With the wind howling here in Northern Colorado, it
seems like a good day to throw Igor Prado’s new
record, Way Down South, into the CD player and let
visions of Sao Paulo, Brazil dance in my head. The
Igor Prado Band has become the go to backing band
for artists looking to tour South America and Igor’s
relationship with Lynwood Slim led to this
production with the Delta Groove All-Stars. It
features a who’s who of the Blues world and Igor,
with his brother Yuri on drums, Rodrigo Mantovani on
bass and saxophonist Denilson Martins are more than
up for the task. Let’s give it a spin.
The disc opens up with Sugaray Rayford
on the vocals for the tune, “Matchbox.” Sugaray appears to have
had enough and he’s straight to the point, “I’ve got
my clothes in a matchbox…I’m going to forget about
you.” Monster Mike Welch lends his guitar magic to
the mix and we’re off and running. Yuri’s pounding
the drums and Rodrigo is keeping up on bass as Kim
Wilson takes the microphone for “Ride With Me Baby.”
“Well, ride with me, baby…ride with me all night
long…I’ll take you out tonight, baby…then I’ll take
you home.” Kim’s message is clear and hopefully the
girl can keep up with his intent. Igor is laying
down a frenetic guitar fill and the song is an
upbeat and aggressive tune. Ivan Marcio intros our
next tune, “She’s Got It,” with a heavy harp fill
and Mud Morganfield is at the mic. “Whatever she’s
got…I can’t leave alone…oh, she’s got it…she’s got
it right from the start…you know she ever leave….
you know, it’s going to break my heart.” Mud's got it
bad and hopefully the girl will at least stay around
for a while.
We’re lucky to have a couple of cuts with Lynwood
Slim at the microphone on this disc, and the first
one, “Baby, Won’t You Jump With Me,” is next. “Mama,
won’t you jump with me…we can have a good time….
baby, won’t you wait and see?” Ari Boger is killing
it on the piano on this tune and I can hear
Denilson’s sax in the background as well.
Mitch Kashmar is our next featured artist and he’s
contributing his harp to the mix as well as he
ponders, “What Have I Done?” “You got me coo coo,
darling…. you got me coo coo…in the head…. you got
me coo coo, darling…. man, I wish I was dead.”
Mitch’s mournful harp fills echo the despair he’s
feeling and I’m hoping he finds his way out of this
situation soon.
“Shake and Fingerpop” is the first
cut on the disc with just Igor and the band and I
can appreciate their aggressive approach to this
tune. Igor’s fretwork is infectious and he’s
encouraging everyone to have a good time --- “get out
on the floor now…dance like you’ve never danced
before.” The band’s killing it and I can hear for
myself why they’re held in such high esteem in South
America.
Rod and Honey Piazza are the next Delta Groove
All-Stars to hit the mix and Rod’s harp is leading
the way on “Talk to My Baby.” “I just talked to my
baby…on the telephone…stop what you’re doing,
Daddy…. and come on home…I can’t hold out…. I can’t
hold too long…I got a real good feeling, baby….
talking to you on my telephone.” She’s clear what
she wants and I’m thinking Rod will be home soon.
“If You Ever Need Me” is a favorite tune of mine,
with Kim Wilson back for the vocals on this cut. “If you ever
feel lonely…if you’re ever feeling blue…all you have
to do is call me…. and I’ll come running here to
you.” The sentiment is clear and all the girl needs
to do is call and Kim will come running despite the
number of times she’s broken his heart.
Igor and the
boys are back on “You Got What It Takes” and I like
their matter of fact approach to this tune. “All I
know…. is she got what it takes…. to take what I
got.” Igor’s a simple man with simple needs and it’s
pretty clear here that the object of his attentions
can have her way with him. I’d be a little cautious,
Igor, but you’re in the big leagues now so good
luck.
Randy Chortkoff lends his harp fills to the mix as
Sugaray Rayford takes the mic to sing to us his “Big
Mama Blues.” “My grandmother told me…Son, don’t let
the devil steal your soul…. now, I’m a grown man…and
my grandma’s gone…but the words she spoke to me
child…. hang round my neck like a heavy stone.” It’s
about to get dark and rough and the trouble that Sugaray’s grandmother warned him about is heading
his way. Good luck, Sugaray.
Lynwood Slim is back
with “You Better Believe It” and you can hear the
easy camaraderie he shares with Igor and his band
mates. “You gotta believe it…yes, I’m in love with
you…you gotta believe it…. no one else will do.”
Ari’s piano fills tuck in nicely with Lynwood Slim’s
vocals and I’m appreciating the tenor sax of
Denilson as well. We move on to “Rooster Blues”
where
we find Wallace Coleman at the microphone and
playing a bit of harp as well. “Well, the little red
hen told the little red rooster…baby, you don’t come
round like you used to.” Seems the rooster’s been
remiss in his duties and he should be chasing that
little red hen real soon.
The final cut on the disc
is an acoustic version of “Trying to Do Right” and
features Omar Coleman on the vocals and harp while
Igor lends his acoustic guitar to the mix. “Said I’m
trying to do right…even though I want to do
wrong…I’m trying to do right…even though we’ve got
it strong.” I’m not convinced that Omar’s going to
be able to keep doing right when it’s so obvious
that he wants to do wrong.
Way Down South succeeds on so many levels. There
isn’t a bad cut on the disc and the considerable
firepower that the Delta Groove All
Stars lend to the mix is impressive indeed. Igor
Prado and his band more than uphold their end of the
bargain, and the result is a disc they can definitely
be proud of. The disc information from Delta Groove
indicates that the Igor Prado Band will be touring
worldwide to support this record and I hope to see
them soon on the Blues Highway. Well done, Igor,
Yuri, Rodrigo and Denilson.
---
Kyle Deibler
I’m sure there have been very few book reviews
included in the history of Blues Bytes but I’m going
to make an exception here and review the book, Blues
on Beale Street – Memoirs of the International
Blues Challenge, and I do so from the viewpoint of
one who has volunteered nationally for the Blues
Foundation and was present on Beale Street for the
entire period of time this book entails.
