|
 Will
Wilde is a British blues/rock harmonica
wildman who has just released Blues Is Still
Alive (VizzTone), a rockin' set of tunes
that will have your body rattling and your feet
moving. His harmonica style reminds me of that
of Sugar Blue, in that it takes the instrument
to another dimension. Kind of what Jimi
Hendrix would have sounded like if he had picked
up the blues harp instead of the guitar. Wilde
is a decent singer to complement his harmonica
playing, with most of the 10 songs here being
'full speed ahead' blues/rock.
The
highlight here is one of the early singles
released prior to the full album coming out,
"Trouble Of That Girl," on which Wilde takes the
same approach as early Ray Charles, turning gospel into blues by
changing the lyrics. This one used the
traditional gospel number "Trouble of The
World," turning it into a 'blues/rock goes to
the riverside" romp, with Wilde's frenetic harmonica
playing and rapid-fire vocals injecting the same
churcy spirit into the song.
Another single was the title cut, a mid-tempo
heavy blues, with Walter Trout showing up on
guitar and laying down some fine slide riffs.
The mid-tempo blues shuffle "Wild Man" features
very nice piano playing from Greg Coulson, and Wilde
goes wild on his blues harp with the 12-bar
blues, "Don't Play With Fire."
The
tempo slows considerably and the volume comes
down on "Gypsy Woman," with Wilde's sister, Dani
Wilde,
a very fine recording artist in her own right,
coming in on backing vocals. Ms. Wilde also
shows up on another of the singles, "Learn How
To Love," with Will providing recommendations to
his woman on how to keep him satisfied.
"Stole My Love" is a solid slow blues with Wilde
intro-ing the numbre with more subtle but tasteful
harmonica. Another killer tune on the album is
the up-tempo stomper, "Girl's Got Soul," a
tribute to that hard workin', fun lovin' girl
who shows up at all of his shows and commands
the dance floor.
Wilde shows even more harmonica prowess on the
hot instrumental number, "Broken Dream Blues,"
before closing the album with the up-tempo blues
shuffle, "Don't Trust Me."
Still Alive is not for the faint of heart,
but will interest blues fans who want to hear
the harmonica taken to new levels.
--- Bill Mitchell
 t’s been a while
since we’ve heard from the Daddy Mack Blues
Band, but all is well again with the release of
Doctor’s Orders (Inside Sounds Records). Nine
years after his previous effort, A Bluesman
Looks At Seventy,
Daddy Mack Orr is now looking
at 80 with nary an inch off of his fastball. His muscular guitar playing and his
good-natured vocals are as great as ever on
these 11 tracks penned by Eddie Dattel and
Wally Ford, who produced the album with Ghost
Town Blues Band frontman Matt Isbell.
Orr is backed by his longtime bandmates Harold
Bonner (bass), James Bonner (rhythm guitar), and
Fast Eddie Lester (drums) on a couple of tracks,
as well as his current band members Charles and
John Gage (drums and organ respectively) on
several selections. On the remainder of the
tunes he is joined by a powerful set of Memphis
artists, including Isbell on guitar, Brad Webb on
bass or guitar, and Andrew McNeil (also of Ghost
Town Blues Band) on drums, with Billy Gibson
contributing harp on multiple tracks, and a host of
other guest musicians.
The mix of musicians adds a slightly more
contemporary feel to some of these tracks, but
those added touches form a seamless fit with
Daddy Mack’s traditional attack. The terrific
opener, “Let Me Pull A Few Strings,” is a
hard-charging, mostly instrumental blues shuffle
highlighted by excellent fretwork from Orr,
Isbell, and Webb, who doubles on bass and slide
guitar. The greasy “Boss’s Wife” is an amusing
track in the grand Daddy Mack tradition. “... She’s
my honey at work, oh, what a perk ...”
The title
track is a standout as well, with Gibson on harp
and backing vocals from Sir Charles Ponder of
the Lizzard Kings, and the funky “Givin’ Up On
Givin’ In” is a soulful track adding John
Gage on organ.
“Mississippi Woman” is a cool acoustic number
with Isbell and Webb backing Orr’s vocals on
acoustic guitars and dobro, and Elmo Lee Thomas
sitting in on harp.
“All Over Me” is a tough
shuffle, and “Backup Plan” is a funky blues that
reunites Orr with James and Harold Bonner
(guitar and bass respectively) and Fast Eddie
Lester on drums. “Lovepower” deftly mixes blues
and R&B with Isbell taking lead guitar, Gibson
on harp, Gage on B3, McNeil on drums, and Ponder
on backing vocals.
“Finish What You Started (Don’t Stop Now)” is a
remixed version of the original tune, which
appeared on the 2014 Daddy Mack release Blues
Central, featuring Candice Ivory (who provided
backing vocals on the 2014 album) in a
back-and-forth with Orr. The traditional country
blues “Country Boy” finds Isbell and Webb both
on slide guitar with Gibson on harp, and the
closer, “I’ll Be On My Way,” wraps the album up
nicely.
