In my mind’s eye I
see Damon Fowler and Tab Benoit spending more time
outside of Tab’s Whiskey Bayou Studio fishing than
inside recording a record, but by the sounds of
things they managed to do both. Tab has coaxed a
brilliant record out of Damon, and his new release on
Blind Pig Records, Sounds of Home, is one of my
early favorites of 2014. It will make many return
visits to my CD player this year, but since it’s in
there now let’s give it a listen.
Discordant notes emanate from Damon’s guitar as some
wicked slide work introduces us to “Thought I Had It
All.” Damon’s content, thinking he’s got the world by
the tail. and then finds that not all is what it
seems. “Thought I had it all…but it all had me.”
Things are more difficult than they seem but I have
faith that Damon will figure it all out in due time.
“Sounds of Home” features a brighter guitar intro
with some assistance on vocals from Big Chief Monk
Boudreaux. “The sky turns orange…with shades of
black…the clouds split open…when the lightening
cracks…I’m tire of hoping…for the sounds of home.”
Damon is remembering the familiar sounds of all the
funky clubs he’s played in and the comforting sounds
of home after time spent on the road.
Up next is
“Trouble” and Damon’s telling the woman he loves
that it’s inevitable that she will break his heart.
“Sparkle like a diamond…venom like a snake…the
trouble light is shining…I can’t find my way…I know
that it’s just waiting on me…but I can’t see the
signs…if I get any closer to it…trouble all the
time.” He knows he’s going to get hurt but he just
can’t stay away.
“Spark” features more of an up tempo, rock feel and
the band’s in high gear. Damon’s rhythm section of
Chuck Riley on bass and James McKnight are more than
up to the task of keeping the back end tight as
Damon tells us of the importance of a spark in
romance. “Got a fine…blue-eyed woman…she’s got a
great big, old heart…going to try to keep the woman
happy…she’s going to need a spark.” Amen, Damon! The
spark is indeed the key.
Up next is probably my
favorite tune on the disc, “Old Fools, Bar Stools,
and Me.” Damon is lamenting the fact that the bottle
came between his woman and him. “At noon…when I wake
up…the fog…hasn’t cleared…I stumble through my
kitchen…as I hold back my tears…just give it an
hour…and you will surely see…old fools, bar stools
and me.” Mournful notes from Damon’s guitar echo his
sadness at the love his affinity for the bottle has
cost him.
Tab co-wrote the next tune, “Where I
Belong,” with Damon and the tone is decidedly
upbeat. Sounds like Damon’s on his lap steel and
sharing his happiness with us. “Daytime turns to
nighttime…jamming with my friends…music feels me
up…and I don’t want it to end…moon of
Kentucky…everyone sings along…sweet, old
melodies…its where I belong.” Damon is definitely
where he needs to be.
That swamp rock feel that Tab is known for makes
an
appearance in the form of “Grit My Teeth.” Damon’s
having relationship problems again and this time it
might be best for him to leave. “Don’t try to drag
me down…into the flame…I grit my teeth…and I’m gone.
Leaving is probably the wisest thing that Damon can
do and I’m enjoying what are obviously Tab’s
influences musically with this tune.
Damon moves on
to a cover of an Elvis Costello tune, “Alison,” and
he’s reflecting on the life that is hers. “Alison…I
know this world is killing you…oh, Alison…my aim is
true.” Alison is living a largely loveless life and
while the truth is apparent to Damon, there’s not
much he can or should do to alleviate her human
condition. Damon then heads toward “TV Mama,” an old
Johnny Winter tune. “My baby’s crying…she wants my
TV fixed…all it needs is serving…and it needs it
mighty quick.” Sounds like the TV repairman has this
one well in hand.
The band closes out the record with a tune by Damon,
“Do It For the Love,” and a traditional spiritual,
“I Shall Not Be Moved.” In “Do It For the Love,”
Damon is focusing on the positive moments of life on
the road, “We’ve got friends out on the
road…friendly faces…that we know…open arms…in every
town…come on in…sit on down…through the rain…through
the mud…through the pain…through the blood…then the
sun shines…from up above…think about the good
times…do it for the love.” Life on the road isn’t
always easy, but it’s always been the fans in every
town that provide a bluesman with the bright spots
on the road. Damon showcases his guitar virtuosity
one last time as he finger picks his way through “I
Shall Not Be Moved.” “March right up to heaven….I
shall not be moved…just like a tree…planted by the
water…I shall not be moved.”
Damon’s blessed with a very tight band and the
groove throughout this record is very strong. Tab’s
building himself a pretty extraordinary portfolio
with some of the records he’s been producing lately
and Sounds of Home is a gem out of Damon. The band
is touring behind Sounds of Home as we speak, and
both the disc and the band will be well received.
Damon’s website,
damonfowler.com, has his touring
schedule posted on it and his show here in Colorado
is one I’ll be at. I’m sure Damon will have the new
disc with him and I’d grab a copy as soon as you
can. Mine is going to stay very close to my CD
player for a long time to come.
