Well,
there's a party going on here. Those of us fortunate enough to live in
Arizona know that Cold Shott and the Hurricane Horns featuring Small
Paul have been a major force on the Phoenix blues scene for the last
12 years. Although the worst was feared when founder, bassist and manager
Ted Kowal passed away in July 2002, the band seemingly grew stronger,
carrying on his dream. Now we have this powerful live album, If You Got
The Blues, recorded at the Rhythm Room this past October. Those many
fans who have seen Cold Shott at their finest, as this writer did at the
gala New Years Eve party at the Rhythm Room this past year end, will now
be able to enjoy those moments time and time again with this long awaited
release. Just as so many of their live shows begin with Tim Finn handling
the vocals on "Let The Good Times Roll," so does this CD. After much
deserved applause, Small Paul (Hamilton) is introduced and he just wails
on the Louis Jordan classic "Caldonia," a song that is fast becoming one
of his most requested songs in their live show. This is followed by a
Kowal original, "Heading Down the Beeline" (the Beeline Highway, for those
non-Arizona residents). A rousing version of Freddy King's "Tore Down"
gets us up on the dance floor, and before we can leave, we are slow
dancing to Paul's incredible version of Sam Cooke's "A Change Is Gonna
Come." Two more Kowal originals, "Sittin' On The Back Porch" and "If You
Got The Blues Girl," brought back memories of prior years. We do miss you,
Ted. A Small Paul tune, "Ready Like Freddy," leads us into two of their
show stoppers, the familiar "Sweet Home Chicago" and B.B. King's "Why I
Sing The Blues," both given a rousing Cold Shott and The Hurricane Horns
treatment. The horn section of Dave Axton on trumpet and fluegelhorn and
Dave Russell on tenor sax, flute and piccolo, with special guest Jerry
Donato on baritone sax, drive these songs to a higher level, something we
have come to expect from all great horn-driven bands. The CD ends on a
upbeat note, with Small Paul giving us his unforgettable version of the
Wilson Pickett classic "Don't Fight It." Thanks once again to Paul, Rich
and Jeff Brydle, Tim Finn, Tony Flores, Scott Engle, Jay Busch and the
aforementioned Hurricane Horns for keeping Ted's dream alive. Contact them
by e-mail at coldshott@usa.net to
get on their mailing list of upcoming shows. Web site ---
http://www.mindspring.com/~brynet/
--- Alan Shutro
Albert King is a name that is no doubt familiar to any
fans of the Blues. His brawny guitar licks have influenced countless other
musicians such as Carl Weathersby, Michael Burks, Stevie Ray Vaughan, Eric
Clapton, and even Otis Rush. Though King’s best known work comes from his
Stax catalog (with backing from Booker T. & the M.G.’s) in the mid ’60s,
his entire body of work, particularly his work for Parrot and King in the
’50s and ’60s, is worth owning. Unfortunately, King left us too soon in
1992, the victim of a heart attack at age 69. His untimely death leaves
you wondering how much more success he could have garnered with a few new
albums in the ’90s (see Otis Rush, Luther Allison, and John Lee Hooker).
As it is, he left quite a legacy. Thirsty Ear Records is now poised to add
to the Albert King legacy with a fascinating live gig from Chicago, circa
1978. At the time, blues was considered dead in the water by most people,
as disco, punk, and new wave were filling the air waves. However, King
kept plugging away on the Chitlin’ Circuit and at the rock clubs, playing
for his loyal fans, both black and white. Talkin’ Blues captures one of
those performances. King gives a confident performance, playing many of
his Stax hits, including “Born Under a Bad Sign,” “I’ll Play the Blues for
You,” and “Blues At Sunrise.” He also throws in a sensitive reading of “The
Very Thought of You,” but keeps the blues alive with a cover of Ann
Peebles’ “Breaking Up Somebody’s Home” and “Rub My Back” (complete with
one of his trademark solos). Interspersed are clips of interviews that
King did with Thirsty Ear label head Peter Gordon, where King discusses
the blues, growing up poor, Bill Graham’s influence on his career, and his
outlook on life in general. The set is very well recorded, with King’s
vocals and guitars right out in front, where they should be. Kudos to
Thirsty Ear Records for allowing this vital recording to see the light of
day. It’s available at www.thirstyear.com.
