The name
Mac Arnold might not be familiar to some
blues fans, but Arnold has been involved with some
of the big guns of the genre since the 1960s. Born
in South Carolina, Arnold moved to Chicago after
high school and played with Muddy Waters and John
Lee Hooker (plus with James Brown in their high
school band). He also served as the first associate
producer on his friend Don Cornelius’ show, Soul
Train, and that’s his bass you hear on the opening
theme for the Sanford & Son TV show.
In the early
’90s, he moved back to South Carolina
and started farming and truck driving. A chance
encounter with mechanic/musician/Muddy Waters fan
Max Hightower led to Arnold recording Nothin’ To
Prove in 2005 (financed by Hightower, who took out a
second mortgage), which was one of the surprises of
that year. Arnold has returned with his band, Plate
Full O’ Blues, to release his sophomore effort,
Backbone & Gristle (Plantation #1 Productions).
Backbone & Gristle differs from its predecessor in
that all the songs are written or co-written by
Arnold this time around. His writing is very
personal, sometimes autobiographical, and always
interesting. He’s lived the city life and the
country life, and judging by the tone of
compositions like “Things I Don’t Need,” “Buster,”
and “The Garden Song,” it's obvious which life he
prefers. One of Arnold’s specialties is constructing
guitars made out of gas cans. He even plays one on a
couple of songs and tells a story about them on “Gas
Can Story.”
Arnold also offers some good advice on the opening
cut, “Love and Relations,” as well as his two tracks
that feature youngsters. He’s involved in the Blues
In The School program and wrote the song, “I Can Do
Anything,” which is featured in two different
versions. The first is a studio version with vocal
support by the New Mount Colony Baptist Church Youth
and there’s also a live version which showcases
Greer High School, Middle School, and Elementary
School, along with their marching band.
“U Dawg Gone Right” mixes blues with a funky
backbeat, as does “Gitty Up.” The title cut is a
tribute to Arnold’s father, who used the term
“backbone & gristle” when Arnold and his siblings
complained about working in the fields to define
courage, character, and fortitude. While Arnold may
not have appreciated his father’s philosophy as a
youth, his life’s journey indicates that he
certainly embraced it as an adult.
Long forgotten as a sideman, Mac Arnold has
reemerged as a frontman from complete obscurity to
become one of the most vibrant voices in the blues
today. Backbone & Gristle is a fascinating album
from an old pro who still has a lot to offer. Don’t
pass it up. Go to
www.macarnold.com for more
information about this busy artist and his various
ongoing projects, including the Mac Arnold Cornbread
and Collard Greens Blues Festival.
---
Graham Clarke
Albert
Castiglia learned to play guitar in his early teens
and got his start professionally by playing with the
Miami Blues Authority in the early ’90s. Junior
Wells liked what he heard and hired him as his own
guitarist/vocalist on several of his world tours.
After Wells passed away, Castiglia joined
Atlanta-based blues singer Sandra Hall for a while,
then started his own solo career, which to date has
featured two studio albums and a live release. Over
time, he has developed an aggressive guitar style
that serves as a fine compliment to his sturdy, but
soulful vocals.
Castiglia’s latest release, on Blues Leaf Records,
is These Are The Days. It’s a mix of solid cover
tunes and impressive original compositions. His
originals include the clever “Bad News Blues,” the
lively “Twister,” and “Godfather of the Blues,” a
warm tribute to his mentor, the late Junior Wells.
Longtime collaborator Graham Wood Drout contributes
another fine tune, the upbeat “Celebration.”
The covers are mostly familiar tunes. Fenton
Robinson’s “Somebody Loan Me A Dime” gets a slow
burning treatment, as does the blues standard “Need
Your Love So Bad.” Both offer Castiglia a wonderful
opportunity to really stretch out on guitar and his
vocals fit the songs like a glove. Castiglia also
does a good job on Nappy Brown’s “Night Time Is The
Right Time,” though the background singers could
have been a little grittier.
Every cut is a winner here. Castiglia’s guitar and
vocals are excellent. The band (Susan Lusher –
keyboards, Steve Gaskell – bass, Bob Amsel – drums,
along with Ken “Stringbean Sorensen on harmonica and
Rio Clemente on organ) provide first-class backing.
These Are The Days shows that Albert Castiglia has
developed into one of the more exciting talents to
emerge on the blues scene in a while. Fans of
high-energy blues and incendiary guitar work won’t
be disappointed with this release. Check out his
website at
www.albertcastiglia.com.
