jumping “Roadmaster,”
and several dandy downhome tunes, “32-20 Blues” from
LynnAnn Hyde, “Down To The Hollow” by Trina Hamlin,
“Ain’t Easy” from Beth Kohnen, and “Stuck On You,”
from Jane Gillman.
Other tunes on Disc One
include a rocking “Stop. Wait a Minute” from Tracy
K, and the smoldering slow blues “One More Lie,”
compliments of Teresa “T-Bird” Lynne. There’s also
the sassy “Naughty Girl” from Octavia, the swampy
“Heavy Water” from Stacy Jones, the West Side-styled
“Why You So Mean To Me” from Kat Baloun. A pair of
fiery rocker, “Mechanical Beast,” from Zola Moon and
“Please Call Daddy,” by Mattie Phifer, pave the way
for the somber, but powerful Disc One closer,
“Sadder Than Sad,” from Australian Dorothy Jane “DJ”
Gosper. The gold standard for woman harmonica
players, Big Mama Thornton, is also represented with
“Down Home Shakedown.”
Disc Two is highlighted
by “Lookin’ Good,” an inspired live performance from
one of the better-known female harp masters, Annie
Raines, who is backed by her longtime musical
partner, Paul Rishell, on guitar, and another
instrumental, the standard “Summertime,” wonderfully
delivered by Christelle Berthon. The other songs on
this disc include rock-flavored tracks from Jenny
Kerr (“Cash Is King”) and Judy Rudin (“Hit The
Road”), urban blues numbers from Cheryl Arena
(“Blues Got Me”) and Diana Redlin (“Never Leave Me
Home”).
There are several
diverse tunes on Disc Two, such as Big Nancy’s
soul-drenched run on Sam Cooke’s “Bring It On Home
(To Me),” and blues rockers like “Crazy Maisie”
(Dana Dixon) and “He’s Gone” (the Hound Dog Taylor
favorite from Marion Turner). Beata Kossawska offers
the Latin-tinged “Everybody’s Dancing,” and Cecilia
Loforti contributes the funky “Doctor C.” Terry
Leonino’s “Meet Me Where They Play The Blues” has
jazzy underpinnings, as does Maria Coyote’s quirky
reworking of Lead Belly’s “Riker’s Island.” There
are three tracks, Jill Fromewick’s “Take The Lead,”
Jackie Merritt’ “Fast Food Mama,” and Rhonda
Rucker’s “Rhonda Alla Blue,” in the acoustic country
blues vein.
Blues Harp Women
is an outstanding introduction to a unique group
among blues artists. It’s loaded with interesting,
diverse, and energetic performances and hopefully,
it will provide some much-needed and much-deserved
attention to all of these talented ladies.
--- Graham Clarke
23-year-old British
blues rocker Laurence Jones started playing
guitar at age 7, eventually graduated from the
Birmingham Music Academy with a degree in Music, and
released his debut recording in 2012, Thunder In
The Sky, which won him rave reviews and
introduced him to Thomas Ruf, who signed him to his
record label. In 2014, he released Temptation,
produced by Mike Zito, and began touring worldwide,
opening for Walter Trout, Dana Fuchs, and the Blues
Caravan with Albert Castiglia. He was honored as the
Young Artist of the Year at the 2014 British Blues
Awards.
Jones’ latest Ruf
release is What’s It Gonna Be, and the young
guitarist penned nine of the eleven tracks,
including the fine blues-rock title track, which
opens the disc. The emphasis is on blues-rock on
strong originals like “Don’t Need No Reason,”
“Evil,” “Touch Your Moonlight,” “Set It Free,” and
“Being Alone,” which would be a hit if there was any
justice in the world. Jones also duets with singer
Sandi Thom on the pop-flavored “Don’t Look Back.”
Jones covers Lead Belly on “Good Morning Blues,” a
crisp reading punctuated by an outstanding guitar
break, and his version of the Bad Company classic
“Can’t Get Enough,” sung with the amazing Dana Fuchs
is one of the standout moments on the disc.
Backed by Roger Inniss
(bass, co-producer), Miri Miettinen (drums), with
keyboards from Julian “Mr. Jools” Grudgings and
Lewis Stephens, and backing vocals from S.J.
Mortimer, Laurence Jones has outdone himself with
this gem of a release, showing a maturity and
sureness that belies his youth. Put What’s It
Gonna Be on your must-hear list, and rest
assured that we’ll be hearing much more from this
talented young musician for years to come.