--- Kyle Deibler
I was happy to run into
Sean Carney on the steps of the Orpheum
Theater in Memphis at this year’s IBC. I was even
happier when Sean handed me a copy of the new disc
that he and Jonn Del Toro Richardson had
recorded, Drivin’ Me Wild. Any disc that features
three Albert King Award winners for best guitarist
has to be good in my book and I’m happy to report
that it definitely is. I also have to say for the
record that since I’ve either been in the audience
or working backstage for Jonn’s, Sean’s and J.P.’s
IBC victories that I’m starting to feel my age. But,
a good record is a good record, and Drivin’ Me Wild
is definitely that.
The disc starts out with Jonn
and vocals and wondering if the woman he’s got his
eye on feels anything for him at all in “Tell Me Do
You Love Me.” Jonn’s got a distinctive voice and he’s definitely
hoping this girl feels the same way for him. “Tell
me pretty baby…am I right or am I wrong…tell me
baby…my suspicion is growing strong.” I’m not even
going to try to figure out which lick is from which
guitar player so for the record just let me say
this --- all three of these guys can play the hell out
of the guitar and all I can do as a listener on this
disc is just sit back and enjoy it.
I’m starting to
get the feeling that maybe Jonn’s out of luck with
this woman so let’s move on to Sean at the
microphone for the title track, “Drivin’ Me Wild.”
This tune has more of a swing feel to it so Sean’s
fretwork is fairly clear to me on this one. Sean’s
in love as well and the object of his affections is
definitely driving him wild.“I get so excited…when
I hear you call my name…you know you shake me
up…just like a hurricane.” Sean’s got it bad and
hopefully this one will stay awhile. Unrequited love
seems to be the topic of the day as Jonn’s back on
the vocals and he’s still “Lookin’ for My Baby.”
“Looking for my woman…going to find that girl
somehow…looking for my baby…got to go town to town.”
She’s out there somewhere and if I know Jonn…he’ll
find her faster than we think!
A very soulful guitar intro from Sean finds him back
on the vocals for “Cloud Nine.” “I’m open for your
business…stop in any time…just ring my bell for
service…and I’ll take you to cloud nine.” Sean’s in
love and he’s open for business 24/7 for this one.
House calls, special appointments…Sean’s more than
happy to oblige. Omar Coleman takes the lead on our
next tune, “A Man like Me,” and though I’ve not seen
Omar perform personally, he’s more than up to the
task. “You don’t need a man like that…all you need
is a man like me…a man who will know….the meaning
of…monogamy.” Omar’s making his case for the woman
he’s after and he’s promising to be true with his
love for her. She really can’t ask for much more
than that! Jonn assumes the role of confidant and
healer as the band moves on to “Sit Back Baby.” “Sit
baby…kick off your shoes…sit back child…tell me
what’s wrong with you…as I told you once…life’s too
short to lose!” Jonn’s got the answers to all of her
problems and part of it involves good loving from
this Texas bluesman.
The only cover on the disc is a classic Tom Waits
tune, “Chocolate Jesus,” and Sean takes the lead on
this one. “Chocolate Jesus” is a very dark tune and
San VanFossen’s work on the upright bass in
perfectly complimented by Louis Tsamous’s drumming
to give Sean the canvas he needs to tell us the
story of the “Chocolate Jesus.” The band’s tempo
picks up and Omar’s back on the mic for a tune he
wrote, “Slow Down.” “Slow down baby…you’re too fast
for me…slow down girl….I love your harmony.” Omar
wants to make this woman his bride and if she
doesn’t start to slow down soon, he might not catch
her! Omar stays at the mic for a tune he wrote with
Jonn, “Hold Me.” A classic, slow love song, Omar is
definitely turning on the charm as he works to keep
his woman close. “Love me baby…please, don’t you
leave me alone…hold me real tight…like you hold…your
telephone.” The sad fact in this day and age is that
she’s more likely to hang onto her phone than Omar.
Good luck with that one, my friend!
A little raw distorted guitar gives Sean leeway to
head into the next tune, “Come on With It.” “Come on
with it people…give me everything you can…when I lay
my six string on you…your blues will leave on my
command.” Feeling bad? Life sucks? Trust in the
Reverend Sean to give you absolution and play yours
blues away! The back end is again in full force as Jonn tells us to “Shake That Thang”. “Take your time
my friend…don’t you worry bout a thing…bring your
troubles with you…we’ll help you shake them away.”
Our sense of healing continues as Jonn’s a firm
believer in dancing away your troubles.
We finally
get to hear a bit of Omar on the harmonica with Jonn
on the vocals as the band tackles another song
written by Jonn, “Peace of Mind.” “Going home…I get
no comfort…no comfort or peace of mind…got to get
myself back to the country…going to find me…a new
state of mind." My experience has been that the
country is a good place to take stock of life and
get the insights you need to move forward in your
life. I like this tune a lot and it’s probably my
favorite one on the disc.