Looking for a CD to crank things up at your next party? Has anyone ever
wondered what a fusion of blues, punk, rockabilly and rock would sound
like? Well, wonder no longer. I have the answer for you in the latest CD
by Th’ Legendary Shack*Shakers. Titled Cockadoodledon’t (Bloodshot
Records), it is definitely like nothing you’ve ever heard before. The best
description of this band that I’ve seen so far is the one at the Bloodshot
Records site --- “The Cramps on amphetamines,” which may actually be
understating it a bit. This band (comprised of Col. J. D. Wilkes on
vocals/harmonica, Joe Buck on guitar, Mark “the Duke” Robinson on bass, and
Pauly Simmonz on drums) has more energy that any band I’ve ever heard. I
can only imagine what their live shows must be like. There are bound to be
emergency vehicles on call wherever they play. The band is fronted by
Wilkes, who screams, moans, or slurs his wild lyrics through his harp mike
over a steady beat. He is certain to be one of the more charismatic front
men on the road right now. It is simply impossible to sit still and listen
to this CD. I’m getting exhausted just typing about it. If you need to add
a little spice in your CD collection, this wildly entertaining CD should
fit the bill nicely. Go to
www.bloodshotrecords.com for more information.
Lightnin’ Rod & the Thunderbolts’ new CD is a short one, clocking in at
less than 25 minutes, but it shows a talented singer/guitarist/composer
with a lot of promise. There are only six songs here, but they are all
original compositions by Michigan-based Lightnin’ Rod Wilson. These songs show his
versatility, be it topical (“TV Preacher"), bluesy rock (“Dreamful of
Blues” and “They Call Me Lightnin’”), or swamp blues (“Alligator Woman”). He
even throws in an acoustic number (“Why Are You So Cold?”) and a
reggae-tinged track (“Goin’ To St. Thomas”). Lightnin’ Rod plays some mean
guitar and is not too shabby in the vocal department, either. This is a
surprisingly good little CD, and it makes you wonder what he could do with
a full album under his belt. Maybe we’ll get a chance to find out soon.
Anyone interested in purchasing this CD can do so by sending $10.00 to
Justin Productions, 427 Pearl Street, Morenci, MI 49256.
--- Graham Clarke
The blues have become more and more widespread in the course of the last
100 years. Whether you are of the opinion that the blues, as a living
form of music, has evolved and therefore changed, or whether you think
that the blues as increasingly been mixed with other genres of music, one
thing is certain: there are nowadays artists that are not strictly blues
artists, yet which keep infusing their work with the blues, or at least
adorning it with the bluesy side of roots music. Like Ramsay Midwood,
whose CD was reviewed here in the December 2002 issue,
Ray Bonneville is
basically a singer/songwriter whose music has none of the usual flavor (a
variation on '60s folk revivalism) associated with the genre, and lots of
blues and roots vibes. His latest CD, Roll It Down (Stony Plain), is a
continuation / evolution from Gust of Wind, his first record for the
Edmonton-based roots label. The usual Bonneville themes are still here ---
events from the past somehow come back in your life, sometimes, yet time
moves inexorably forward, and the best way to deal with this is to take
your time, savor life to the fullest, fall in love and roam where your
whims take you. Roll It Down evokes vast expanses under empty skies,
leisurely cruises (through life and on various roads), and the mood is
definitely relaxed. This is summer music, not
“let’s-party-with-the-whole-crowd” summer music à la “I’m Walking on
Sunshine,” but blissful, “lazy-because-it’s-so-hot-and-anyway-why-hurry”
summer songs. The producers (Colin Linden and Rob Heaney, with Bonneville
co-producing) have kept the singer’s resophonic guitar and impressionistic
harmonica up front, adding, as the song demands, mandolin or Hammond
B-3 (the latter, courtesy of The Band’s Richard Bell), sometimes
showcasing Bonneville solo, keeping time with his foot. As a bonus, for
the first time in his career, the sometimes Montreal resident has
included a song performed in French (or rather, in Frenglish), “Slow Matin,”
a perfect vignette of a lazy weekend getting under way that should appeal