--- Graham Clarke
Tim Williams’
career dates back to the mid '60s, when he started
playing coffee houses in Southern California. Now
based in Canada, his prowess on a number of stringed
instruments is compared to other multi-talented
guitarist such as Ry Cooder and David Lindley ---
fine company indeed. He’s also a gifted composer and
has won numerous awards over his career, including
the 2012 Guitarist of the Year by the Calgary Blues
Music Association. Most recently, in 2014 he took
home top honors at the International Blues Challenge
in the Best Solo or Duo category, and the Best
Guitarist Awards.
Williams’ latest release
is So Low (LowdenProud Records), and is his
first release as a solo act. He plays six- and
twelve-string guitars, along with resonator and
mandolin and tapping foot for percussion, with no
overdubs or multitracks --- it’s just Williams’
marvelous instrumental skills and his rich vocals on
ten exquisite tracks, four originals and six covers.
Williams’ songwriting
talents are first-rate. “More Peppers In Your Chili”
is an entertaining tune about his love of spicy
foods. “Anywhere C/O The Blues” is an appreciation
of the music that Williams has played for over 50
years. “Midnight After Midnight” is a gentle nod to
pre-war blues in a Lonnie Johnson vein, and “Lightnin’”
is a tribute to Lightnin’ Hopkins in the tradition
of the Texas bluesman’s reverb-drenched Gold Star
recordings.
Williams’ taste in cover
tunes runs from blues legends Mose Allison (“If You
Live”), Big Bill Broonzy (“My Big Money”), Blind Boy
Fuller (“Pistol Snapper”), and Tampa Red (“The
Witching Hour”), to “Big River” from Johnny Cash,
and a lively take on the traditional “The Grizzly
Bear.”
Fans of solo acoustic
blues will love So Low, and it will also
appeal to any blues or roots music fans who enjoy
guitar played well. Now that Tim Williams has
ventured forth with his first solo effort, we can
only hope that it won’t be too long before he
blesses us with another.
--- Graham Clarke
Hurricane Ruth
LaMaster wowed blues fans in 2014 with Born
on the River, a rocking set that featured the
fiesty vocalist with a muscular blues rocking trio.
For her latest effort, the EP Winds of Change
(Hurricane Ruth Publishing), LaMaster offers four of
her favorite songs presented in a big band format,
the sound she grew up listening to and has always
loved.
The EP kicks off with a
choice nugget from Pat Benatar’s early ’90s venture
into blues, the jumping “I Feel Lucky,” and is
followed by a sassy take on Willie Dixon’s “Built
For Comfort.” It takes a brave soul to cover Percy
Sledge’s anthem “When A Man Loves A Woman,” but
LaMaster really pulls this one off with a tough, but
tender vocal turn. Her reading of Delbert
McClinton’s party classic “Going Back To Louisiana”
closes the disc, and wraps things up in fine
fashion.
When you’re presented
with a powerhouse vocalist such as Hurricane Ruth
LaMaster, four tunes really just whets your
appetite, but Winds of Change will certainly
satisfy until she’s ready to give us more.
--- Graham Clarke
Jefferson Grizzard
is a storyteller in the grand tradition of artists
like Bob Dylan, Leonard Cohen, and Tom Waits. He
deftly weaves his tales in a musical setting that
incorporates blues, rock, country, and soul, similar
to the artists cited above. His latest release, on
Back Porch Syndicate Records, is Daydream of Hope,
which features nine original tunes of love, loss,
regret, and as the album title indicates, hope.
The opener, “Give Me A
Sign,” presents a desperate man at the end of his
rope looking for guidance from above. “We Were Just
Kids Babe,” about a pair of star-crossed lovers,
finds Grizzard’s vocals taking on a Tom Petty-like
quality. Both of these songs will bring to mind the
early-period story-songs of Bruce Springsteen. The
somber “Adelaide” is a tale of love lost. “Lovely
Señorita” is another standout, and “Sinners Like Me
(Can’t Be Saved)” has a bit of a Latin tinge, along
with pedal steel from Dan Dougmore and swirling
keyboards from Dennis Wage.
The menacing intensity
of “Fallout Frenzy” is tempered by “All That We Can
Do Is Try,” an upbeat rocker encouraging us to work
through the dark to find the light. “Honey You Can
Treat Me Wrong” has a country flair with a clever
lyrical touch. The spare and sobering title track
closes the disc, featuring Grizzard’s vocal and
guitar.
With Daydream of Hope,
Jefferson Grizzard paints a vivid picture of life in
the world today, good and bad. He’s one of the most
compelling songwriters I’ve heard in a long time and
his music encompasses a host of styles and is worth
seeking out for fans of blues and roots.