---
Graham Clarke
Josh Boyd & the V.I.P. Band list as their influences
such artists as James Brown, Jimi Hendrix, Stevie
Ray Vaughan, Earth, Wind, & Fire, the Gap Band,
Albert King, and Albert Collins. That’s a diverse
group, to be sure, but believe it or not, the band
touches on nearly all of these sounds in their
self-titled, self-released disc.
To be sure, Boyd has guitar chops to burn and can
blow the doors off when he feels like it (“Can’t
Stop Your Love,” “I Don’t Wanta Think About It,”
“High Heels”), but he’s also capable of getting
funky as well on tracks like “Free,” “What’s Turning
You On,” and “Funky Popstand.” The autobiographical
“Down On The East Side” tells how he made his move
to the blues and the guitarists who influenced him,
including his father. The closing track,
“Sometimes,” is a show-stopper and mixes rock,
blues, and funk. I defy you to sit still while it’s
playing.
This disc is a completely intense, high-energy set,
with no let up between songs. There are no ballads
here, just pure unadulterated blues, rock, and funk.
The V.I.P. Band consists of Junior Springs (bass)
and Charles Gaston (drums). If you look up “in the
pocket” in the dictionary, you’ll find a picture of
them.
If you like the up and coming blues guitarists like
Anthony Gomes, Kenny Wayne Shepherd or Joe
Bonnamassa, you will love this CD, pure and simple.
Go to
www.superboyd.com for more information on the
band and to check out some of the tracks on this
disc.
---
Graham Clarke
Michael Holt & the Trophy 500's play a muscular
style of blues that also combines rockabilly swing
and elements of hard rock as well. The band consists
of Holt (guitar and vocals), Randall Stockton
(harmonica), Brandon Gonzales (bass), and Kevin
Wright (percussion). These guys play with a fast and
furious intensity and their recent EP release, Boogalu’ (self-released) is an excellent capsule
summary of their sound.
The EP consists of five tracks, four originals plus
a fiery cover of John Lee Hooker’s “Dimples.” The
other songs are also high energy, with the opening
track, “To The River,” being the standout of the
originals, but the rest of the tracks don’t
disappoint. Holt is a very good singer and
guitarist, and the Trophy 500's provide exceptional
support.
Boogalu’ is a solid, but short set of hard rocking
blues and roots music that will get your blood
pumping and your feet moving. The band has a full
length CD in the works. Based on this EP, it will
definitely be worth checking out. This EP is
available at
www.cdbaby.com, Amazon, and the band’s
website,
www.michaelholt.info.
---
Graham Clarke
Guitar fans everywhere mourned the sudden loss of
Canadian guitarist Jeff Healey, who lost his long,
frustrating battle with cancer in March.
Fortunately, he was able to put the finishing
touches on his final release, Mess of Blues (Ruf
Records), before his untimely passing at age 41.
Healey, who first came to prominence in the late
’80s with his remarkable debut recording, See The
Light, and his appearance in the movie “Road House,”
lost his sight as a baby due to a rare form of
cancer. He picked up his first guitar at age three
and began to play it across his lap, developing his
distinctive style by accident in the process. He
recorded several memorable blues/rock discs in the
late ’80s/early ’90s, but since the turn of the
century Healey’s focus has been on classic jazz,
his first love, and he’s released three discs with
his Jeff Healey Jazz Wizards since 2002.
Mess of Blues is his first blues/rock release in
eight years and it’s a welcome return. Backed by a
powerhouse band (Dan Noordermeer – guitar, Dave
Murphy – keyboards, vocals, Al Webster- drums, Alec
Fraser – bass, acoustic guitar, vocals, and Holger
Petersen on backing vocals), Healey really gets an
opportunity to stretch out on guitar, something he
didn’t always get to do on his previous recordings.
This disc is a mixture of live (two done in London
and two in Toronto at Healey’s Road House club) and
studio tracks.
The songs are mostly classic blues tunes with only
one track that Healey previously recorded (a live
version of Freddie King’s “I’m Torn Down”). A slow
take of B. B. King’s “How Blue Can You Get” is
wonderful, with Healey really getting a chance to
put his blues guitar chops on full display. “Sugar
Sweet,” a Mel London track best remembered by Muddy
Waters’ version, is also a keeper, revamped with a
funkier R&B arrangement.