to fans of Zachary Richard and The Savoy-Doucet Band. Give this guy a
listen; as real artists do, he’ll take you for a trip in his world, and
you’ll be glad for the souvenirs. (www.raybonneville.com)
If Ray Bonneville mixes blues with stylistic touches from other roots
music genres, if Roomful of Blues mixes blues with some jazz flourishes,
then surely The Allman Brothers Band mixes blues with a lot of rock
elements, right? Right, but there’s more to it than that --- the
free-flowing, jam-based improvisations also owe a lot to jazz and to
hippie-based jam band styles, while the three-percussionist lineup at
times can create a rhythmic frenzy akin to African tribal music. In recent
years, the group has stayed in the public eye mostly through live
releases. Hittin’ the Note (Peach/Sanctuary) is the Allman's first
studio album in nine years. It features, in addition to founding members
Greg Allman on keyboards and vocals and drummers Butch Trucks and Jaimoe, the dual guitar frontline of Warren Haynes (whose main band, Gov’t
Mule, is on hiatus as bassist Allen Woody hasn’t been replaced since
his death two years ago) and Derek Trucks (Butch’s nephew), whose own
Derek Trucks Band has released an eclectic and well-received CD a couple
of months ago. In addition, Oteil Burbridge, a real monster on bass, is
also with the jam band Vida Blue. As you can see, The Allman Brothers
Band, in addition to featuring more Trucks family members than Allman
ones, is more and more an on again, off again project. One thing it isn’t,
though, is a nostalgia-based oldies act. Even though the long-winded solo
passages may not please all blues fans, the sheer complexity of the
song structures, the richness of the interplay between the percussionists
and the guitarists, the group’s tightness when negotiating those tricky
turnarounds, all this indicates that the band is still very much willing
to improve and explore. Not everything on their latest album is
successful; for example, two of the bluesiest numbers, the back-to-back
“Who to Believe” and “Maydell,” are relatively generic. But the Freddy
King cover, “Woman Across the River,” is a remarkable exercise in tricky
rhythm changes, from shuffle to funky groove. Other highlights include the
instrumental passages in “Desdemona” and “Rockin’ Horse,” which truly
transform/elevate these songs into something else entirely. And the
closing “Old Friend,” with dual acoustic slide guitars, is a real beauty.
The Allman Brothers band is back, and this is cause enough to celebrate. (www.allmanbrothersband.com)
While we’re on the topic of “not-exactly-blues, but-not-that-far,” may I
recommend the Countdown Quartet’s latest, Sadlack’s Stomp (Yep Roc).
With two members doubling on apparently unrelated instruments, namely
vocalist Dave Wright, who’s the band’s organist as well as its trombonist,
and bassist Steve Grothman, who is also featured on alto saxophone, you
know that this is not your average bar band. In fact, the Countdown
Quartet excels at two (appropriately unrelated) styles, both of which are
related to the blues: the funky brass band sound that The Dirty Dozen
Brass Band is known for, as well as the older Dixieland jazz style, with
collective improvisation, plucked banjo and a touch of clarinet (thanks to
guest Zip Irvin). In a word, fans of things New Orleans will be in heaven
when listening to Sadlack’s Stomp … even though the band is based in North
Carolina! Pay particular attention to “Joseph,” a biblical retelling of
Joseph’s story (that’s Jacob’s son, not Jesus’ dad), the greatest bass
drum feature in recent memory. And dance, baby, dance! (www.yeproc.com)
I don’t remember if it was Greil Marcus or Dave Marsh who said it, but I
once read some comment on what it takes to play the blues: “Virtuosity, in
blues or in church preaching, is irrelevant; the important thing is to
feel and convey the feeling.” That’s the main problem with Dave Hole,
whose latest CD, The Live One, has just been released on Alligator.
The
guy is such an absolute slide virtuoso (Hell! He might be, for all I know,
an extraterrestrial, because what he does is truly otherworldly) that
you’ll keep fetching your jaw on the floor and putting it back in your
mouth … in a word, you’ll be shocked and awed (!?), but not really moved.