We close Drivin’ Me Wild out with an instrumental
tune, “One for J.B.” featuring Sean, Jonn, Louis and
Sam. Smooth and sultry in its attack this feels like
a late night appetizer to tide us over until
tomorrow. The quartet is tight and you’ll be hard
pressed to find a better way to close out the
evening or this record. I’ve enjoyed this disc a
lot. Instrumentally it's top notch and Jonn, Sean
and Omar all give great vocal performances. It
appears that the best place to grab a copy of this
disc is on Sean’s website,
www.seancarneyblues.com.
Jonn and Sean rarely get to play together but if the
opportunity arises for you to see them do so, get
out and go. It’s a rare treat, indeed!
---
Kyle Deibler
The Bluesmasters was originally conceived as a
vehicle to showcase former Elvin Bishop/Jefferson
Starship vocalist Mickey Thomas’ blues vocal chops,
but has since branched out to include the powerhouse
singer Hazel Miller and the impressive fret work of
guiding force Tim Tucker. The band also includes
Larry Thompson (drums), Doug Lynn (harp), and Mitch
Towne (keyboards). In addition, Tucker’s 16-year-old
daughter, Kassidy, holds down the bass guitar
position with an aplomb that belies her youth.
The first two Bluesmaster releases focused on mostly
cover material of familiar blues tunes, but Volume
Three (Direct Music Distribution) offers up seven
dynamic original tunes, with three covers and guest
appearances from Ric Ulsky (B-3), Aynsley Dunbar
(drums), Bob Birch (bass), and a formidable quartet
of guitarists (Hubert Sumlin, Rusty Anderson, Eric
Gales, Jake E. Lee).
Miller and Thomas threaten to blow the proverbial
doors off on these tracks, Miller handling lead
vocals on six choice originals, all penned by Craig
Ericson. These include the opening shuffle, “Loving
Man,” the slow blues burners, “Can’t Let You Go,”
“Suspicious,” and “One I Need.” Thomas’ three tunes
are all covers and they’re “good-uns,” with two
Chicago classics….Little Walter’s “Up The Line”
(featuring some sweet harp work from Lynn) and the
Jimmy Reed standard, “Baby What You Want Me To Do,”
along with the ’70s rock classic, Eddie Money’s
“Baby Hold On.”
Tucker’s guitar work is standout from start to
finish, and he and Lynn get to relive the golden era
of Chicago Blues with the instrumental, “Colorado
Boogie.” Volume 3 will be a treat to blues and
blues-rock fans, just like the first two volumes
were. The band’s next set is promised to be a live
recording in early 2014, so there’s more to look
forward to.
---
Graham Clarke
I’ve got admit that I’ve been lukewarm in my
response to the previous Bluesmasters releases, in
part I think because Jefferson Starship was one of
my favorite bands growing up and I just couldn’t
relate to Mickey Thomas as a blues singer. They’ve
done well in spite of my token resistance and The Bluesmasters, Volume 3 is the disc that is shifting
me over from the dark side. The presence of
Colorado’s own Hazel Miller has made me a fan for
sure. I’ve had the pleasure of seeing Hazel perform
live here in Colorado and the woman can flat out
Sang!! Her impact on this disc is impressive and I’m
happy to see her getting her due. Are y’all ready to
hit Play?
The disc starts out with the slow grooving “Loving
Man.” Hazel is looking for someone to bring some
joy into her life and she’s willing to take another
woman’s man if it suits her fancy. “Going to show
you…the way you make me feel…going to let you
know…that my love is…so real.” Hazel is more than
willing to put her charms to the test to win over
the man she wants. We move on to “Can’t Let You Go,”
and here we find Hazel reflecting on the decisions
she made in regards to a man she loved that
evidently has decided to move on. “I’m missing you
like crazy…and I got to let you know…that I got to
get you back…cuz, I can’t let go.” Not sure if Hazel
is going to make this one happen, but she’s
determined to try!
Mickey Thomas takes the vocals
for our next tune, a cover of Little Walter’s “Up
the Line.” The tempo is definitely faster and Mickey
is up to the task. “I’m cutting out…girl. I’m going
back up the line…if I stay another day…it’s going to
drive me…out of my mind.” Doug Lynn is providing the
fireworks on the harmonica and he’s doing a great
job of matching Mickey’s intensity to make this tune
happen.
Doug’s harp continues to be showcased as he and Tim
Tucker on guitar tackle the instrumental-driven
“Colorado Boogie.” It’s a refreshing change from the
vocal intensity of both Hazel and Mickey, and a welcome
break in the sequencing of tunes on this disc. Hazel
has been wary of her man for awhile now and she
shares her thoughts with us on the appropriately
named tune, “Suspicious.” “I’ve been suspicious…been
wondering where you go…I got news for you
mister…won’t be a fool anymore.” Hazel’s got eyes
and ears out all over town and the feedback she’s
getting in regards to this man is not good. Time for
him to go!