--- Graham Clarke
Karen Lovely has
certainly received a lot of attention from the blues
world over the past few years, including several
nominations for Best Contemporary Blues Female
Artists (2016 BMA’s, 2011 Blues Blast Music Awards).
She’s a seven-time Muddy Award winner as Best Female
Vocalist, Best New Act, Best Regional Act, and
Performance of the Year, and placed second in the
Band Division at the 2010 IBC.
For Lovely’s latest
release, Ten Miles of Bad Road (Kokako), the
talented vocalist has employed a powerhouse set of
L.A.-based session artists: guitarist Johnny Lee
Schell, bassist James “Hutch” Hutchinson, and
keyboardist Jim Pugh, along with drummer Tony
Braunagel, who also serves as producer. Other
contributors include guitarists Alan Mirikitani and
Vyasa Dodson, sax player Joe Sublett, bassist Reggie
McBride, and T-Bird harp master Kim Wilson.
The results speak for
themselves. This is a marvelously well-crafted
album. Lovely’s powerful vocals and the sturdy
musical backing, combined with the set list, 13
tracks touching on the blues themes of heartbreak,
loneliness, and longing, mostly written or
co-written by Lovely, make a potent album of
comtemporary blues. The opener, “Low Road,” has a
funky soulful HighTone era Robert Cray feel, with
longtime Cray associate Pugh’s keyboards pecolating
along in the background. “Company Graveyard” is a
fierce rocking blues with some sharp guitar work
backing Lovely’s fiery vocals.
The moody “A Better
Place” has a hypnotic Hill Country rhythm, while
“Ignorance (It Ain’t Bliss)” revisits the greasy
soul groove of the opening track. The, no pun
intended, lovely “Cross The Water” is a standout
track with Mirikitani’s guitar, Pugh’s swirling
keyboards, and sweet backing vocals from Julie
Delgado and Kenna Ramsey. Next is the title track, a
funky rocker co-written by Alan Mirikitani and
Dennis Walker that adds horns to the mix. The smoky
ballad “I Want To Love You” features one of Lovely’s
most poignant vocals.
The upbeat “You Stole My
Heart” changes the pace somewhat, followed by a pair
of tunes written by Lovely, the ballad “Always Love
You,” and “Blues Valentine,” which looks at a
couple’s long relationship. The album closes with
the gospel-flavored “Save Me,” the
parting-of-the-ways ballad “I’m Over Goodbye,” and
the rowdy closer, “Frank the Spank,” which includes
Wilson’s distinctive harp.
Ten Miles of Bad Road
is one of the stronger sets of blues rock that I’ve
heard this year, but Karen Lovely’s vocals are
equally effective on the soulful ballads, which add
diversity to the album. This is an album that is
certain to please contemporary blues fans. Expect to
see it featured prominently in the end-of-the-year
awards, along with its featured artist.
--- Graham Clarke
The Minneapolis band
Sweet Tea (Mark Lamoine – guitar, David Harris –
bass, Mick Zampogna – keyboards, accordion, Nick
Zwack – drums) was already a mainstay on the Twin
Cities blues scene, but they’ve upped the ante
considerably with the addition of
vocalist/guitarist/pianist Joyann Parker last
summer. Now billed as Joyann Parker & Sweet Tea,
they’ve released a dynamite new album, On The
Rocks, that features Parker’s sassy and soulful
vocals on eleven original tunes, penned by Parker
and/or Lamoine.
Parker really shines on
all of these tunes. Her vocal style will remind rock
fans of Heart’s Ann Wilson, which is definitely not
a bad thing. Shemekia Copeland’s powerhouse delivery
also comes to mind on several of the tracks. She’s
as good on the blues rockers (“You,” “What’s Good
For You,” “What Happened To Me,” “Hit Me Like A
Train,” “Go For The Money,”) as she is on the more
traditional blues (“Ain’t Got Time To Cry,” “Fool
For You,” “Closing Someone Else’s Blinds”) and the
slow burners (“Jigsaw Heart,” “Evil Hearted,”
“Either Way”).
The band shows
impressive versatility on these tracks, which move
from blues to jazz to rock. Their original tunes are
inventive, touching on the basic blues song themes,
but with a fresh approach. Of course, the fact that
Ms. Parker is a force of nature behind the mic
doesn’t hurt one bit.
On The Rocks is a
very interesting set of blues rock and soul. Blues
fans will be glad that Sweet Tea and Joyann Parker
found each other. Hopefully, it is a relationship
that will pay musical dividends for years to come.