Yes, the instrumental “Berwick Road” is beautiful; yes, “Short Fuse
Blues,” “Take Me to Chicago” and “Bullfrog Blues” offer pyrotechnic
prowess the likes of which you’ve probably never heard. But on the whole,
the lack of nuance and unrelenting emphasis on high-energy attack left me
numb and distracted. For serious guitar buffs, however, this is probably
manna. Better to sample before buying. (www.davehole.com)
Speaking of not enough nuance, you may be interested in knowing that
George Thorogood & The Destroyers are back with a new album, Ride ‘Til I
Die (Eagle Rock), or then again, you may not. Good ol’ George could have
recorded 12 takes of the same song, it wouldn’t have shown any less
variety than what we have here, which is the same rockin’ boogie that he’s
played for close to 25 years. At least, the final cut, which is the title
track, recorded live during a sound check with Thorogood laying some
cyclic, hypnotic acoustic guitar riffs, is a welcome change of pace. Not
much else to report. (www.gthorogood.com)
To end on a more traditional note, fans of the acoustic guitar style known
as Piedmont blues picking, as well as fans of religious music, should try
and find Reverend Gary Davis’ If I Had my Way: Early Home Recordings
(Smithsonian Folkways). Except for the last track, which was recorded on
acetate in 1945, the songs (all gospel songs, except one instrumental
marching band tune, over half of which were never released before) were
recorded by folklorist, photographer, filmmaker and musician John Cohen
on a reel-to-reel tape at Rev. Davis’ home in 1953, before Davis became
well-known in the folk music circles of New York and the world. Even
though the sound quality is not perfect, this historic piece is important
because it shows the repertoire of Davis when he was still performing
exclusively for blacks, singing and preaching in church and on the streets
of Harlem. Although his earlier gospel recordings, made in 1935 for ARC,
are the definitive masterpiece of his career, the blind reverend never
stopped to improve his formidable skills on guitar, benefiting from the
daily contact of other gifted guitarists who came and studied with him.
(Among those who took lessons from Davis are Dave Van Ronk, Stefan
Grossman, Jorma Kaukonen, and Roy Book Binder). Even if showing off was
not something the preacher considered, there are flashes of brilliance and
even wizardry here and there: the guitar “speaking” lines in “You Got to
Move,” Davis playing with only one hand on “Get Right Church,” playing
impossibly fast on “He Stole Away," etc. Davis’ voice, full of vigor and
conviction, is also a commanding force, and you’ll quickly forget the
imperfections of these recordings (there’s even a door opening and
creaking at some point). As usual with Smithsonian Folkways, the liner
notes are top-notch, and, since this is a John Cohen project, you also get
beautiful, rare photographs of Davis performing at the corner store as
well as on his couch. Maybe not the best introduction to Reverend Gary
Davis, but if you already own some of the man’s records, you’ll probably
wish to add this to your collection. Hallelujah! (www.folkways.si.edu)
--- Benoît Brière
The Bluesville label, a subsidiary of Prestige, was relatively short-lived
(1959-1962). During its brief tenure, however, it packed a mighty wallop,
releasing 79 albums – all still in print -- on some of the great names in
blues. Fantasy acquired the Bluesville masters upon purchase of Prestige
in 1972. Since, Fantasy has acquired Milestone, Stax, Takoma and
Specialty. Given that all of those labels are represented here, this
exquisite sampler, Bluesville - Original Blues Classic Sampler, might more accurately be called a Fantasy blues labels
sampler. Call it what you will, though, it is a superb compilation of
first class blues. From Albert King’s classic 1972 “I’ll Play the Blues
for You” to Jimmy Witherspoon’s 1963 “Grab Me A Freight,” with T-Bone
Walker and tenor ace Clifford Scott on board nearly 80 minutes later, the
sampler is impressive. Otis Spann’s 1964 take on “The Blues Never Die,”
with Muddy Waters, James Cotton, S.P. Leary and bassist Milton Rector
sittin’ in, is as good as the always mesmerizing pianist ever sounded.