Having kicked her man to the curb, Hazel
is back on the prowl and she tells us so in “Good
Time Woman.” Hazel knows the effect she has on men
and her loving is hard to beat. “Good time
woman…need a good time man…yes, I do…and if you ever
love me…I’ll think you’ll understand.” Hazel will
take good care of her man and you can bet your
bottom dollar he’ll leave her bed satisfied.
Jimmy Reed’s tune, “Baby What You Want Me to Do,” is
up next and Mickey’s back at the microphone for
another soulful vocal. “I’m going up…yes, I’m going
down…anywhere you want me to go…yeah, yeah, oh
yeah…you got me where you want me…now tell me…what
you want me to do.”
Hazel returns to the
microphone for two of the disc’s final three cuts
and the next one up is “Come Back Baby.” Her man is
on the road and Hazel’s counting the time until he
returns. “Baby, I’m a tell you…you’re always on my
mind…now, come home baby…cause we will have a good
time.” Hopefully he’ll be home soon and Hazel will
make sure he stays awhile.
The soulful “One I
Need” is next and here we find Hazel postulating on
the kind of love she’s really wanting in her life.
“I think that you’re the one…so please don’t tell me
no…I don’t know what I’d do…if you should ever go.”
Hazel loves this man and he’s doing a good job of
keeping her happy as well. Hopefully this will be a
love that will last.
Mickey’s on the microphone for the final cut of the
album, and here we find the band re-working the Eddie
Money classic, “Baby Hold On.” The Bluesmasters give
it a nice, funky groove and Mickey takes us out in
fine fashion. “Baby, hold on to me…whatever will be
will be…the future is ours to see…when you hold on
to me.”
I’ve got to admit that I’ve enjoyed
The Bluesmasters, Volume 3. Hazel Miller’s vocals tear up
most of the disc and there’s a very talented band
led by Tim Tucker on guitar and Doug Lynn on harp
providing a very tight context for both Hazel and
Mickey to shine. The band’s website is
bluesmastersband.com, and that’s the first place I’d
head to learn more about the group and grab a copy
of this excellent disc. It appears the band will be
on tour this summer and I’d love to catch a show
with Hazel Miller in the mix. As I said earlier,
“that woman can Sang!”
---
Kyle Deibler
I’m not even going to offer the pretense that I’m
qualified to review anything Janis Joplin has ever
done, but I do think it’s important to the readers of
Blues Bytes to step outside the norm a bit to
discuss the recently released, original Broadway
cast recording of A Night with Janis Joplin. It
features my friend Mary Bridget Davies as Janis, and
the recording Mary Bridget and the cast have recorded
is amazing. It blew me away the first time I
listened to it and without a doubt will be in my top
ten list at the end of this year!
My first introduction to Mary Bridget was at the
2011 International Blues Challenge where she and her
band took second place. They proudly represented the
Kansas City Blues Society and were a strong
contender to win it all in spite of being a fairly
new band to the world. Mary Bridget went on to
release her record, Wanna Feel Something, and it was
a contender at the Blues Music Awards for the Best
New Artist award that ultimately went to Big Llou.
I was aware of Mary Bridget’s leading role as Janis
Joplin in A Night with Janis Joplin and I made it a
point to head up to Milwaukee after last year’s BMA’s to see the show. Thankfully, my friend Tracey
had a room for me and we went to see the show at
Milwaukee’s Repertory Theater. The show that night
was amazing and we talked with Mary Bridget after
the show about the direction the play was heading.
It had been invited to Broadway by several theaters
but the Lyceum Theater on Broadway is where the show
belonged. It opened to tremendous reviews with Mary
Bridget and the cast appearing on shows on VH1, the
Macy’s Parade, etc to trumpet the virtues of the
show. And while the show ended its Broadway run in
February, plans are in the works to remount the show
at a theater in Union Square. Its New York life is
far from over and I’m hoping to get to New York to
catch another performance.
So, back to the disc. It isn’t enough to say Mary
Bridget sounds like Janis on this record, Mary
Bridget IS Janis on this record and it’s amazing.
The recording does an amazing job of chronicling
Janis’s tunes as well of those of her influences
such as Aretha Franklin, Odetta and Nina Simone.
Everything is here from “Tell Mama” to “Piece of My
Heart” to “Me and Bobby McGee,” and for the entire
length of the recording we’re all transported back
in time to when Janis was alive and we loved her for
her honesty and emotion. There was magic in the
studio the day this disc was recorded and there’s
magic on the stage whenever Mary Bridget and the
cast of “A Night with Janis Joplin” hit the stage.
Not everyone is going to have the opportunity to
still get to New York and see the play, but we all
have the opportunity to get a copy of the original
Broadway cast recording and it’s the next best
thing. Even though I know its Mary Bridget Davies as
the lead singer, I still hear and feel the
vulnerability and raw emotion of Janis in her
performance. So take a minute and grab a copy of the
original Broadway cast recording of A Night with
Janis Joplin for yourselves to hear what I mean. The
disc can be found at
anightwithjanisjoplin.com and
it quite simply might be the best recording you
listen to all year. Enjoy!