There are some other standout tracks and, while most
of them are usually not considered blues, they get
the full blues treatment and come out sounding
great. Among these are a fun romp on Hank Williams’
“Jambalaya,” The Band’s “The Weight,” and Neil
Young’s “Like A Hurricane.” The last two tracks,
“Sittin’ On Top Of The World,” and “Shake, Rattle
and Roll,” close the disc out in exciting fashion,
with Healey’s guitar front and center.
The band, Healey’s house band at his club, performs
like a well-oiled machine. Keyboardist Murphy is
prominent, peppering the disc with sparkling solos
and fills. He also takes lead vocals on “Jambalaya,”
as well as his own composition, the rowdy “It’s Only
Money.” The only complaint about this disc is that
it’s just not long enough. It would have been nice
to have some additional live tracks mixed in, but
hopefully, there were enough additional recordings
for a future release.
Unfortunately, Jeff Healey was taken away far too
soon, but he left an impressive catalog of
recordings for us to enjoy. Mess of Blues is a
superb addition to that catalog.
---
Graham Clarke
Rick Fowler grew up listening to British blues/rock
guitarists and American blues guitarists. He’s
played with bands like Ziggurat, Deacon Little, and
Bertie Higgins (of the early ’80s hit “Key Largo”).
He was a member of the band Fortnox, who had a Top
50 hit with “Storm Inside My Head” in 1982 (it also
made MTV’s Top 20 videos), and toured non-stop with
them for over a year. He also formed the band Bombay,
and toured with Bad Fun before relocating to Athens,
Georgia in the early ’90s and immersing himself in
the local music scene. He’s played on hundreds of
albums, toured several countries, and recorded the
music track for the movie, Dirty Work.
Fowler’s latest project is
Back On My Good Foot, for
the Jammates label. It’s loaded with Athens-area
musicians, among them former R.E.M. drummer Bill
Berry and most of the Randall Bramblett Band (Bramblett
on Hammond Organ, drummer Gerry Hansen, guitarist
Michael C. Steele).
The disc features those styles Fowler grew up with,
stripped-down blues songs and blues/rock in the
British style. Nine of the ten tracks were written
or co-written by Fowler and they are all well-done.
The highlights include the opening cut, “Infected
With The Blues,” the clever “Skeletons In Your
Closet,” the chilling “Walk Softly,” the
hard-rocking “Road To Nowhere,” and “Hitchhiking.”
Some of Fowler’s songs touch on topical themes, such
as “Preacher” and the thought-provoking “Running
From The Truth,” which might have you shouting,
“Amen!” The disc’s lone cover is a compelling
ten-minute version of Savoy Brown’s “Hellbound
Train.”
Fowler’s guitar work is potent and he has a rugged,
warm vocal style. All of the tracks get a wonderful
lift from the Hammond Organ (from Bramblett and Tim
“Drawbar” White), which adds a moody ambiance.
Back On My Good Foot features impressive original
songs, wonderful music, and a gifted front man with
something profound and original to say, a trait that
is becoming rarer and rarer these days. Blues/rock
guitar fans will want to get their hands on this
one. Visit Fowler’s website,
www.rickfowler.com, for
more information.
---
Graham Clarke
One of the most unobtrusive events of 2007 was the
tenth anniversary of Electro-Fi Records. In 1996,
President and Founder Andrew Galloway, a life-long
fan of music, decided to create a record label. With
the release of the first Electro-Fi CD, Little Mack
Is Back by Little Mack Simmons, his dream came true
in 1997. Throughout the past ten years, Electro-Fi
has recorded underrated, underappreciated, and
obscure American blues artists by teaming them with
Canada’s best musicians. Many of the recordings on
this disc were made in Canada with Canadian-based
studio musicians and band members.
This specially-priced two CD set,
Maximum Mojo, contains 32 tracks
– including one previously unreleased song – which
feature all of the artists on the label’s roster. No
songs are repeated from their previous compilation
CD, Upside ‘n’ Down Tight, however Paul Oscher,
Fruteland Jackson, Mark Hummel, Sam Myers, and
Snooky Pryor each are featured on more than one song on
the new collection. The CD’s liner is a multi-page
booklet with Galloway’s reflections on each song.
Songwriting and session credits are not included,
but they are available on the label’s website.
For the most part,
Maximum Mojo contains real
authentic blues the way it used to be performed and
recorded. Even with a voice that’s worn, Snooky
Pryor sounds like he is having the time of his life.