Muddy’s “Honey Bee,” recorded in Paris as part of a Jazz at the
Philharmonic tour in 1963, captures the maestro in exemplary form. Muddy’s
slide guitar work is frenetic, and he’s joined in the music making by
Louis Myers, Mojo Buford, Pinetop Perkins, Calin ‘Fuzz” Jones and Willie
“Big Eyes” Smith – not to mention an audience of appreciative and lucky
French fans. Alberta Hunter turns in a spirited 1961 rendition of “St.
Louis Blues,” buoyed by trombonist Jimmy Archey. A 1925 recording on Ma
Rainey’s version of “Chain Gang Blues,” with jazz giants Coleman Hawkins
(on bass saxophone!), Fletcher Henderson (piano) and Don Redman (clarinet)
in the band, is as impressive as anything from Bessie Smith’s catalog.
Vocalist/guitarist Blind Lemon Jefferson’s 1927 recording of “Lonesome
House Blues” lists Leadbelly as the “probable” second guitarist and sole
accompanist. Jefferson can be heard saying to said guitarist, “Play that
thing. Play it like you live.” That’s some priceless recorded history! Lightnin’ Hopkins takes the lead vocals on “Got to Move Your Baby,” on
which he is joined by harmonica legend Sonny Terry, bassist Leonard Gaskin
and drummer Belton Evans. Originally released on Bluesville in 1960, this
is knock-down acoustic blues that still impresses. Big Joe Williams, the
master of the 9-string guitar, was a formidable player who settled in
Chicago in the 1960s. He’s heard here on vocals and six-string on “Whistlin’
Pines” (Tacoma), trading licks with a young Paul Butterfield. The recording
date is uncertain (mid- to late-1960s), but the power of the interplay is
in no such doubt. Floyd Dixon turns in a mighty “Hole in the Wall” that
highlights the piano master’s powerful comping. Cut on Specialty in 1955,
it’s a drop-dead remake of Amos Milburn’s “Chicken Shack Boogie,” and is
every bit as rockin’ as the template. Little Milton’s “If That Ain’t a
Reason” sounds as good now as when it was released on Stax in 1971. Jimmy
McCracklin’s country-ish “Yesterday Is Gone” benefits from a well-conceived
string, horn (Memphis Horns) and vocal accompaniment. It’s hard not to
smile when listening to Jesse Fuller. The 1963 solo version on “Jesse’s
New Midnight Special,” on which the one-man band sings, plays superb
guitar, blows a harmonica and kazoo, and plays washboard and something
called a fotdella, is no exception. Lonnie Johnson’s “Don’t Ever Love,”
obviously the model for Freddie King’s “Did You Ever Love A Woman,” was
cut sometime in the 1960s. The influential guitarist is joined by tenor
saxophonist Hal Singer, jazz pianist Claude Hopkins, journeyman bassist
Wendall Marshall and drummer Chris Albertson for this Bluesville session.
Sunnyland Slim’s version of Leroy Carr’s classic “How Long Blues” was cut
in 1960. Though the legendary pianist offers solid keyboard work and
authoritative vocals, he’s almost overwhelmed by saxophonist King Curtis
and organist Robert Banks. Memphis Slim has no such problem on his solo
version of “Letter Home.” Slim was one of the most popular and influential
of the small coterie of blues pianists, and this is a stellar example of
his work. John Lee Hooker’s 1959 take on his “Black Snake,” also recorded
solo in the studio, is the stuff his legend was built on. Willie Dixon is
joined by Memphis Slim and others on his self-penned “Good Understanding,”
which reminds a bit of his “Same Thing,” with the added R&B edge supplied
by Al Ashby’s tenor. Listening to a classic performed by the author is
always an instructive exercise, and such is the case with Roosevelt Sykes’
1960 recording on “Driving Wheel.” The legendary pianist is joined on the
session by tenor, two guitars and drums for a somewhat subdued version.
Additional cuts from Blind Willie McTell, Mercy Dee Walton, a young and
powerful Odetta, K.C. Douglas, Frankie Lee Sims and Jimmy Witherspoon wrap
this up quite nicely. It’s hard to imagine anyone putting out a more
impressive sampler this year.
--- Mark E. Gallo
Unfortunately, Mick Clarke's Live In Luxembourg is only available from
the artist's web site (www.mickclarke.com),
or at live gigs, which is a shame as it deserves wider recognition.