It’s always a pleasure to hear a new release
from the Daddy Mack Blues Band. I have to admit
that I sort of assumed that A Bluesman Looks At
Seventy might be his closing statement as a
recording artist, given the gap between
releases. Happily, nothing could have been
further from the truth.
Daddy Mack Orr is still
kicking and has plenty more to offer blues fans
with Doctor’s Orders. I, for one, can’t wait for
his next album.
--- Graham Clarke
 A while back, guitarist
Kid Ramos got a phone
call from a pastor friend named James Rasmussen.
The pair had met 30 years ago at church.
Rasmussen, called “Biker James,” recently
requested for Ramos to make a “God record” in an
effort to start supporting musicians playing
gospel music after becoming frustrated with some
of the missionary work he was supporting
overseas.
Ramos recruited Radio Kings vocalist Brian
Templeton, a 40-year veteran of the Boston music
scene, and his son Johnny Ramos as vocalists,
along with Ronnie Earl organist Dave Limina,
bassist Mike Tuturro, drummer Stephen Hodges,
accordionist Jesse Cuevas, with Takazo and Kaizo
Hall on trumpets.
The album,
Strange Things
Happening (Nola Blue Records) features a dozen
songs mixing original tunes from Templeton with
classics made famous by Sister Rosetta Tharpe,
Mahalia Jackson, the Soul Stirrers, and Bob
Dylan.
An easygoing, swinging version of the title
track, written and originally recorded by Sister
Rosetta Tharpe, opens the disc, with Kid and Limina getting instrumental moments in the
spotlight. Clara Ward’s “How I Got Over”
features a powerful Templeton vocal, and the
spiritual classic “I’m Working On A Building”
gets a lively, energetic treatment.
The younger
Ramos’ takes the mic for a supremely soulful
vocal turn on the Soul Stirrers’ “Oh What A
Meeting,” while Templeton sings on the inspiring
“Jesus Dropped The Charges,” previously recorded
by The O’Neal Twins.
Templeton penned two tracks on the album, the
first, “An Answer For Isaac,” is a searing,
hypnotic gospel rocker. Johnny Ramos returns on
vocals with a moving cover of the gospel
standard “God Walks The Dark Hills,” and teams
with Templeton on “Satan’s Jeweled Crown,” which
is given a marvelous Latin flavor with Kid on
Bajo Sexto, Cuevas on accordion, and the Halls
on trumpets.
Templeton’s second composition is “Nobody But
The Lord,” a brisk, swinging track with nice
accompaniment from Limina on the organ.
Templeton also sings the gentle cover of Bob
Dylan’s “Every Grain of Sand, and sings with
both Ramos on the stirring “More Love Than
Power,” written by Jude del Hierro and
previously recorded by Contemporary Christian
artist Michael W. Smith.
The album closer, “I’m
A Pilgrim,” is another Soul Stirrers tune ,
bringing the album to a fine conclusion.
There’s plenty of great music and messages to be
heard in Strange Things Happening, whether
you’re a believer or not. Kid Ramos and his bandmates brought this one forth from the heart,
and it shows in every note played and sung. It’s
a most inspiring release in more ways than one.
--- Graham Clarke
 Easy Tiger (Continental Blue Heaven) is a rough
and raucous collaboration between UK blues
rocker Ian Siegal and New Orleans harp master
Johnny Mastro, recorded live in the
studio in the Crescent City with assistance from
Big Jon Atkinson, who engineered and mixed the
session. Siegal handled vocals and guitar with
Mastro on harp, and they are backed by Smoke
Brown on guitar, Josh Kerin on bass, and Chris
Davis on drums for an intense and energetic
13-song set.
“Four On The Floor” opens the disc, a rumbling,
rocking number that starts the album off in high
gear, with scorching harmonica and slide guitar
framed by the propulsive rhythm section.
“Balling The Jack” keeps the energy level high
and the music is intense behind Siegal’s
gravelly vocals. Next up is a brisk cover of
Earl King’s “Baby You Can Get Your Gun,” which
serves as a fitting tribute to one of New
Orleans’ foremost musicians and composers.
The mid-tempo traditional blues,
“No Mercy,” about an abrupt end to a romance,
dials the energy back, but only a little bit asSiegal’s
slide is razor sharp. “Dog Won’t Hunt” is a
blistering update of the early Howlin’ Wolf Sun
tracks, with Mastro’s roaring harp and Siegal’s
otherworldly moan.
“Tall and Tight” was penned
by Siegal and Luther Dickinson, mising a
little swampy funk with the blues. “Miss
Your Cadillac” features distorted vocals and
harp with a gritty Texas roadhouse feel, while
the moody “Quick To The Gun” slows the tempo a
bit, showcasing crisp fretwork. “Emperor’s
New Clothes” is a story-song with descriptive
lyrics.
“Wineheaded” is raw and ragged blues, with
grinding guitar work and Mastro’s harp soaring
above it all, while the Hill Country-flavored
“Who’re In Church” is equally fierce. The
album’s second cover is Carlos Daniel Ayala’s “I
Won’t Cry No More,” and it will leave a mark as
well.