The book is the brainchild of Jenn Ocken,
a talented photographer in her own right, who owns a
very successful photography business in Baton Rouge,
Louisiana and Greg “Slim Lively” Johnson, president
of the Cascade Blues Association and another key
volunteer of the Blue Foundation. The two of them
reached out to all of the various constituents of
the International Blues Challenge: the Blues
Foundation staff; the volunteers who work tirelessly
to make the event happen; the artists themselves who
competed in the IBC and the fans attending the event
to compile their stores and memories covering
roughly a decade from 2004 to 2014. The result is an
amazing compilation of viewpoints that ultimately
pays homage to the entire Blues family who is a part
of what’s been called “the largest blues festival in
the world.”
The first year that I attended was 2002 and at that
time there were roughly 42 total acts in
approximately six venues. Today there are over 250
total acts competing between bands, solo/duo acts
and the youth showcase that descend upon Memphis and
take up over 20 venues in today’s International
Blues Challenge. Needless to say, the viewpoints and
memories are heartwarming to look back at and
appreciate for any fan of Blues who has either
attended the IBC or is thinking about doing so for
the first time. For the rest of us, it’s an
opportunity to meet and congregate with our Blues
family, the folks we may only see once or twice a
year and cherish the time we do get to spend
together.
The stories themselves and the pictures that
compliment them are as varied as the storytellers
themselves. Zac Harmon tells us “winning the IBC was
the equivalent of winning a $100,000 in free
publicity” while Eden Brent calls the IBC “the
family reunion you actually want to attend.” Both
are valid viewpoints, but I appreciate the memories
as well of those who are no longer with us: David
Johnson, John-Alex Mason, Robin Rogers and I’d be
remiss if I didn’t mention long time volunteer, R.D.
Dill, and my buddy, Jeff Strahan, from Texas who we
lost a year ago. I could go on and on about the
stories found in Blues on Beale Street but that
would spoil the fun. As Val Scott noted, “I have
stories to tell but I need to protect the guilty,”
and I agree with her to a point. There were a lot of
stories that probably didn’t make it into the book
for that reason, but there are a lot of amazing
stories that did.
Kudos to Jenn and Greg for their painstaking care in
selecting the pictures and compiling the stories
included in Blues on Beale Street and I encourage
you all to grab a copy from Jenn’s website,
www.documentingblues.com,
or the book can be found on Amazon as well. The book
itself is a heartwarming compilation for all who
contributed our stories to the project and a
significant milestone in documenting the evolution
of the International Blues Challenge and a must have
addition to the library of any serious lover of the
Blues.
---
Kyle Deibler
Urban legend has it that the “Fat Man’s Shine
Parlor” was an establishment in the commercial
district for the Black population of Dallas. Hear
tell it was a place where you could go for a drink,
a woman, a friendly gaming table and get your shoes
shined to boot. With an eclectic offering like this,
the Fat Man’s Shine Parlor, drew Smokin’ Joe Kubek
to its doors and the impressions it left on this
Texas Bluesman inspired he and partner, Bnois King,
to name their latest project on Blind Pig Records
after this legendary establishment. Let’s crack open
the door to Fat Man’s Shine Parlor and listen to
what Joe and Bnois have in store for us.
The band opens with “Got My Heart Broken” and a
heavy bass line underscores the pain Bnois is
feeling as the result of a relationship with a
married woman. “She even told me…she wouldn’t leave
her man…I said, not to worry…it’s just a one night
stand…. but one turned to two…and on and on and on…I
was out of control…by then my mind was gone.” This
is going to end badly and the roar of an engine in
the background is telling Bnois he should be
leaving. He’s stubborn but eventually he got the
message and realized it was time to go. The topic
switches to food and up next is “Cornbread.” Bnois
likes his food the way he likes it and please don’t
deviate from the plan. “Never had hog and cheese…I
don’t know where you’ve been…you must have been
raised in the city…you missed a treat my
friend…ah…cornbread.” A meal with Bnois sounds like
a good time and this is definitely a man who finds
great pleasure in the food he eats.
Joe’s guitar
steps to the forefront and plays a mournful lead as
we move on to “Diamond Eyes,” a song about a woman
who caught Bnois’ eye. “Touched my very soul…she
was the one for me…. I felt it right away…she was
the one for me…left this world too soon…. my heart
is full of gloom.” Bnois was definitely captivated
by this one and you can feel his pain of losing her
through the mournful fills that Smokin’ Joe is
laying down. We’re never really sure what happened
to her, but Bnois’ love for her was real.
We move on to “Crash and Burn” where we find Bnois
describing a woman of a completely different ilk.
This one has nothing to her name…nothing to rest her
laurels on and Bnois is wise to her game. “Come out
every day…. dressed to the nines…I got to admit…you
look real fine…I know there’s pressure, babe….
everywhere you turn…I know you’re scared to
death…that you’re going to crash and burn.” Her
charms aren’t working on Bnois and she’s going to
have to find another man to be her Sugar Daddy.
“You’ve got to learn…to live with yourself…before
trying with someone else…that was the best
advice…every given to me…I heard the words long
ago…but it took awhile to see.”
“River of Whiskey”
finds Bnois reflecting on these words of wisdom and
struggling to come to grips with the outcomes of
some very bad decisions he’d made. Eventually he hit
the proverbial “brick wall” and accepted the wisdom
of the words he’s heard a long time ago. So of
course we move on to some very passionate fretwork
from Smokin’ Joe, and Bnois is realizing he “Don’t
Want to Be Alone.” Here he’s living in the moment
and needing some loving from a woman who isn’t the
object of his desire. She can have his body but not
his love; it’s up to her to decide what she wants to
do. “If you agree…we can carry on…I don’t hate
you…but I don’t want to do you no wrong.” The tune
ends before we know the decision that she’s made.