--- Graham Clarke
For their latest
release, The Avenue, Jason Vivone and the
Billy Bats pay tribute to their city of
residence, Kansas City. In particular, the album’s
eight tracks pay homage to one of the city’s
roughest and toughest neighborhoods, Independence
Avenue, where Vivone and his ex-wife used to reside.
The neighborhood was apparently rife with with
prostitutes, drug dealers, serial killers, and
judging by the tunes on this album, great source
material.
As on Vivone’s previous
releases, the band takes the listener through a
variety of musical styles, beginning with the
Diddley beat of the amusing opener, “The Vivone Song
(Pronounced Viv-O-Nee),” the somber title track
dedicated to all the wrong-doers of the
neighborhood, the swinging “Hello Mrs. Radzinsky,”
“Train Musta Jumped The Track,” a rarity in the
blues these days ---a genuine train song --- and the
splendid slow blues, “Calendar,” one of several
tracks that features some of Vivone’s slide guitar.
“My Heart Is In The
Right Place” is an extended piece that gives the
band a little room to stretch out on their
respective instruments, and the closer, “His Honor,
The Mayor,” is an instrumental played by Vivone on
his cigar box guitar, Nicotina, in honor of Kendall
Kohr, the of one of the Avenue’s icons and the
unofficial Mayor of the neighborhood. The album’s
lone cover is a good one, a scorching remake of Jim
Jackson’s “Kansas City Blues” that includes a
shout-out to the neighborhoods in Kansas City, both
KCK and KCMO.
The Billy Bats include
Ben Hoppes (banjo, backing vocals, percussion), Rick
Macivor (organ, keyboards, piano, backing vocals,
percussion), Joanna Berkebile (backing vocals,
percussion), Paula Crawford (guitar, backing vocals,
percussion), Matt Bustamante (drums, backing vocals,
percussion), and Jeremy Clark (bass). Just like
Vivone and the Billy Bat’s other releases, The
Avenue is a ton of fun from beginning to end.
--- Graham Clarke
On their new EP, The
Voodoo Sessions: Live at Down Under (Roller
Records), the Norwegian band Berdon Kirksaether &
the Twang Bar Kings capture a stellar four-song
set recorded at Down Under, a night club in
Mjøndalen. Kirksaether is a longtime veteran of the
Norwegian blues scene, best known for his work in
the band CIA. The Twang Bar Kings actually includes
two additional former members of CIA, drummer Roy
Hanssen and bassist Stein Tumert, plus guitarist
Erik Gabrielsen.
Blues rock fans will be
pleased with this recording. The opener, “Mama Roll
Over,” is a crunching rocker that slowly builds in
intensity, and “Some Kind of Voodoo” is loaded with
swampy atmosphere, thanks to the funky rhythm and
reverb-drenched guitar. The band also does a great
cover of Robin Trower’s “Mad House,” with some
effective Hendrix/SRV-based guitar work. The final
track is “When The Moon Is On The Rise,” a moody
blues track that offers some pretty cool guitar
effects.
Although relatively
brief at 20 minutes total running time, The
Voodoo Sessions: Live at Down Under packs quite
a wallop. Hopefully, we will get an extended live
set from Kirksaether and the band in the near
future. In the meantime, this muscular set of blues
rockers will do just fine.
--- Graham Clarke
I’m impressed by the way
Bob Margolin doesn’t hesitate to let his
music take him where it will. His new disc on
VizzTone, My Road, is a look at where Bob’s
life and music are today. I appreciate his
willingness to be introspective, to examine the path
the way it is and the way it should be. This is an
interesting departure from Bob, so let’s give it a
listen.
He starts out with “My
Whole Life” and it reflects a look at the music that
is his life and where it has taken him and where it
continues to go. Tad Walters lends a mean harp solo
to the mix and we’re off. “I walked out on the
bandstand…picked up this old guitar…I smiled at the
crowd…thousands, near and far….they applauded…they
listened…not a note did they miss…and behind my
shades I realized…my whole life has led up to this.”
Whether it’s a festival in front of thousands or a
gig at the local watering hole, all that Bob has
done before has led up to this. Bob segues on to
“More and More” and here we have a look through
those shades of his at love. “It’s easy to hurt…an
open heart…when we don’t mean it…two lovers…solving
their problems together…instead of trying to win a
fight…we believe in each other…more and more…and
true love is in sight.”