---
Kyle Deibler
I had it on good authority that Minnesota’s entry
into the 2014 IBC, Annie Mack, was a force to be
reckoned with and I looked forward to the
opportunity to catch this chanteuse from the land of
10,000 lakes. Unfortunately, our paths never crossed
in Memphis, but I did come home with Annie’s record,
Baptized in the Blues, and Annie blew me away. She’s
not only baptized in the blues, they threw her in
the river and made her swim to shore! It’s a great
record and I can honestly say the pre-IBC hype was
justified. Let’s give it a spin.
Let me begin by saying that Annie’s disc features
all original tunes and she’s starting off strong
with “Fool to Believe.” Annie’s trying hard to
believe in the love she thought she’d found, but the
truth seems to be very different from reality. “I
got my bags all packed…waiting by the door…I’m all
broke up inside…you don’t want me anymore.”
Unfortunately, this relationship isn’t what Annie
needs and she finds that “she’s a fool to believe.”
Hopefully things will be looking up for her soon.
The title track, “Baptized in the Blues,” is up next
and has a soulful, funky feel too it. “Down on Beale
Street, blues saints gather ‘round…Beatin’ out the
rhythm…on that hallowed ground….getting
baptized…getting baptized in the blues.” The ghosts
of Memphis are serving Annie well and she’s learned
the lessons they were there to teach her. Our next
cut, “Hey, Hey Mama,” starts out with a much slower
and sweeter tempo as Annie tells us about a woman
she knows. “Had to smile the other day…I could hear
your voice…in the words I say…hey, hey mama…put your
records on…get you a little taste of whiskey…listen
to them old blues songs”. Sounds like a dear old
friend of Annie’s who definitely draws some comfort
from “them old blues songs.”
Annie’s roots are steeped in Gospel and she draws on
those roots in our next tune, “Call on Jesus.”
“You’d better call on Jesus…to get through...well,
you keep chasing after the world…now, you’re dying
in the world…ain’t nobody else gonna save you…you’d
better call on Jesus.” Sounds like good advice to
everyone truly looking to find their way.
We move on
to the bass heavy “Little Bitty Girl Blues” and
Annie’s expounding on the troubles of a little girl
stuck in a very dangerous world. “The world was so
big…and she was so small…really didn’t have nobody
else to call…that’s when she knew…that she had the
little bitty girl blues.” Oftentimes the world is
just as tough for the children that inhabit it as
well as us adults and kids are capable of getting
the blues, too. This theme continues as Annie sings
about what seems to be her little girl in “Saying
Grace.” “Brown eyes…wild curls…dancing so free…round
and round…pure at heart…God’s gift to me!” Annie’s
love for this little girl is evident and it’s clear
that she’s the apple of her mother’s eye.
Miles Johnston on the drums and Tim Scribner’s bass
lay down a thick and nasty back end as Annie sings
another song of sadness, “Seems like Sorrow.” “There ain’t never…no rest from this pain…seems like
sorrow…be my name…be my name.” Tom Kochie’s laying
down a tasty guitar like to lead us into the tune he
wrote with Annie, “G-Groove.” It has a ZZ Top kind
of groove to it, more instrumental with just a taste
of vocal from Annie, and gives the band a break
before they head into “Walking Dead.” “Walking Dead”
is an old school tune and features Annie singing
with a great deal of reverb in the mix. “So tired of
whiskey-laced love…don’t need no half-hearted
tenderness…I just want to feel my heart beat…all the
way down…in my fingertips…don’t want to be…no
walking dead."
Annie and the band close out
Baptized in the Blues
with another Gospel-tinged tune, “Revolution.” “Can
I get an amen…or am I preaching to the choir…we need
a revolution…truth start a righteous fire.” I’ve
enjoyed Annie’s disc immensely and am glad that my
Minnesota buddies --- Gary, Spike and John Hammer
--- brought her to my attention. Sad that I missed
seeing a live performance from Annie in Memphis, but
I’m hoping to correct that later on this summer.
Annie’s website is
www.anniemackblues.com
and I’d
head over there and grab yourself a copy of Annie’s
disc. We need a revolution in Annie’s case, and
buying her CD is the best way to start a righteous
fire!
---
Kyle Deibler
Dixie Peach is a Southern blues/rock band from Ohio
that has basically risen from the ashes in recent
years. Originally formed in the early ’70s, they
released one album before breaking up in the mid
’70s, only to reunite, basically intact, in 1998.
The band has opened for many noteworthy acts,
including Joe Walsh, Lee Roy Parnell, Johnny Winter,
Cheap Trick, Roy Buchanan, Billy Cobham, Larry
Carlton, and Blue Oyster Cult. Since 2002, the band
has served as the house band for Gibson Custom
Guitar Shop and backed the likes of Parnell, Dickey
Betts, Johnny A, and Carl Weathersby.