Shiela Klinefelter on bass and Eric Smith on the
drums are laying down a heavy back end on our next
tune, “Brown Bomba Mojo,” and it appears to me that Bnois has the cure to what ails you. “Push that red
button…call for the nurse…. got to make it
know….things are getting worse…your mind is
drifting….in and out of phase.” Nothing else is
working; the patient needs some “Brown Bomba Mojo.”
I can hear Bnois’ jazz influences on our next cut,
“How Much,” and here Bnois is wondering how much the
gig is going to cost with the travel involved. “But
what can you do…ride and hope for the best…driver’s
going to get that money…you can bet the airline’s
going to get the rest.” Between luggage fees, a cab
ride, hotel and more…the band is “already in the
hole.” Life on the road isn’t easy these days and Bnois is well aware of all the costs involved. And
of course the expenses mount given Bnois’s
appreciation of women. For some reason, “I just
can’t be satisfied…with one girl by my side”. Bnois
is realizing he can’t have it both ways in “One Girl
By My Side.” “Can’t be satisfied…and I don’t know
the reason why.”
Song sequencing brings us to “Lone Star
Lap Dance,” a lively instrumental that has my mind
drifting back to Texas, a million years ago. The
picking is lively, the mood is light, and all of the
names have been changed to protect the guilty and
we’ll leave it at that. “Done Got Caught Blues” is
the closet thing to a ballad that Smokin’ Joe and
Bnois have on this disc, and of course it's Bnois that
is the guilty party. “This time…. I done messed up
real bad…I can’t talk my way out…man, that girl is
really mad.” Bnois got caught with his pants down
and he’s pretty sure he’s out the door this time.
“She’s going to put me out…man, what a bad…bad…day…I
cannot believe…I let myself get caught this way.”
But you did, Bnois, and its time to face the heat in
the kitchen.
The band closes with the primal,
“Headed for Ruin,” and the bottle has been the ruin
of many a man. “If you don’t watch…going to drive
you insane…got it in your mind…you’re going to even
the score…. you got it all wrong…you can’t blame
nobody…you brought it all on yourself.”
Fat Man’s
Shine Parlor is an impressive return to the Blind
Pig fold for Smokin’ Joe Kubek & Bnois King. The
tunes are lively, the playing stellar, and there
isn’t a bad cut on the disc. I’m hoping the band
makes its way back through Colorado soon. I’d love
to hear these tunes up close and personal for
myself. Think I’ll head over to the band’s website,
www.smokinjoekubek.com and see if there’s a gig near
me in the foreseeable future. In the meantime, I’m
hitting “Play” one more time.
---
Kyle Deibler
I’m really appreciating
Shaun Murphy’s new disc,
Loretta, due out any minute. It’s a departure for
Shaun in that it’s a much edgier disc than any of
the last three I’ve heard from her and I’m glad
she’s rocking my world today. Producer TC Davis
assembled a stellar cast of Nashville’s best to back
Shaun on this disc and she can come sing on my back
porch anytime. Let’s give her disc a spin.
Shaun opens up with an original tune, “Don’t Lie to
Me,” and whatever’s going on, just be straight up
with her. Jack Pearson’s guitar is providing the
lead as Shaun lays down the law, “Tell the
truth…don’t make believe…. ain’t no thing…just don’t
lie to me.” I think Shaun’s message is loud and
clear, here. Up next is “I Pity the Fool” and while
Shaun’s through with this man, her heart’s in the
right place for his next target. “Oh, I pity the
fool…he’ll break your heart and walk away one day…I
pity the fool”. Hopefully the next woman to come
under his spell will heed Shaun’s words and watch
this one carefully.
An original tune, “Kiss Me Like
Whiskey,” is next and this is one of my favorite
tunes on Shaun’s new disc. The tempo’s a bit slower;
the emotions more impassioned but definitely true
Shaun. “Kiss me like whiskey…. leave a taste on my
tongue…miss me like midnight…when the cold morning
comes…leave your fire with me…I know you got to
go…make it strong…and sweet…and slow…kiss me like
whiskey.” An amazing tune and Mr. Pearson’s riff in
the background is lending its credence to Shaun’s
emotional plea to “kiss me like whiskey.”
The title cut, “Loretta,” is next and this song has
a definitive Nashville feel to it. Loretta is a
showroom girl and her gaudy dress and style will get
the best of her yet. “Loretta…with all your sneaking
around…you better start thinking six feet down….
Loretta…tell you what you’re going to do…you’re
going to put that man in the ground.” Loretta’s a
married woman with a cheating eye and it will be the
death of her man if he finds out. Another original
tune, “Strange Life,” is next and Shaun’s reflecting
on her memories. “When your past comes back to haunt
you…don’t say I didn’t lie…it’s a fate you didn’t
pay for…as you spread your wings to fly.” This man
had his issues and it was his need to grow but you
can’t help but feel as if Shaun might have helped
him find his way. Jim Fiano plays an outstanding
lead guitar and I’m not sure I have the
words to adequately convey the lyrics that Shaun
wrote for this tune. That said, I really like
“Strange Life.” Well done, Shaun!
Next up is “Hard
Working Man” and it seems that Shaun’s man is
spending more time on the job than with her. “And
finally one day…I happened to discover…that a hard
working man…just makes an unfit lover…and that’s
why…oh, that’s why…I’m about to sit my baby back
down.” I’m sure that Shaun will get her message
across and in the end a little more Shaun
satisfaction than job satisfaction is probably a
good thing.
A pounding backbeat from drummer George Lilly and
heavy bass line from Randy Coleman provide the
impetus for Shaun’s take of “Big Train Stops at
Memphis.” “Get yourself a ticket, boy…get your ass to
New Orleans…Big Train stops in Memphis…60 coaches
down to Santa Fe…get yourself a ticket boy…get your
ass to New Orleans.” Shaun can’t be any clearer than
that and I’m sure he’s on his way to the Big Easy.