Our next cut, “I Shall
Prevail,” has a rougher tone to it and we find Bob
facing the challenges of life. “I try to keep my
eyes closed…but my sweet dreams fade away….and I
realize I’m too mean…and harder times are near…I’ve
got to face today…and the years they’ve got me
here…and if I should fail…I can’t fail…I must
prevail.” “Goodnight” finds Bob reminiscing about a
love in his life. “I see your smile above me…while I
play these Blues for you…you see my tears below…love
forever’s really true…and goodbye is just not
right…so I’ll just say goodnight.” I love the
intricate fretwork of this tune and the simplistic
style that Bob brings to the song.
We move on to
“Understanding Heart” and Bob brings out the slide
for his trusty Tele on this tune. “My foot tapped
silently…under my desk…to the music in my head…then
the teacher told a Bible story…that I’ll remember
'til I’m dead…God gave one wish to Solomon…and his
wish was so smart….Solomon wished to God…for an
understanding heart.” An understanding heart will
get us all through many of life’s trials and Solomon
was indeed smart to wish for that as a gift from
God. Chuck Cotton provides a heavy drum intro to one
of the few covers on Bob’s disc, Sean Costello’s
“Low Life Blues”. “I used to have…plenty
money…pretty girls everywhere I went…I guess I had
so many dollars…that I didn’t have no sense.” Tad
Walters adds a particularly poignant harp solo here
as Bob realizes there’s a downside to all that
prosperity and he definitely has the “Low Life
Blues.”
Nappy Brown was a close
friend of Bob’s and he tackles one of Nappy’s songs
next with his take on “Bye Bye Baby.” Tad joins Bob
on the vocals as they sing, “bye…bye…bye...baby,
bye..bye.” The relationship has ended, she’s moved
on and Bob has realized his love for the woman in
question too late to the point all he can do is say,
“Bye…Bye.” I love the way Bob tells a story and he
relates an opportunity he had to see a young B.B.
King in “Young and Old Blues.” “It was hard to
believe…a man so old….could still play and sing…that
ancient man played all night long…B.B. King was 44…I
shake my head and smiled about…how we look at young
and old…it depends on what side you look from…and
the truth can sure be cold.” Age is indeed just a
number and your perspective is everything.
Bob’s been on the road,
seen many things and there are times where it’s best
not to ask the question about where he is or where
he’s been, a topic he covers in “Ask Me No
Questions.” “I burned our bridge…a long time
ago…what I’ve been up to…it’s best you don’t
know…your heart is broken…buy my eyes are dry…ask me
no question…I’ll tell you no lies.” “Feelin’ Right
Tonight” finds Bob frisky and ready to play.
“Right…right tonight…I’m feeling right…ain’t nothing
I won’t do…unless I want to.” Tad is blowing a mean
harp and I’m impressed by the wall of sound that
Bob, Chuck and Tad are able to produce behind this
tune.
More slide guitar is in
play as Bob tells us about the “Devil’s Daughter.”
“Oh, I’ve got a fever…makes me bleed…oh, if I could
see her…she’ll have the answers that I’ll need…I’m
dancing with the Devil’s daughter…I should quit…but
my will is gone…I’m dancing with the Devil’s
daughter…Lord knows…the things I’ve done.” Bob’s
slide guitar is definitely poignant and remorseful
for all of the sinful things you know that he
experienced at the hands of the Devil’s daughter.
Our final track, “Heaven
Mississippi,” pays homage to some of Bob’s friends
from the great state of Mississippi. “I know we were
in Clarksdale…was it now…or way before…Muddy’s house
was rocking…he led me through the door…Heaven,
Mississippi…the Blues I love was there.” Be it
Muddy, Koko, Hubert, Junior Wells or many more, the
Blues that Bob loves was created by many of the
native sons and daughters of Heaven, Mississippi.
I’ve enjoyed this new
disc, My Road, from Bob Margolin. The
songwriting is exquisite and producer Michael
Freeman maximizes the talents of Bob, Chuck Cotton
and Tad Walters to achieve the musical requirements
of the songs found on this disc. Bob’s website is
www.bobmargolin.com and you will find his tour
schedule there, as well as the opportunity to grab a
copy of My Road for yourself. Bob still
continues to evolve as a performer and songwriter in
a way that caught my ear and made me pay attention
to the music he had to share on this disc. Heaven,
Mississippi may be a state of mind but a lot of
great music came from there and Bob was fortunate
enough to experience much of it live and in person.
My Road is an excellent disc.