Dixie Peach (Ira Stanley – lead/slide guitars,
vocals, Steve Benson – drums/percussion, Tony Paulus
– keyboards/guitar, Mike Rousculp – bass, Steve
Williams – keyboards) recently released their third
album, Blues With Friends (Big Shew Records), and
it’s a humdinger that’s guaranteed to put a hop in
the step of Southern blues/rock fans from all over.
They are joined by a host of friends that include
guitarists Lee Roy Parnell and Jack Pearson, and
vocalist Etta Britt.
Loaded with ten original songs,
Blues With Friends
packs a wallop from the first note on the opening
track, “Too Much Trouble,” which has a countrified
feel with some splendid slide work from Stanley.
“Pork Chop Blues” literally sizzles from the
beginning, with guitar solos from Stanley, Pearson,
and Parnell, and a four-piece horn section. The
jazzy “Night Ride” channels the Allman Brothers,
complete with reference to the “Midnight Rider,” and
some tasty fretwork from former Allman Pearson, and
the acoustic slide workout by Stanley on “Coming
Home Today” is a treat.
Stanley and Etta Britt duet on a pair of tunes, the
gospel-flavored “Don’t Want To Wait” (with some
great slide guitar from Parnell) and the
blues/rocker, “Trouble With Love.” “It’s Crying
Time” is a soulful ballad with a nice vocal
performance from Stanley. There’s also a pair of
cool instrumentals, “Bottle Hymn of the Republic” is
a slide guitarist’s dream with some great playing
from Stanley, Parnell, and Pearson, and the closer,
“Rick’s Shuffle,” teams Stanley with another guest,
guitarist Lee Swisher.
As stated above, Blues With Friends will thrill
Southern blues/rock fanatics with its guitar
virtuosity. Hopefully, it won’t be so long between
recordings next time, because these guys can deliver
the goods.
---
Graham Clarke
Blue Lunch, based in Cleveland, Ohio, has been making
mighty fine music that spans a number of genres for
30 years. Their sound ranges from blues (Chicago and
jump) to jazz to doo-wop to R&B, in many ways
similar to Roomful of Blues, but with even more
versatility if that’s imaginable. That versatility
is on full display for all to hear on their latest
release, a 30th Anniversary retrospective released
by Rip Cat Records called The Blue Lunch Special,
which pulls 16 tracks from the band’s six
previous recordings dating back to 1997.
The opener is a greasy Memphis-styled instrumental
and the title track of their 2011 release,
Sideswiped. There’s also plenty of tasty jump blues
with tracks like “The Fidget,” which also features
founder Pete London’s sizzling harmonica, “Cuttin’
Out,” “Skin Bones and Hair,” and “Leo The Louse.”
“Cold Day Down Below,” “Monkey Hips and Rice,”
“Sixty Minute Man,” and the Ernie K-Doe classic,
“Mother-in-Law,” all feature some nice vintage vocal
harmonies.
There are a few tracks that veer from the jump blues
and R&B that makes up most of the disc and they
prove the band’s flexibility. Robert Lockwood, Jr.’s
“Little Boy Blue” is a stripped-down tribute to
Lockwood, with whom the band performed regularly.
Sonny Rollins’ “Tenor Madness” gets a torrid
workout, thanks to an amazing trio of tenor saxes
played by Chris Burge and former Blue Lunchers Keith
McKelley and Tony Koussa, and “IC Boogie” is a
strong piano-driven boogie rocker.
Blue Lunch’s current line-up (London –
harmonica/vocals, Bob Frank – guitar/vocals, Raymond
DeForest – bass/vocals, Scott Flowers – drums, Mike
Sands – piano, Mike Rubin – trumpet, Bob Michael –
trombone, and Burge – tenor sax) sounds poised to
keep this band going strong for another 30 years.
Based on what’s heard on The Blue Lunch Special, it
should continue to be a rewarding experience for us
listeners.
---
Graham Clarke
If you liked the previous release from
Jason Vivone
and the Billy Bats, the decidedly offbeat Lather,
Rinse, Repeat, you should love their equally
idiosyncratic follow-up, Eddie Ate Dynamite. This
time around, the Kansas City-based band (Vivone –
slide guitar/vocals, Paula Crawford – guitar/vocals,
Rick MacIvor – keyboards, Ben Hoppes – electric
banjo/backing vocals, Jeremy Clark – bass, Matt
Bustamante – drums, Joanna Berkebile – backing
vocals) are joined by Grand Marquis’ Bryan Redmond
(sax) and Chad Boydston (trumpet).
The opener, “Cut Those Apron Strings,” is a swinging
duet (with the Grand Marquis horns in support)
featuring Vivone attempting to seduce Crawford, but
being rebuffed at every turn, while “Placebo” is a
funky blues a la Johnny “Guitar” Watson, circa
1970s. “Mean” keeps up the funk, but with more
serious subject matter as Crawford and Berkebile
take on domestic abuse. The title track is next, and
if it’s lively beat and crazy subject matter doesn’t
put a hop in your step, you should see if there’s a
tag around your toe.