“Should Be Hard to Love You” is another original
tune of Shaun’s and I really like her songwriting on
this disc. Shaun’s got herself a cheating man she
just can’t seem to let go of. “You cheat…and you
lie…. you leave…and I die…a little each time…and
then you come back…and I let you in…it should be
hard to love you…when you treat me like that.”
Whatever the magic is that he has, Shaun just can’t
seem to resist him and this one sounds like a
heartbreaker to me. Shaun admonishes us to be
“careful what you wish for” in the next cut,
“Careful They Say,” without really telling us if
that’s a good or a bad thing. “Be careful what you
wish for…you just might just get it someday…I needed
your love…prayed for your love…and then your touch
knocked me right off my feet…now, I can’t stand back
up…you know its weighing too much on me…be careful
what you wish for…you might just get it someday.”
Seems this love overpowered Shaun and the resulting
heartache has her questioning the wisdom of her
decision but I’m sure she has no regrets.
The band moves on to “Go Away,” and here Shaun admits
to having feelings she’d never had before. “The
first time you showed much…how much I had to take…I
let you mistreat me…that was my mistake…never
again…am I gonna win…it’s time to go away…time won’t
heal everything.” His love was a candle at first, but
it didn’t take Shaun long to realize the error of
her ways and she’s right…”time won’t heal
everything.” But she’s still better off without him.
“24 Hours From Memphis” is another original of
Shaun’s, and again she’s regretting a decision she’s
made. “You missed your connection…and your sense of
direction…has led you astray…it’s a long way
around…got lost to be found…. 24 hours from
Memphis.” The bright lights of Beale Street and a
man’s love to be found there beckon her, but now it’s
time to head back home…”24 hours from Memphis.”
The
last tune on Loretta, “How Strong Is A Woman,” finds
Shaun questioning the wisdom of who is the stronger
sex. “How strong is a woman…a woman is as strong as
she needs…for the man she loves.” Shaun would rather
be the weaker sex and be in love than to have no
love at all.
Loretta rocked my
world in a good way. Many of Nashville’s finest
musicians lent their considerable talents to this
record, the songwriting is top notch and it features
some of the strongest vocals I’ve heard from Shaun
in awhile. It’s been a treat to see the stronger,
edgier side of Shaun come out in this disc and I’m
expecting big things from Shaun and her band this
year. An early contender for my top ten of 2015 and
a disc I will be coming back to all year long. Well
done, Shaun Murphy.
---
Kyle Deibler
You might not have
heard of Mike Henderson, but you have more than
likely heard him. The Nashville-based bluesman has
worn many hats over his 30+ years in the music
business, playing guitar and/or harmonica on
hundreds of sessions (including Waylon Jennings,
Emmylou Harris, John Hiatt, Albert King, Guy Clark,
Sting, Bo Diddley, the Fairfield Four’s Isaac
Freeman, Patty Loveless, Bob Seger, and others),
writing songs for various country, blues, and soul
artists (including Kenny Rogers, Travis Tritt, Patty
Loveless, Marty Stuart, The Fabulous Thunderbirds,
and Solomon Burke), and also leading several bands,
including the SteelDrivers, the Bluebloods, and the
Bel Airs.
Presently, he is
leading The Mike Henderson Band, and has
released a new disc on EllerSoul records, If You
Think It’s Hot Here…, which returns him to his
roots --- blues and rock --- with 11 great songs.
Backing him on these tracks are Kevin McKendree
(keyboards/producer), Michael Rhodes (bass), Pat
O’Connor (drums), with support from Don Underwood
(guitar) and Chris and Morgan Stapleton (background
vocals).
Any disc with two
Hound Dog Taylor covers is worth a listen and
Henderson blows the doors off of “Send You Back To
Georgia,” with some wild slide guitar from Henderson
and manic keyboard from McKendree. “It’s Alright” is
a little less frenzied, but no less intense.
Henderson also covers Muddy Waters (a rowdy version
of “Mean Red Spider”), Robert Johnson (“If I Had
Possession Over Judgement Day,” featuring some
nimble slide), and Sonny Boy Williamson (a
slow-burning take on “Unseen Eye”). There’s also a
rocking remake of “Matchbox,” and a slick shuffling
version of “Gamblin’ Blues.”
Henderson wrote or
co-wrote four of the tracks, including the
reflective title track (co-written with R.S. Field),
the opening cut, “I Wanna Know Why,” a swampy,
atmospheric rocker, and “Weepin’ and Moanin’,” which
has a Windy City feel. The closing track, the
instrumental “Rock House Blues,” finds Henderson
playing harmonica and backed by McKendree on piano.
Henderson took a
recording hiatus in 2011 to raise his family, but
with If You Think It’s Hot Here….., it’s like
he’s never been away. This is a fantastic mix of
blues, rock, and even a little bit of country that
you will be playing over and over again. I know I
will be.
---
Graham Clarke
Wow. If you’re a
blues fan of any standing and Jeff Jensen’s
new disc, Morose Elephant (Swingsuit
Records), doesn’t put a hop in your step, maybe you
should seek counseling or head over to the Easy
Listening section at wherever you pick up your music
these days. I was really taken in his songs and
performances on his last release, Road Worn and
Ragged, but this disc is even better, featuring
seven Jensen originals and four re-imaginations of
classics that he makes his own.
Jensen relocated to
Memphis a few years ago from Portland, Oregon, and
you get a real sense of the city’s musical influence
on his style from the soulful and upbeat opener,
“Make It Through,” with the funky guitar, Wurlitzer
from Victor Wainwright and the churchy background
vocals from Reba Russell…..two performers who figure
prominently throughout the disc. “Get Along” is a
gritty rocker, and “Fall Apart” is a soul-drenched
ballad featuring a nice vocal and sweet guitar work
from Jensen, backed by supple keyboards from Chris
Stephenson.