There are seven really good tracks here, three of them Mick Clarke
originals, offering a wide variety of blues styles & tempos.
This CD was made from a live recording at the Big Blues Festival in
Luxembourg in 2002. The album opens up with a Clarke original, "Bromley City Limits,"
instrumental blues at its best. A second Clarke number, "Looking For
Trouble," follows before we get into the cover versions.
The first of these is "That's Alright", a well done, nine minute
interpretation of the old Jimmy Rogers number, given a raunchy treatment by
Mick Clarke and the band.
This particular track proves that this band knows what the blues is all
about.
The other covers are equally as good: Muddy Waters' "You Gonna Miss Me,"
Willie Dixon's "You Need Love" and Chuck Berry's "Don't Lie To Me."
All
three are totally different to the originals and are given the Mick Clarke
treatment to the full. It's so much better than just making a direct copy that
can't be distinguished from the original.
Bearing in mind that this is a live album, I think that this is a band to
look out for. If they're playing in your area, get along there and see
them for yourself.
--- Terry Clear
As a whole, this genre is over-run with young, sensational guitar players.
However, it has been ages since a youthful spitfire set the harp ablaze.
Maple Blues (New Artist) Award winning David Rotundo is exactly what the
blues needs now. David plays the harp on Blowin' For Broke (Stone
Pillar Productions) as if madly possessed by the ghosts
of Sonny Boy Williamson, Little Walter and George "Harmonica" Smith. In
1997, Rotundo formed a band called the Blue Canadians (Peter Schmidt
guitar, Shane Scott bass, Julian Fauth piano and Walter Maclean drums) and
they began playing the Toronto circuit. Blowin' For Broke was recorded
with them and released in 2001. The album was produced by Rotundo/Scott
and features 12 songs that last 52 minutes. However, you will want to hear
David’s heavy harp for longer than that.
Many debuts contain too many over-played covers while others record too
many immature originals. Thanks to ‘ahead-of-his-time’ songwriting
capabilities, Rotundo wisely decided not to record any covers. David’s
style of blues can be found in his song’s titles. Shakin’, bustin’, boogie
and shuffle all accurately describe his music. "Make Up Your Mind" is a
throw back to an era of blues harp gone by. Although David’s vocals are a
bit rough, his harmonica wails with confidence and conviction. A boogie
scuffle with a West coast feel follows, called "I’m Waiting." It has a
contagious beat and complex timing. "Bourbon St. Blues" is a slow blues
where the gaps are filled by Julian’s tingling riffs. The song’s guitar
solo is barn-burning, while the harp solo will leave you awestruck. The
drums are royally slapped around, producing big bangs on "I’m Into It." Rotundo is more than into it, he is on top of it! (A video of the track
featuring Rotundo's overwhelming performance recently aired as part of
Bravo! TV Canada’s Talkin’ Blues series.) The big, acoustic bass gets
smacked around on the swinging "Butt Bustin’ Boogie," which is a sheer
party. "My Leg Is Shakin’" features twice, once as an alternate take.
Aren’t those supposed to be saved for box sets? The tune(s) features the
classic call and response format, a bone-rattling piano solo and
screeching harp. Listeners will require mighty fine hearing to determine
the differences between the two versions. "Devil In A Dress" combines
elements of "I’m A Man" and "Evil." It’s a rockin’ blues number from the
Chess era.
If Rotundo is the next generation’s blues harp ambassador, then Fauth is
the young prince of the keyboards. He makes the 88s dance especially on
the dangling instrumental, "P.T. Shuffle." "Astro Van Blues" is a relaxed
and calming instrumental where the harp displays a peaceful and soothing
tone. David Rotundo, a stronger musician than producer, knows how to write
mean blues tunes about women and drinking and blows harp with plenty of
charisma. He has the potential to do for the harp what youngbloods like
Jonny Lang did for the guitar. Canadian music legend Ronnie Hawkins nailed
it when he said, "Rotundo plays the blues the way the blues are supposed
to be played." And its a pleasure, a pure pleasure to experience.