“Analog” is a fond remembrance of the days of the
“crackle and hiss” before digital recording, and
“The Blues & The Greys” is a spoken-word sci-fi
“blues opera”…..you read that correctly…..in the
grand tradition of Orson Welles’ “War Between The
Worlds” broadcast that has to be heard to be
believed. Trust me, you will love it, and it’s
followed by “Methinks the Lady Doth Protest Too
Much,” which can best be described as either
“Shakespeare with a twist” or “twisted
Shakespeare”….you be the judge.
“Where Did the Day Go” is mostly instrumental, with
some great interplay between Vivone’s slide guitar
and Hoppes’ electric banjo, and was part of the
band’s Kickstarter campaign, where they promised
bidders that they would make a song out of a phrase
chosen by the highest bidder. The closer is an R&B
ballad, “I Can Never Say Goodbye,” which Vivone
turning in a great vocal with tongue firmly in
cheek.
Every blues fan needs a Jason Vivone and the Billy
Bats CD in their collection for when things get too
serious. Eddie Ate Dynamite is the equivalent of the
dude who wore Converse high-tops with his tuxedo to
your senior prom…a bit of a jolt at first, but
you’re glad he came to the party before it’s over.
---
Graham Clarke
For her latest release,
Double Crossing Blues
(Midnight Owl Records), Adrianna Marie and her Groovecutters focus on the swinging blues and R&B
that was hot in the late ’40s and early ’50s with
outstanding results. Adrianna Marie is a charming
singer with a natural feel for this style of music
and the Groovecutters (L.A. Jones – guitar, Dave
DeForest – upright bass, Ron Felton and David Kida –
drums, Lee Thornburg – trumpet, trombone, Ron
Dziubla – saxophones, and Larry David Cohen – piano,
harmonica) churn through this 11-song set of
standards with ease.
Many blues fans will be familiar with most of the
songs here, which include tunes made popular by
Lucky Millinder (“I Want A Tall Skinny Papa”), Louis
Jordan (“Is You Is Or Is You Ain’t My Baby”), Little
Esther (“Cherry Wine”), Jay McShann (“Hands Off”),
Big Maybelle (“That’s A Pretty Good Love”), and
Helen Humes (“He May Be Your Man”), and the Johnny
Otis title track, but Adrianna Marie’s versatile
pipes put a new spin on each of these tracks so
even longtime fans of this music will be pleased
with her interpretations.
Jones, whose muscular guitar work is another plus,
also shares lead vocals on the title track, a nice
slow blues punctuated by his T-Bone-esque lead
guitar. The Groovecutters take to this music like a
duck to water and each musician (especially Jones,
Cohen, and Dziubla) gets an opportunity to strut
their stuff on multiple tracks, most notably on the
wonderful slow blues instrumental jam, “Sad Night
Owl,” that closes the disc.
Double Crossing Blues is a dazzling romp through a
classic era of Blues and R&B that, like the music
itself, never gets old. Adrianna Marie has a voice
that you will want to hear more of.
---
Graham Clarke
Kim Simmonds always envisioned his band,
Savoy
Brown, as “a British version of a Chicago blues
band,” and even though the band has occasionally
moved in different directions over its nearly
unrivaled 50-year history, the blues has always
remained a part of the big picture. With the band’s
latest effort, Goin’ To The Delta (Ruf Records), the
band comes full circle, with the blues front and
center on this electrifying release.
Savoy Brown’s line-up has changed frequently over
the years, but with bass player Pat DeSalvo and
drummer Garnet Grimm, Simmonds has found a winning
combination to go with his righteous vocals and his
robust fretwork. They tear through this muscular
12-song set of blues and blues/rock originals, all
written by Simmonds, with power and precision, as if
they’ve been doing it all their lives…which they
have.
On Goin’ To The Delta, the band gives a nod to a
wide range of blues styles and legends, with
Chicago-styled tunes like the opener, “Laura Lee,”
with a definite Elmore James vibe, “ Backstreet
Woman,” and “Sad News,” which features a great vocal
from Simmons and some inspired guitar. The title
track, “Sleeping Rough,” and “Turn Your Lamp On”
veer toward the Texas side of the blues.
“When You’ve Got A Good Thing” offers some very cool
jazzy guitar from Simmonds, and “I Miss Your Love”
spotlights his magnificent slide guitar talents.
“Just A Dream” is one of those T-Bone Walker/B.B.
King-styled slow blues that gives Simmonds plenty of
room to stretch out on guitar, and the churning
boogie instrumental, “Cobra,” is another standout.
Goin’ To The Delta is one of Savoy Brown’s best
releases in a while, really a keeper from start to
finish. After nearly 50 years and over 30 albums,
Savoy Brown and Kim Simmonds show no signs of
letting up or slowing down, thank goodness.