Another highlight is
the Jensen original, “Paper Walls,” which is kind of
offbeat, both lyrically and vocally, and even
features a toy piano solo from Stephenson. “Ash and
Bone” is a lovely acoustic ballad with Jensen,
Russell on backing vocals and Anne Harris on fiddle,
and “Elephant Blue” is a cool instrumental that
blends soul and jazz perfectly. The “Bonus Track” on
the disc is a stripped-down blues with Jensen and
Gary Allegretto on harmonica.
There’s also a
dynamite cover the old traditional spiritual, “Going
Home,” with Jensen really stretching out on vocals
and guitar that should light your fire even if your
wood is wet. Jensen and Wainwright pair up vocally
for a fun remake of Memphis Minnie’s “What’s The
Matter With The Mill.” The other covers include a
mellow take of Amos Milburn’s “Bad Bad Whiskey,”
accompanied by Eric Hughes on harmonica, and a
swinging remake of the pop standard, “I’ll Always Be
in Love With You.”
In addition to the
musicians mentioned above, Jensen is assisted by
longtime musical partner, bassist Bill Ruffino,
drummers James Cunningham and Robinson Bridgeforth,
tenor/baritone sax man Kirk Smothers, and Mark
Franklin on trumpet/flugelhorn. Morose Elephant
stands as Jeff Jensen’s best work to date,
effectively capturing the blues and soul that makes
up his musical vision.
---
Graham Clarke
In the liner notes of
Boomerang (Jazzhaus Records), the new release
from Eric Sardinas and Big Motor, there’s a
dedication from the blue-rock guitarist to “my
friend Johnny Winter,” who passed away shortly
before this album was recorded. Even though the
legendary guitarist had fled this mortal coil, his
spirit is felt on every song of this superlative
set, which consists of ten powerhouse tracks…..eight
originals and two sizzling covers.
Sardinas plays his
own customized and sometimes electrified Dobro
Resonators, in lieu of the usual guitar fare of most
blues guitarists. His frenetic playing style is
uniquely his own, both his picking and especially
his slide work, and Big Motor (Levell Price – bass,
Bryan Keeling – drums) is the perfect rhythm section
to back him, just crushing it out of the park.
Sardinas has stated before that his musical vision
is to bring rock & roll together with blues in his
own distinctive mix, which is similar to Winter’s
approach, but Sardinas is in a class by
himself…..not just as a guitarist, but also as a
singer.
Boomerang burns from start to finish, with scorching
original tunes like “Run Devil Run,” the title
track, “Tell Me You’re Mine,” and “Long Gone.” “Bad
Boy Blues” is a fierce, hard-driving shuffle, while
the moody “Morning Glory” has more of a deep south
Delta feel. “If You Don’t Love Me” will be familiar
to Sardinas fans from his live shows, and starts out
somewhat subdued, but quickly builds up intensity
and is one of the highlights of the disc. Even the
acoustic closer, “Heavy Loaded,” with kazoo backing
(you read that right) from the Hilo Boy Honorary
Brigade, is a barrel of fun.
The covers include
Leiber/Stoller’s “Trouble” (Sardinas’ first live
show was an Elvis Presley show) and a churning
version of Howlin’ Wolf’s “How Many More Years.”
Sardinas doesn’t so much “cover” them as he
transforms them. When you hear these two songs, you
will understand his musical vision completely.
Blues-rockers will
definitely dig Boomerang, but it will appeal
to blues fans of any ilk, thanks to Sardinas’
awesome guitar chops and his deft merging of blues
and rock. Trust me…..you don’t want to miss this
one.
---
Graham Clarke
In a career that
spans over 50 years, Jorma Kaukonen has seen
and been involved in a lot of musical history. Not
only is he a founding member of two legendary bands
(Jefferson Airplane and Hot Tuna), the guitarist has
moved from his impressive beginnings in rock & roll
to performing American roots, blues, and American.
He’s also considered one of the foremost
practitioners and teachers of finger-style guitar.
Though he continues
to work and tour with Hot Tuna, Kaukonen has also
performed and recorded solo, most recently with Red
House Records, who released his latest effort,
Ain’t In No Hurry, a wonderful mix of classic
blues, folk, and country tunes, along with several
insightful original compositions. He’s joined on
these tracks by the amazing mandolinist Barry
Mitterhoff, multi-instrumentalist/producer Larry
Campbell, bass player Myron Hart, drummer Justin
Guip, and backing vocalist Teresa Williams.
The whole album has a
nice warm, lived-in quality, Kaukonen’s guitar
interplay with Mitterhoff or Campbell’s mandolin
being a key factor on several of the tunes. The
opening cut is a splendid, laid back take on the
blues classic “Nobody Knows You When You’re Down And
Out,” with Campbell doubling up on fiddle and
mandolin. Next up is a Kaukonen original, “The Other
Side of the Mountain,” with more nice string bending
from him and Campbell (on mandolin again), and a
gently swinging cover of Woody Guthrie’s “Suffer
Little Children To Come Unto Me.”
“In My Dreams” is a
lovely acoustic ballad, with Mitterhoff on mandolin
and Hart on bass, and the Carter Family classic
“Sweet Fern” is a standout with vocals from
Williams, and Campbell’s lap steel. The lap steel
reappears on the title track, forming a great
combination with Kaukonen’s classic picking.
“Brother Can You Spare a Dime” has a great old-timey
feel, and the loping “Where There’s Two There’s
Trouble,” ventures close to country territory with
the full band in support.
Thomas Dorsey’s “The
Terrible Operation” has a Piedmont feel with some
great guitar work from Kaukonen. The
country-flavored rocker “Bar Room Crystal Ball”
finds Kaukonen not only collaborating with
Mitterhoff on mandolin and Campbell on steel, but
also his longtime Hot Tuna bandmate Jack Casady on
bass. The closer is a spare acoustic solo track from
Kaukonen, with just vocals and guitar on “Seasons In
The Field.”
Throughout the disc,
Kaukonen’s guitar work is masterful and his warm,
inviting vocals are a plus as well. The
appropriately-titled Ain’t In No Hurry is a
beautiful, relaxed, and unrushed set that will
appeal to fans of multiple genres, but most
especially guitar fans.