For CDs, booking and information, contact
www.davidrotundo.com
Who
can dispute the harmonica mastery of Canadian music legend Michael
Pickett? That was proven once again when Michael won the 2002 Maple
Blues Award for best harp player. However, his guitar prowess has been a
bit of a secret. Pickett’s six-string first emerged on the Conversation
With The Blues disc. After his long anticipated 1998 debut received
critical acclaim, Michael continued to front a high energy electric blues
band. They toured madly and received positive reviews where ever they
performed. After a long hiatus, in the spring of 2000, Michael once again
started performing acoustic guitar. He began delving deeper and deeper
into the world of acoustic roots music. Eventually he became so entangled
he abandoned his electric act in favour of being a solo acoustic artist.
On Solo (Wooden Teeth Records), Pickett plays as passionate and
intense as the emotion-laden cover photo. The 11 tracks on this 40 minute
disc were co-produced by Pickett and Alec Fraser. Michael handles vocals,
guitar (Gibson 6-string, 12-string, 1931 National Steel Duolian, and
Yanuziello resophonic) and rack harmonica (Lee Oskar). There is a pretty
even split amongst songs featuring the guitar only versus tunes with
guitar/harp. "Louise" is an autobiographical reflection upon the meeting
of his wife and the deep love that he has for her. How appropriate to
emanate this via a deep Delta blues tune. We are talking as thick as the
mud in the Mississippi River here. "Blues Is A Friend Of Mine" is foot-stompin,’
brown-jug country blues. This is as up-tempo as acoustic blues can get and
should get. His wandering harp notes shriek and his vocals get a workout
on "Steady Rollin’ Man." "The ‘Hood" has an accompanying video which aired
as part of Bravo’s Talkin’ Blues TV series. Here, the vocals
briefly sound like Long John Baldry and Howlin’ Wolf. The tune’s
attractive melody contrasts with its words about the desperate human
condition along skid row. "Cecil & Spadina" reappears from the
Conversation disc and is considered a bonus track. The song’s basic
melody is established over a few notes; still, the riff created is
memorable. Obviously, Pickett learned plenty at this landmark Toronto
street corner where a live music club exists. Michael is known for being
outspoken and proudly Canadian. So, lyrics that tell of moving to
California seem out of place. However, lyrics like the ‘president up in
the White House, I believe the man is insane’ from "World In An Uproar"
are the kind we have grown to expect. His guitar is unrepentant on
"Lonesome Road," with its challenging arrangement, while the instrumental
"Bill’s Song" is a lovely tune that is too short. Not being an acoustic
connoisseur, I felt the oomph from the electric albums is missing. Solo
acoustic music requires an acquired taste. If that is absent from your
palate, the music on this disc may drag. However, this CD does not lack
direction, and it clearly showcases Michael’s diversity as a performing
artist and songwriter. The seven original songs mesh so tightly with the
covers, many will think all the tunes are originals. If you are looking
for Mississippi Delta blues, why not experience it Toronto-style with
Michael Pickett. For CDs and information contact: Wooden Teeth Records, PO
Box 501, 3364 Keele Street, Toronto, ON Canada M3J 3L0, Tel (416)
631-8393, Fax (416) 633-3254, Website:
www.michaelpickett.com.
--- Tim Holek
The ten songs on the anthology,
Sanctuary Blues Sampler (Castle Records), were recorded in the '60s and '70s by American blues
artists, some with British bandstand backing, for the British blues label,
Big Bear. Artists include Snooky Pryor, Sonny Terry & Brownie McGhee, John
Lee Hooker, T-Bone Walker, Charlie Musselwhite, Big Bill Bronzy, Lowell
Fulsom, Jimmy Witherspoon, Eddie "Playboy" Taylor and Little Mac. Most
readers will have heard of some or most of these frontmen, and virtually
all readers will have heard recordings identical to these dozens of times.
It's a good look at a once-good label from a currently good label that now
owns these titles, and the artists are good, and the record's not special
at all, though it is as good a ten-song blues anthology from that time and
place as hundreds of others.
But not better.