The closer is the “bonus” track
“Oedipuss,” co-written by Siegal and Dickinson.
It’s loose-limbed and funky, a perfect
conclusion to this fascinating album.
Everything that I’ve heard from Ian Siegal and
Johnny Mastro over the years has been instantly
memorable, and when I discovered that they were
working together on an album, it only made
sense. Easy Tiger manages to be a potent mix of
thoroughly traditional and thoroughly modern
blues. It is for those who like their blues with
a jagged edge.
--- Graham Clarke
 Bill Abel is as close to a Mississippi Delta
renaissance man as you’ll likely get. Not just a
musician, he’s an artist specializing in
painting and pottery, and has a degree in French
Impressionism. He’s played with many of the
Delta’s blues artists, such as Paul “Wine” Jones, Honeyboy Edwards, Big George Brock, T-Model
Ford, Henry Townsend, Cadillac John Nolden, and
Jimmy “Duck” Holmes. He also makes his own
guitars, ranging from electric, acoustic, dobro,
and cigar-box varieties. He’s also released
several solo albums of compelling Delta blues
music over the years.
Abel’s latest release is
Waiting at the Station,
a collection of 13 tracks written,
produced, and recorded by Abel at his own Big
Toe Studios in Duncan, Mississippi, Analog Path Studios
in Brandon, Mississippi, and at Jonathan Sims Studio in
Lake Washington, Mississippi. He provides vocals, guitar,
bass, and mandolin on these tunes, with support
from drummers Tim Cotton or Jonathan Sims.
As on Abel’s previous releases, the songs are
downhome Mississippi blues, some Delta blues and
some Hill Country, showcasing his nimble guitar
work and earthy vocals. The disc would serve as
a perfect soundtrack for a drive through the
Mississippi Delta, whether early in the morning
or late at night. “Going Away” and “Catch That
Train” highlight his slide guitar playing, while
“Somewhere On Down The Line” features his
mandolin.
There are upbeat, danceable tunes, like “Saddle
Tramp,” “Ain’t No Use,” “Ship Out To Sea,”
“Morning Train,” “Catch That Train,” and "Keep on
Boogying,” mid-tempo fare such as the title
track, “Hard Luck and Trouble,” “Tell Me Baby,”
along with more somber fare like “Long Lost
Hwy,” so Abel provides a wide variety of
Mississippi blues on these selections. The
entire set makes for compelling listening.
Bill Abel has been making these sort of
recordings for some time, with each one providing a
great soundtrack of the still vital blues of the
Magnolia State. It’s always a pleasure to hear
his latest recording, and Waiting at the Station
is no exception. Plug it into your car on your
next long drive through the Delta (or wherever
you happen to be going) and just take it all in.
--- Graham Clarke
 Jimmy Vivino is best known for his longtime
stint with the Conan O’Brien TV show house band,
but the guitarist/keyboardist also has worked in
movies, TV, radio, and Broadway, and has
released several of his own albums, most
recently as a member of the Blues Rock pioneers
Canned Heat (last year’s Finyl Vinyl). His
latest effort, his first for the Gulf Coast
Records label, is Gonna Be 2 of Those Days,
and featuring Vivino on11 original songs with
bassist Jesse Williams and drummer Rich Pagano,
as well as guests Joe Bonamassa, John Sebastian, Mark
Teixeira, and Scott Healy.
Bonamassa joins Vivino on guitars for the
stirring opener, “Blues in the 21st,” chock-full
of searing slide guitar mixed with crunching
electric guitar chords. “Ruby Is Back” takes a
slightly more laidback approach, with Vivino
shining on guitar and B3 on this stellar track.
The title track is a fine traditional blues
track with an updated modern feel, and “Beware
The Wolf” is a classic Chicago-styled shuffle,
with rousing piano playing from Healy
complemented by Sebastian’s harmonica. The
mid-tempo “Ain’t Nuthin’s Gonna Be Alright” is
another update of classic blues themes given a
fresh coat of paint.
“Better Days Past” finds Vivino lamenting the
days gone by and pondering what’s ahead, and
“Fool’s Gold” is a gritty slow blues highlighted
by powerful vocals, fretwork, and B3 from
Vivino. “Crossed My Mind” is a funky blues
shuffle, with a bit of soul mixed in, and the
freewheeling “Goin’ Down Fast” has an earthy,
Americana feel with accordion from Healy.
The
ominous “Shady Side of the Street” serves as a
warning to be aware of your surroundings, and
the acoustic closer, “Back Up The Country,” teams Vivino with Sebastian once again as he reflects
on over-development and commercialism (with a
nod to Joni Mitchell).
Gonna Be 2 of Those Days is a welcome return to
the recording scene for Jimmy Vivino, at least
as a front man. It’s a well-rounded set of blues
that looks back and ahead at the same time, and
will lead blues fans to hope he doesn’t take so
long between albums next time.
--- Graham Clarke
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