---
Graham Clarke
Barbara Blue pulled
out all the stops on her latest release, Memphis
Blue: Sweet, Strong, & Tight (Big Blue Records). As
the title indicates, this one gives a nod to Memphis
blues, funk and soul, and the vocal powerhouse is
backed by the tightest band on Memphis soil (the
Royal Rhythm Section and the Royal Horns) as well as
a stellar group of guest stars. Produced and
recorded by Lawrence “Boo” Mitchell at, where else,
Royal Studios, this is without a doubt Ms. Blue’s
best CD yet.
There’s plenty of Memphis grease popping in these
tracks, especially on tracks like Jay McShann’s
“Hands Off,” the Isaac Hayes/David Porter/Steve
Cropper-penned “Love Is After Me,” and a handful of
originals like “Rudy’s Blues” (where the
protagonist’s woman is “three-handed”……right-handed,
left-handed, and under-handed), the sassy title cut,
and “Memphis Stomp,” a wonderful tribute to Memphis
legend Willie Mitchell. Blue also covers the Ann
Peebles classic, “I’m Gonna Tear Your Playhouse.”
As mentioned, guest stars abound, with Bobby Rush
contributing harmonica to three tracks (“Hands Off,”
the rocking “SuperBlues,” and “Memphis Stomp”), and
Ronnie Earl accompanying Blue on three tracks: (a
bouncy reading of Delta Joe Sanders’ “No Time To
Cry,” the funky “Rolling Up On Me,” and an acoustic
duet, “800 Miles,” that closes the disc.
A couple of tracks veer from the Memphis vibe a
little bit: “VooDoo Woman” and “Coat and Hat” both
have more of a Gulf Coast feel with accordion from
Sonny Barbato, who plays piano on the lovely gospel
tune, “Me & Jesus.” Cody Dickinson adds washboard on
“VooDoo Woman.”
The Royal Rhythm Section (Lester Snell – Wurlitzer,
Rev. Charles Hodges – B3, Leroy Hodges – bass, David
Smith bass, Steve Potts – drums, and Michael Toles –
rhythm guitar) are awesome, as always, as are the
Royal Horns (Lannie McMillan – horn arrangements/sax,
Marc Franklin – trumpet, Joe Spake – baritone sax,
Steve Graham – trombone, Jason Yasinsky – trombone,
with Derrick Davis – guesting on trumpet for one
track). Shontelle and Shareese Norman also add
background vocals on a couple of the tracks.
Even with the fine band and guest musicians, this is
still all Barbara Blue’s show. She fills each song
with so much soul and passion that if goose bumps
don’t follow you should probably seek medical
attention. This lady feels this music from her head
down to her toes, and Memphis Blue: Sweet, Strong,
and Tight provides proof positive that she is the
Queen of Beale Street and will be for some time to
come.
---
Graham Clarke
The title track of Tas Cru’s sixth album,
You Keep
The Money (Crustee Tees Records), was inspired by a
conversation between the
singer/songwriter/bluesman and Delta blues legend
T-Model Ford when Cru and his band, the Tortured
Souls, were performing a benefit for the ailing
bluesman in Clarksdale, Mississippi. When Ford found out that
Cru and his band were giving up their pay to help
him pay his bills, he told them, “Tonight, just show
me the love….you keep the money.”
Cru’s latest effort is a lot like his previous
efforts, outstanding songwriting and musicianship
while exploring several different styles of blues
from traditional blues to blues rock to country and
roots., all fueled by Cru’s masterful work on
electric, acoustic, resonator, and cigar box
guitars. The 12 tracks were all written by Cru,
who also produced the disc.
You Keep The Money is loaded with highlights,
including the funky title track which kicks off the
album. “A Month of Somedays” is a blues ballad that
features some nice guitar from Cru and keyboards
from Guy Nirelli, and “Half the Time” is a churning
blues rocker. Cru also includes a lovely
instrumental, “La Belle Poutine,” that’s a mix of
“Little Wing” and “Riviera Paradise.”
Other standouts include the clever “Heart Trouble,”
the cool shuffles “One Bad Habit” and “Count on Me,”
“Take Me Back To Tulsa,” a countrified homage to the
Oklahoma city, the funky and salacious “Bringing Out
the Beast,” and the rousing closer, “Thinking How To
Tell Me Goodbye.”
Backing Cru on these tracks are Dick Earl Ericksen,
who provides indispensible harmonica on multiple
tracks, keyboardists Chip Lamson and Nirelli,
drummers Dave Olson and Bob Holz, percussionist Ron
Keck, bassist Bob Purdy, Mary Ann Casale, who plays
dulcimer and adds background vocals along with Alice
“Honeybea” Ericken.
Tas Cru is one of the most unique bluesmen currently
practicing. You Keep the Money finds him at the peak
of his formidable talents as a performer and
songwriter.
---
Graham Clarke
Robin Banks’ latest CD is a fine self-released
effort appropriately entitled Modern Classic, her
first release since 2010. The Canadian singer is
joined by producer/guitarist Duke Robillard and a
wonderful band, including Bruce Bears (keyboards),
Mark Teixeira (drums), Brad Hallen (bass), and the
Roomful of Blues Horns (Doug James – baritone sax,
Doug Woolverton – trumpet, and Mark Early – sax) for
a dozen original tunes, all penned by Banks.
Modern Classic really puts Banks’ vocal range on
full display as the songs move from jump blues (“You
Boogie Too Fast For Me”), funky urban blues (“Bite
Your Tongue”), jazz (“Really Dig You,” “Crazy,” “A
Little Bit of Heaven,” Tonight”), steamy
Memphis-based soul (“I’ll Meet You There,” “A Man Is
Just A Man”) and country (“A Place In The City”).
Banks’ vocals are a pleasure from start to finish.
She’s sultry, playful and soulful, and she moves
effortlessly between genres. Her songwriting was
already a selling point on her previous releases,
but this may be her best batch of tunes to date.