---
Graham Clarke
I first heard the late blues guitarist
John-Alex
Mason on his 2008 release, Town and Country, which
was a great introduction. A mix of classic blues
covers and some remarkable new originals, this disc
was one of my favorites of the year, but I enjoyed
his 2011 follow-up, Jook Joint Thunderclap even
better, where he expanded from the country blues
sounds and began exploring the music’s influences,
even employing three musicians from Guinea, along
with Cedric and Cody Burnside and Lightnin’ Malcolm.
Not long after the release of
Jook Joint
Thunderclap, Mason underwent what was supposed to be
minor surgery to remove cancerous tissue, but
complications developed and he passed away
unexpectedly on October 19, 2011, leaving a wife
and two children, one born just a few weeks after
his death. A group of Mason’s musician friends
joined together to produce a tribute album in
mid-2012, called Homeward Bound. Produced by Elam
McKnight, this disc is a tribute in every sense of
the word. All 13 tracks are original songs
contributed by the artists in honor of Mason.
The list of musicians is an impressive one; Big
George Brock, Cedric Burnside, Mississippi Gabe
Carter, Microwave Dave, Valerie June, Fiona Boyes,
Rev. K.M. Williams, Davis Coen, Garry Hundt and
Ronnie Shellist, Sam Simon, Johnny Lowebow, McKnight
and Bob Bogdal, and Jeff Norwood (who passed away
during the album’s completion). Each one mourns the
loss of their friend in their own style and manner,
touching on blues, blues/rock, country blues, and
roots, all styles that Mason was more than adept in
playing himself.
This is what a tribute album should sound like.
Though it is somber and haunting at times as these
artists mourn the loss of their friend in their own
way, there’s also an underlying sense of love and
admiration for what Mason brought to the blues
during his brief life. Though his time was short, he
obviously moved a lot of fans and fellow musicians
with his talents.
The best thing about
Homeward Bound is that all the
money that comes from sales of the disc go to a
special fund for his children, a worthy cause if
there ever was one. Listeners that are interested
can go to the album’s
Indiegogo site to make a
contribution of their choosing and purchase the
disc.
---
Graham Clarke
The L.A.-based band
Kelly’s Lot was formed in 1995
by singer Kelly Zirbes and plays a mix of blues,
rock, and roots music. They have toured extensively
in the U.S. and abroad, opening for Tommy Castro,
Shemekia Copeland, Marcia Ball, Curtis Salgado, and
John Mayall. In 2011, they released a live recording
from Brussels, Live In Brussels, that captures their
essence pretty well.
The band consists of Perry Robinson on guitar, Matt
McFadden on bass, Robert Dill on drums, and Rob
Zucca on guitar, and they provide superb backing to
Zirbes’ sultry vocals, tearing through this 15-track
set of mostly original tunes (the lone cover is a
crackling version of Robert Johnson’s “Crossroads”)
with gusto, beginning with the opening cut, “Reason
for the Blues.” Other highlights include “Taking
Time,” “Redbone,” which has an almost jazzy
backdrop, the feisty “Better Way,” and the set’s
centerpiece, “Tired,” an intense slow blues that
allows both Zirbes and the band to really stretch
out.
The second half of the set has even more stellar
material, including the funky “Train,” “Right Now,”
a tight blues rocker, the country-flavored “Pistol,”
and an excellent tribute to Janis Joplin, “Take This
Heart,” which features Zirbes’ best vocal turn of
the album, and that’s really saying something. While
she doesn’t really sound like Joplin, her vocals
more than capture the fire and soul that was such a
part of the late singer’s style.
Live in Brussels is an excellent live set that will
please fans of blues and blues-rock equally. It’s a
set that’s meant to be played loud and often and
you’ll find yourself doing both once you give it a
spin.
---
Graham Clarke
Yonat Mayer is a singer/songwriter based in San
Francisco who was raised by a skilled blues and jazz
guitarist and educated at one of Israel’s preeminent
music schools. Her music draws on numerous genres,
including blues, rock, soul, folk, and world music.
Vocally, at times she will remind listeners of
another singer/songwriter from several years back,
Carole King.
The feel of a few of the songs from her impressive
debut EP, Daybreak, also bring to mind the work of
King, an underrated soulful singer, from the early
’70s. The opener, “Intangible,” features a bluesy
vocal with a funky jazz/pop backdrop with some nice
lead guitar work from A.J. Rivlin. “Come Around” is
a soulful ballad with an understated vocal from
Mayer and solid lead work from Rivlin. The
inspirational “Like a Flower” is a lovely tune with
a bit of a world music sound, and “Give Up Your
Ghosts” has an appropriately ethereal setting.
Daybreak offers Yonat Mayer in a variety of
settings, ranging from blues to jazz to soul to pop,
but laced throughout the set is a definite blues
backdrop. The singer was raised listening to the
blues, jazz, and gritty soulful singers like King
and Aretha Franklin, and it shows on these tunes. It
will be interesting to hear what she does on a full
album, hopefully soon.
---
Graham Clarke