--- Kyle Deibler
I’m happy to have been
intimately involved in the lifeline of R.B. Stone’s
new record, Some Call It Freedom (some call it
the blues). From listening to a rough mix on my
back porch with R.B., to the pre-production mix to
the final copy, it all has been an interesting
journey and an educational experience. R.B. and I
commiserated over more than one bowl of green chili
and I’m proud to let the world know he’s releasing a
kick ass record. Its part Hill Country, part
Americana, with just enough Rocking Blues to spice
it up the way R.B. likes it. Let’s give it a spin
and hope my CD player doesn’t experience a meltdown
along the way.
R.B. has a fine
selection of musicians behind him on this disc:
Terrance Houston on drums, Larry Van loon on B2, B3
and piano, Randy Coleman and Josh Fairman on bass,
along with Tim “Too Slim” Langford lending a killer
slide lick to “Weapons of Mass Persuasion” and
Colorado’s own Austin Young with the lead guitar
pyrotechnics on “Standin on Top of the World.” The
guys all lend killer performances to the mix,
starting with our first track, “Hill Country Stomp.”
Here we have R.B. playing lead while telling us all
about his Mississippi influences. “It’s a primal
rhythm…can’t resist…starts in your feet…in your
hips…head starts bobbing…it won’t stop…you’ve been
bit…by the hill country stomp.” R.B. adds a blazing
harp solo to this tune and we’re off and running.
R.B.’s electric guitar
provides the intro for our next track, “Some Call It
Freedom,” and here he explores the relationship
between being poor versus being completely free
versus having the blues. “If you ain’t got a
woman…no woman can hurt you…if you ain’t got a
woman…no woman can leave you…some call it
freedom…some call it the blues.” Terrance is hitting
the kick drum hard and R.B.’s fretwork is some of
the best I’ve heard from him. We move on to our next
cut, “35 Miles to Mobile,” and here we have R.B.
leaving Memphis to hook up with his sweetheart in
Alabama. “I got a little Bama sweet thing…who treats
me like a king…I may not be Elvis…but tonight he’ll
want to be me…35 miles to Mobile…don’t want to be
late.” With the urgency of the drums in the
background, I’m thinking R.B. has the pedal to the
metal and I know for a fact he won’t be late.
“Mind Your Bizzness” is
the next track on R.B.’s disc and here we find him
more than willing to live and let live. “Keep your
spoon out of my Kool Aid...sip some tea…in your own
shade…mind your bizzness…I’ll mind mine…and we’re
going to along just fine.” The advice applies to
everything from what you’re drinking to the woman in
your life…”mind your bizzness….I’ll mind mine…and
we’ll get along just fine.” Women in general are a
vice of R.B.’s and he’s on the other end of it in
“YoYo Lover.” “You talk trash…then say I’m
great….not sure how much I can take…is it me…or do
you want another…just tell me…my yoyo lover.” She
sounds like a handful and I’d let this one be if I
was R.B.. R.B. picks up one of his cigar box guitars
for the tune, “Another Thief”, and I like the reverb
in the audio mix. “I ain’t trying to be somebody…so
desperately…you ain’t nothing but another thief to
me.” We can’t get along with everybody and R.B. is
definitely not connecting with the person in our
discussion here.
Up next is an
instrumental, “Nickajack,” and R.B.’s back at it
with another one of his cigar box guitars. The Hill
country vibe is infectious and about 30 minutes of
this track would make the perfect work-out track for
my next visit to the gym. More rocking guitar
continues with the track, “You Don’t Want Me”, and
here we find R.B. unlucky in love this time. “I’m
crazy about you, baby…you don’t want me.” It doesn’t
happen often but R.B. didn’t get lucky this time.
R.B.’s got a great sense of humor and we hear this
in our next cut, “Won’t Stop Rockin.” “The day I was
born…the doctor slapped my ?...I said I won’t stop
rocking’…and I slapped him back…it’s in my soul…it’s
out of control…I won’t stop rocking that rock and
roll.” An interesting twist on an old tune, this
child is definitely a rock and roller.
“Weapons of Mass
Persuasion” is by far my favorite tune on R.B.’s new
disc, and I appreciate his perspective on the female
collective. “Silky black hair…seductive stare…long,
sexy legs…a Penthouse pair…pearly white teeth...when
she says please…she breaks down defenses…of every
man she meets…it’s so hard to resist her…weapons of
mass persuasion.” Between Tim Langford’s killer
slide guitar and R.B.’s harp, along with some clever
lyrics…this tune is just bad to the bone and I like
it.