Combining Robin Banks’ considerable talents with
Robillard’s always-excellent guitar and production,
plus the sublime support from the band shows that
Modern Classic could be the start of a beautiful
musical relationship. Let’s hope that the
relationship continues for a long time.
---
Graham Clarke
The Cleveland, Ohio band
Blue Lunch’s latest release,
Above the Fold, is their second for Rip Cat Records.
Well into their third decade in existence, this
versatile group spans several different blues
styles, from the rough and ragged Chicago style to
smooth West Coast jump blues to New Orleans R&B to
jazzy blues, and they do them all equally well. The
new release offers 15 tracks, 12 originals
and three covers.
Blue Lunch consists of Bob Frank (vocals, guitar),
Peter London (vocals, harmonica), Chris Burge
(saxophones, vocals), Mike Rubin (trumpet), Bob
Michael (trombone, vocals), Mike Sands (piano), Ray
DeForest (bass violin, bass guitar, bass vocals),
and Scott Flowers (drums). Frank proves himself to
be a pretty versatile songwriter as well, penning
seven of the12 originals, including “Ain’t
Trying To Kill Nobody,” the tight boogie “The Long
Game,” the soulful ballads “Woman I Bleed” and
“Seven Times,” “Where Do You Think It’s Going” (a
jumping gospel-flavored track), and the very smooth
T-Bone-styled “Venita.”
London composed and sings the swinging rocker
“Everybody’s On The Phone” and “Katt’n Around With
Moe,” a sturdy Windy City harp-driven instrumental.
Burge also contributes three tracks, all
instrumentals, with the jazzy “One Fine Day,” “No
Time Like The Present,” which showcases the fine
horn section, and the jumping “Lake Erie Fireball.”
The band also covers Dave Bartholomew (a brassy take
of “Love No More”) and Andre “Mr. Rhythm” Williams
(a smoking remake of “Tossin’ & Turnin’ & Burnin’”),
and they close the disc on a bit of a different note
with an acapella reading of the old gospel standard,
“Good News.”
Blue Lunch continues to display their talents and
versatility with this latest release. They seem to
get better and better with each release and Above
the Fold continues their hot streak.
---
Graham Clarke
If you’ve got a hankering for some great Gulf Coast
blues and R&B, look no further than Brad Absher &
Swamp Royale. The Houston-born, Lake Charles-raised Absher’s music was influenced by the swamp pop he
listened to while growing up. He came into his own
as a guitarist during his time living in Tulsa, and
represented Houston as regional winner in the 2014
IBC. He’s released five albums over the past twenty
years and has been a festival favorite in the Gulf
Coast area and around the country.
Absher’s sixth release is
Lucky Dog (Montrose
Records), and the 12 tracks include six Absher
originals, plus one written by his bass
player/producer/ Phantom Blues Band member Larry
Fulcher with Tony Braunagel, and five engaging
covers. The originals show Absher to be a pretty
wide-ranging composer with tracks like “Woman Who
Loves Me,” a smooth rocker, the R&B-charged tracks
“I Need A Drink,” “I Can’t Wait,” and “Wanna Be Your
Man,” Not Tonight,” which has a country feel, and
the cool blues of “Memphis on the Way.”
The covers are outstanding, too. William Bell’s “You
Don’t Miss Your Water” leans toward gospel
territory, and Absher’s remake of “Jesus on the
Mainline” gives the guitarist a chance to show his
slide guitar chops. Bill Withers’ “Same Love” is a
nice choice as well and features one of Absher’s
best vocals, and the New Orleans R&B classic,
“Lipstick Traces,” retains its cool Crescent City
flair.
Absher’s guitar skills are considerable, and he has
a strong vocal style that works smoothly whether
singing blues, soul, or R&B. Swamp Royale (Fulcher –
bass, Barry Seelen – keys, Mike Patton – drums, Andy
Saad – tenor sax, Anthony Terry – baritone sax, Kyle
Turner – tenor sax, Samantha Banks – percussion,
Nicoya Prolar – vocals, Ed Starkey – vocals)
provides excellent support.
Lucky Dog is a powerful set of Gulf Coast blues
and
R&B from a seasoned vet of the scene. Based on this
well-rounded disc, chances are pretty good that you
will be seeing Brad Absher & Swamp Royale in next
year’s IBC.
---
Graham Clarke
The adventurous acoustic bluesman
Pete Herzog has
previously released some fine recordings of original
music, taking the music of those who came before him
and adding his own personal touches to it. His 2011
release, Steel Guitar: A Blues Opera, is the saga of
a guitar and the musicians who played it, and
featured some wonderful original tunes.
This time around, Herzog teams up with
producer/songwriter Dennis Walker, three-time Grammy
Winner and six-time winner of the Handy Awards for
his work with Robert Cray and B.B. King for Waiting
for the Rain, an outstanding collection of new
tracks with lyrics from Walker and music and vocals
from Herzog. The whole set has a relaxed, easy feel,
like two old buddies getting together with some
friends and playing the music that they love.
Walker hasn’t lost any of his songwriting mojo, for
sure, turning out some fine material on this set,
such as “I Wish Him Luck,” “It’s Gotta Rain,” “Lotsa
Rain,” “That Rainy Day” (FYI, this session was
recorded during the 2014 drought in Oregon, which
may explain the abundance of “rain” songs), “St.
Louis,” “Arizona,” and “Blues Instead.” Walker
co-produced the disc with Herzog and adds some
sturdy bass work to the mix.
Herzog describes his music as “dirt road style
blues,” which is pretty accurate. This is music that
sounds best when riding through the country with the
windows down and dust blowing everywhere. It’s a mix
of country, folk, and blues, but mostly blues. His
warm vocals fit Walker’s songs to a tee.
Herzog and Walker get able assistance from several
percussionists (Pete Wirts – drums, GT Albright –
drums, Antoine Salley – triangle, gourd), Bob Pagano
– bass, and Cedric Billings, Jr. – bass. Wating for
the Rain is a wonderful release of acoustic blues
with great songs and performances.