--- Arthur Shuey
HoneyBoy Dupree and the Smokehouse
Players is a Phoenix-based band that came out of nowhere in 2001 for
an upset victory in the Arizona Blues Showdown. Equally surprising
is their new self-titled, self-released CD; it is much better than it has
a right to be --- a pleasant, entertaining mix of originals and well-worn
covers. The disc kicks off with a killer show blues, "Anybody Seen My
Baby," with great instrumental work by guitarist Tim Finn (of Cold Shott -
see above review). Following is a rollicking version of Willie Dixon's
"300 Pounds of Heavenly Joy" that showcases lead singer Sal Caffarello's
raspy, upfront vocals and a smokin' organ solo from Patrick McDonald. The
slow, late night blues of "Full Moon On Main Street" has a sleazy, back
alley feeling to it, highlighted by the mournful wail of Rich Arnold's
saxophone. The vocals of Caffarello (aka HoneyBoy Dupree) are aptly
suited for the Wolf number "Howlin'," punctuated with Robert Turner's
subtle yet tasty harmonica riffs. Turner is also featured predominantly on
the swampy "Walking Sin"; he never tries to dominate the band with his
solos, yet his work is efficient, always complimenting the other band
members' sounds. Another notable original is the gospel-ish "Coming Home,"
on which Caffarello sounds his most inspired; for my money, this cut is
the highlight of the album, and is worth hearing over and over ... as is
the rest of the album. By the time you get to the end of the disc, with
the closing slow blues "Need You So Bad," you'll be wondering "Who the
heck are these guys?" --- and trying to search them out. For more info, visit
www.honeyboydupree.com.
Another independent, self-titled
release on Indianturtle Music comes from San Diego guitarist Jo Cuseo.
It's more rock than blues, and the non-blues cuts aren't that strong. But there are a
couple of cuts of the five numbers
here that would appeal to Blues Bytes readers, namely the hot guitar
shuffle "Stay With Me Awhile" and another shuffle, "Rain On Me." Cuseo
isn't a great singer, but he won't have you reaching for your ear plugs,
either. For more info,
visit www.jocuseo.com.
East
Coast harmonica dude Steve Guyger is one of my favorite unknown
blues players around; he's often referred to as a 'working man's blues
man' or 'a musician's musician." Both statements are true. When you get
down to it, Mr. Guyger just plays solid, unadorned Chicago-style blues ...
no frills, but plenty of heavy stuff. His 1999 album, Past Life Blues, has
now been re-issued by Severn Records, having been re-mastered to analog
tape, giving the music a richer sound. Also added are three new cuts: "Kansas City Blues," "I
Need My Baby" and "This Is The First Time." I originally reviewed
the CD in the August 1999 issue of Blues Bytes.
What I said then about this disc still holds true, and then some. The new
cuts aren't throwaway tunes; they each make a positive contribution to the
disc. "I Need My Baby" is a mid-tempo austere blues that starts out with a
very nice chromatic harp solo. Also worth the price of re-acquiring this
CD is the slow, subtle blues, "This Is The First Time," with tasteful,
unobtrusive guitar playing from Brian Bisesi. If you haven't yet become
acquainted with Mr. Guyger, then this update release of Past Life Blues,
is a great place to start finding out about this underrated blues guy. For more info, visit
www.severnrecords.com.
Still another fine Severn release comes
from New England band Sugar Ray & the Bluetones. This self-titled
release is bolstered by the addition of guitarist Monster Mike Welch,
making a perennially solid band even better. The disc starts with a
Welch-penned blues shuffle, "I Believe," that gives every band member a
chance to stretch out and show their instrumental oomph. Sugar Ray plays
chromatic harp on this one, while Anthony Geraci guests on piano and Welch
completes the triumvirate with a good guitar solo in the middle of the
tune. Sugar Ray leads on the instrumental "And The Angels Sing," a jumpin'
shuffle version of an old show tune classic. Welch is at his best on the
slow blues numbers, especially his original compositions "I Asked My Baby"
and "Love and Trouble." This ex-teen prodigy is progressing nicely as both
an instrumentalist and composer. Taking an excursion into a deeper blues,
Sugar Ray pours his heart into the dirge-like "Burial Season." He then
turns around and brings the listener back up with the Cajun-sounding tune
"Why the Sun Sets Red and Low." Overall, this is a thoroughly enjoyable
CD. Recommended.
--- Bill Mitchell
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