R.B’s back with his harp
for the final track with Austin Young handling the
lead guitar duties on “Standin’ on Top of the
World.” “I’m about to pinch myself…could this be a
dream…the way she hugs on me…beats anything I’ve
seen…she’s got a heart of gold…fit only for a
king….why she ever gave it to me…is still a
mystery…I’m standing on top…of the world.” She
sounds like a helluva woman to me and I’d keep this
one R.B. if I was you.
Kudos to R.B. Stone and
his cast of merry men for creating one fine disc for
us to listen to. Stellar musicianship, great
songwriting, and clever lyrics all come together to
make this a disc definitely worth throwing in your
CD player. R.B. is one of the hardest working folks
I know, so catch up with him on his website, www.RBSTONE.com
and grab a copy of Some Call it Freedom (some
call it the blues), and play it loud at your
next party. You’ll thank me later.
--- Kyle Deibler
One of the sweetest
voices here in Colorado belongs to vocalist Rex
Peoples. I first met Rex as part of African Wind
when they performed at an acoustic festival the
Phoenix Blues Society produced back in 2006, so Rex
and I go way back. He and his amazing band, X
Factr, just got back from Memphis, representing
the Colorado Blues Society at the IBC, and they were
able to record a killer record, Fried Food / Hard
Liquor, in time for the big event. It’s smooth
as silk so let’s give it a spin.
X Factr consists of Jim
DeSchamp on guitar, Carleton Pike on drums, Dan
Haynes on keyboards and Bob Tiger on Bass. They all
contribute background vocals as well and the disc
starts off with the gospel-tinged “Lord Willing.” As
Rex tells us on this first cut, “Lord willing…and
the Creek don’t rise…I will survive.” Rex has had
numerous health issues to overcome and he’s right to
give the Lord credit for surviving all that he’s
been through. His love of our favorite genre is
explored next in “I Love the Blues.” “I love the
blues…it makes me feel good…when I lose…down in the
Delta…nobody knew how far it would go…from out of
the cotton fields…to sweet home Chicago.” The Blues
is indeed everywhere and Rex & X Factr bring that
point home with this track.
Dan’s keyboards provide
the intro to our next tune, “Field Hand Blues.” “In
the fields of Mississippi….working long and hard…in
the sun….through blood, sweat and tears...the music
was born…I hear the Master calling me home.” Rex
pays homage to his Delta roots with this tune and
it’s clear the Blues run deep within his DNA. We
move on to “All Day Blues” with Dan and Jim
providing the intro for the ballad that Rex brings
to us next. “The Blues don’t mean something’s
wrong…no, the Blues don’t bring me down…they just
tell the truth…what’s going down…everybody gets the
Blues.” We all get the Blues and the reasons why we
do vary from individual to individual, but Rex is
right, “everybody gets the Blues.”
The title track, “Fried
Food / Hard Liquor”, is next and both can be found
in the Delta in great quantities. An homage to the
jukes of old, let’s let Rex tell the story,
“Somewhere in the middle of nowhere…stood a tiny
wooden shack…Christmas tree lights…hung year
round…with a wood stove in the back…we’re serving
fried food, hard liquor…playing them Blues.” Jim’s
guitar solo brings us the desperate feel of the
lonely jukes on forgotten roads in the South and
this is my favorite tune of the disc so far. “Making
Bad Look Good” is the next tune the band tackles and
I appreciate the musicianship of X Factr as Rex
spins us another tall tale. “Body aches all
over…from your head to your feet…another day of
trial…promote the new CD…fingers on the
keyboard…foot pounding on the wood…people screaming
‘hell yeah”…ooh, he sounds good…you got a
strange….strange way of making bad look good.” The
life of a musician isn’t an easy one by any means
but Rex and X Factr are making it look good.
“Trouble Man” is the
next track the band tackles and here Rex lets us
know that not all men are good in this world. “Oh
trouble man…you’re going to die along…you know that
you’ve been doing wrong.” Life has a way of
balancing everything out and the sins of a ‘trouble
man’ will catch up with him eventually. Now Rex has
been known to sweet talk the women with the best of
us but none of us are perfect and he covers that
topic here in “Talkin’ with My Baby.” “Talking with
my baby…somewhere…around evening time…I must have
said something wrong…cause she was long gone…before
the sun went down.” Rex doesn’t know what he said
was wrong and he’s definitely not sure that she was
right. In either case she’s gone and that’s all
there is to it.