---
Graham Clarke
After earning a nomination at the 2013 Blues Music
Awards for Best New Artist for his debut release,
2012’s Uphill From Anywhere, Brad Hatfield returns
with a brand new release, For A Change, that finds
the Cincinnati bluesman in some pretty prestigious
company. Award-winning producer/drummer Tom Hambridge mans the board and the drum kit this time
around, and Hatfield gets excellent support from
guitarist Bob Britt (Delbert McClinton, Paul Thorn),
keyboardist Kevin McKendree (Delbert McClinton), and
bassist Tommy MacDonald (Buddy Guy, George Thorogood).
Hatfield, who started out playing guitar at age 10
(his father, Bernie Hatfield, has played keyboards
for several Cincy blues acts for many years), was
injured at age 25 in a construction accident that
left him paralyzed. Fortunately, he was still able
to sing and he also picked up the harmonica after
his injury. This new release focuses on Hatfield’s
considerable vocal talents and features a dozen
original songs, mostly penned by Hambridge and
associates, with Hatfield bringing two of his own
into the mix.
The song list is pretty versatile, with blues
rockers like the scorching opener, “That’s My Home”
and “Backdoor Scratchin’” with Chicago-styled
shuffles like “Behave Yourself” and “So Much, So
Little,” and swampy blues numbers like “Smarter Than
I Was.” “Devil On Both Shoulders” and “Swamp Poker”
both veer toward the country side of blues, and
“Never Finished Nothin’” features one of Hatfield’s
most soulful vocals.
“Good Love After Bad” has a funky backdrop, with
some nice keyboards from McKendree, and the catchy
“Drink, Drank, Drunk” (the title cut from Andy T &
Nick Nixon’s debut CD a couple of years back) is a
lot of fun. The title track is also a highlight, a
relaxed ballad with nice interplay between
Hatfield’s vocals and the band, and the rollicking
closer, “Burbank’s Boogie” should get everybody on
their feet.
Brad Hatfield continues to impress with his
excellent sophomore release. For A Change has
something to please fans of all different styles of
blues. However, something tells me that the best is
still to come with this talented artist.
---
Graham Clarke
In The Dog House (Je Gagne Records) is the second
release from Bay Area guitarist/singer Mike Osborn.
The Illinois-born Osborn moved with his family to
California as a teenager and was playing in a
country rock band by the time he was 16, eventually
gravitating toward blues and rock after being
influenced by Stevie Ray Vaughan (who had recently
passed away).
The 11 tracks mix and match country, blues, and
rock pretty evenly, beginning with the opener, “Love vs Ego,” is a tight rocker with Osborn adding some
ringing guitar and country-styled vocals, while the
ominous “Company Graveyard” is a rugged Hooker-esque
boogie tune. “Lovin’ Time” has a catchy pop rhythm
with a nice guitar riff, “Cold Man Cold” is a hip
blues rocker with wah wah guitar thrown into the
mix, and the potent “Fire and Gasoline” continues
the blues rock theme in fine fashion.
Osborn hits the midpoint of the disc with the
impressive slow blues, “Tied Up,” a standout with
stinging lead guitar and fiery vocals, and then
tries his hand at rock and roll with the rollicking
“Cheap Women.” “Veteran’s Song” is another standout
that highlights the plight of those soldiers who
return home. “Satan & St. Paul” has a distinct
country feel to it with the twangy guitar work,
“Jump In Your Fire” returns to the scorching boogie
sound and ups the ante considerably, and the surf
guitar-driven title track, an instrumental, closes
the disc.
Osborn’s guitar skills are considerable and his
vocals mix blues, rock and country pretty evenly,
which should help draw fans of all three genres to
his music. He gets outstanding support from Johnny
Griparic (bass), Lee Spath (drums), Teddy Andreadis
(keyboards), and Randy Mitchell (guitar/slide
guitar). In The Dog House is a powerful sophomore
release from Mike Osborn and there’s plenty to enjoy
for fans of all three genres.
---
Graham Clarke
Probably one of the more unusual CDs I’ve reviewed
here at Blues Bytes, Do Bad Things from the group
Peaches and Crime, on their own Peaches and Crime
Records, seeks to replicate the old-time vaudeville
variety shows dating back to the turn of the 20th
Century, with stories about colorful characters and
events tragic, comedic, and tragically comedic, too.
The stories are told and sung with a jazzy blues
backdrop with traces of other old school musical
styles blended in as well, such as polka and klezmer.
The master of ceremonies, Daniel Schwartz (a.k.a.
“Danny Black”) also serves as lyricist, keeping
things rolling along with a mixture of skits and
corny jokes (penned by Charles Berman (a.k.a. “The
Professor”) between the songs. Vocals are from
Schwartz’s wife, Angie (a.k.a. “Angie Diamond”),
with assistance from trombonist Julia Adams (“Abigail
Pins”) and clarinetist Cat Macdonald (“Young
Catherine”). The band is first-rate in all genres
and includes bass player “Honest” Stephen Longfield,
drummer Ross Bennett, and pianist Mike Sclafini (“Mikey
the Fist”).
The songs are rich tales of revenge, death, prison,
and illicit romances, and include the prison work
song, “Death Row Swing,” the klezmer narrative
“Herschel Ganev,” “Alibi Dancer,” the swaggering
blues of “Self Made Man,” the self-explanatory (and
fun) “Very Happy Polka,” catchy toe-tappers like
“Alibi Dancer” and “You Can’t Keep A Good Woman
Down,” and the dark and driving tale of revenge
“Bringing Hell to Brooklyn.”
Do Bad Things is a pretty neat, and clever, picture
of the way folks were entertained a century or so
ago …. call it a twisted mix of music, theatre, and
comedy that’s definitely worth a listen and will will
more than likely lead you to check out more of
Peaches and Crime’s recordings.
---
Graham Clarke