Our next tune, “Lover,”
is the most up tempo song on our disc and Rex is
definitely happy here. “She’s everything to me…she,
brings out the best in me…I love her
faithfully…she’s all I’ll ever need.” It’s always
great to hear a good man has found a good woman to
share his life with and Rex’s joy evident here. Our
final cut, “I Wanna Know,” finds Rex questioning the
woman in his life. “I can’t sleep at night…cause, I
worry…I can’t sleep at night, cause I still care….if
you love me girl, you need to show it…cause you
treat me, like I’m not here.” Hopefully all turns
out well for Rex in this cause and you can’t blame
him for wanting to know the truth in his life.
Fried Food / Hard
Liquor is a disc of all original tunes written
by Rex and the disc was recorded live with most of
the tunes in the can with one take. It’s a testament
to Rex and X Factr that they were able to capture
this gem of a record as quickly and smoothly as they
did. There was a lot of buzz on Beale in Memphis
about this Colorado band, and their semi-final set
at B.B. Kings will be in my memory banks for a long
time to come.
--- Kyle Deibler
Barry Levenson is
a masterful guitarist. The Visit (Rip Cat) is
a masterful recording. Primarily comprised of
original material and primarily instrumental, it is
one of the most impressive guitar albums to come
down that proverbial pike in a long while.
The liners indicate that
he wanted to pay tribute to some heroes, and the
tunes that pay homage to Albert King, Otis Rush,
Bobby Bland and Lightnin’ Slim are, indeed,
brilliantly performed. The original "Steel City" is
reminiscent of Kenny Burrell’s classic recordings of
the '50s and '60s. Mike Thompson’s big B-3 adds
color and the rhythm team of drummer Mike Sandberg
and bassist Hank Van Sickle sets a nice groove.
The guitar work is
sinewy and sharp. On "I Wonder Why" the essence of
Otis Rush is in the house. The guitar lines are dead
on, echoing but not replicating the master. "Ice
Cold Kiss" features Levenson on vocals. Ditto the
rhythmic "It’s Mighty Crazy" and "Talking To Myself"
and the gorgeously jazzy "Shadows At Midnight."
The vocal mastery of
Billy Price is heard on "This Time I’m Gone For
Good" and on Albert King’s "You’re Gonna Need Me."
In both cases Price is impressive. Phil Krazak is
credited with “horns.” Again, Thompson’s keyboards
are impressive and Levenson’s guitar work is
stunning.
Barry Levenson deserves
a larger audience. This guy is a monster.
--- Mark E. Gallo
82-year-old John
Mayall sounds like a much younger man on Find
A Way To Care (Forty Below Records). His voice
is crystal clear and his keyboard work is creative
and engaging. The song selection is about half
classics and half original and 100% gripping.
"Mother In Law Blues"
(Don Robey), "The River’s Invitation" (Percy
Mayfield), "I Feel So Bad" (Lightnin’ Hopkins),
"Long Distance Call" (Muddy), and "Driftin’ Blues"
(Charles Brown) share space with Mayall’s own
compositions that sound just as road tested.
The master is joined by
guitarist Rocky Athas, who’s just as sizzling as
you’d expect, given that long history of Mayall
guitarists, bassist Greg Rzab and drummer Jay
Davenport. In the 63 album galaxy of John Mayall
work, this one ranks a strong B+.
--- Mark E. Gallo
This treat of a
recording, Hyde and Seek (HAS Records), comes
from some of the cream of the San Diego blues scene.
Vocalist Earl Thomas and pianist/vocalist Lady
Bianca are joined by Rev. Paul Smith on the mighty
B3, the great Ron Thompson on guitar on "Shake A
Hand," Winfred Williams, drums, Oshmin Oden, bass,
and Neil Barnes on harmonica.
Nine songs, including a
pair from the pen of Allen Toussaint, give this
charm and pizzaz. Opening with a soulful "Don’t Let
The Devil Ride," Thomas sings “if you let him drive
your car/you know you’ll go too far,” and Barnes is
especially impressive. "Heart Like A Locomotive" is
given an exceptionally bluesy treatment with superb
B3, harp and drums (“I know I’m not singing about
nothing new”).
"A Song For Jill," which
is a reworking of "Bridge Over Troubled Waters,"
with Lady Bianca and Earl Thomas sharing vocals, is
deeply soulful, and their version of "Shake A Hand"
is true to the original. "Rough Side of the
Mountain" is gospel at its most riveting.
Earl Thomas has always
been this close to breaking through and Lady Bianca
is his equal. Paul Smith and Neil Barnes are
decidedly as important as the singers and the rhythm
team is rock steady. If you find yourself in
Southern California, do stop in to catch these
stellar musicians.
--- Mark E. Gallo