Listen as his brawny harp waddles while the equally
talented band members of Fathead create a joyful
sound and Curley Bridges fluently tingles the
ivories. You’ll also hear Willie Smith’s spanked
drums, Enrico Crivellaro’s articulate guitar, Kenny
Wayne’s bustling piano, Finis Tasby’s stately
vocals, Fruteland Jackson’s acoustic story-telling
blues, Lil’ Dave Thompson’s untainted contemporary
blues guitar, Julian Fauth’s gripping lyrics and New
Orleans style piano, Sam Myers’ sweaty, old school
blues, Sharrie Williams’ potent rhythm, and Paul
Oscher’s revered harp and dignified guitar.
Though the label’s first release came from Simmons,
Electro-Fi has become the house that Mel Brown has
built. His recording career got back on track in
1998 when he was a featured guest on Snooky Pryor’s
Can’t Stop Blowin’ release on the label. Since then
Brown has recorded three solo albums for Electro-Fi
and has appeared on countless others. On this
compilation, he appears on eight songs. Forming the
beauty of Brown’s benevolent blues are downhome
arrangements, graceful guitar, and savory keyboards.
Some of the songs may be too slow-paced for today’s
impatient world, but overall, Galloway has developed
a winning and simple formula. “No teenage guitar
heroes, no aging rock stars, no tribute CDs, no
blues fusion CDs … just plenty of straight natural
blues music served up by some of the real
originators from blues music’s greatest generation
alongside with the best of this generation’s
emerging artists, to whom the torch of the blues
tradition has been passed.”
--- Tim Holek
Albert Collins was one of the most distinctive blues
guitar players in history. The Master of the
Telecaster was dubbed the Iceman from the cold
purity of his guitar playing. Born in Leona, Texas,
in October 1932, Collins’ musical career began in
Houston but didn’t skyrocket until he signed with
the respected Alligator Records in the late ’70s.
Like all DVDs in Eagle’s
Live At Montreux series,
this July 10, 1992 Montreux Casino concert was
filmed in widescreen with multiple cameras. Without
using a pick but using his ever present capo,
Collins makes each guitar note cut briskly. He is
distracted by his amp and is obviously not happy
about something during "Iceman," yet he still manages
to release that piercing sound which was unmistakenly his own.
The Legendary White Trash Horns
perfectly complement the tone of Collins’ guitar
notes on "Honey Hush." In fact, roaring horns were as
much a part of Collins’ signature sound as his
ferocious guitar and resonating vocals. "Lights Are
On (But Nobody’s Home)" is a slow blues, with lots of
close-ups of Collins performing guitar, that
features an extended tenor saxophone solo by Jon
Smith. He performs another long sax solo on the
other slow blues number "Too Many Dirty Dishes," which
also features an impressive and lengthy solo from
second guitarist Pete Thoennes. However, if you
aren’t into slow blues with extended solos from
numerous instruments, you’ll likely become bored
with this track.
Not all of the songs feature
extended jams. The shorter songs are very similar to
their studio counterparts. The medley blasts and
jumps out as Johnny B. Gayden’s sassy and funky five
string bass pulsates on "Put The Shoe On The Other
Foot" while Collins walks into the audience and lets
a frenzied solo rip. Collins’ solo at the end of the
song is so forceful and energetic, it’s as if the
durable six-member support band, The Icebreakers,
pushed him to another level. Things conclude with
Collins’ signature instrumental, "Frosty."
Four lengthy bonus songs are culled from Collins’
first Montreux appearance on July 8, 1979. It is not
as polished a performance as 1992. Although there is
some noticeable hiss and the stage lighting could
have been better, the video and audio quality is
surprisingly strong given its age. Collins and his
Icebreakers, A.C. Reed (sax), Larry Burton (guitar),
Aron Burton (bass), and Casey Jones (drums), are
dressed like a disco or funk band. The Iceman comes
out blazing on the instrumental "Listen Here," where he
walks out into the crowd, takes a seat, and keeps
frantically jamming for nine minutes. During "Cold
Cold Feeling," some idiot from the audience
disrespectfully joins the band on stage and
pathetically blows harp, but this doesn’t fizz the
band or Collins. Gatemouth Brown joins the band on
"Frosty," but has many problems with his amp while many
stagehands try to correct the problem. This comes
over extremely non-professional on behave of the
crew.
The CD version of this release only contains the
1992 concert and five of the seven songs were
previously released on Live ’92/’93 on Pointblank
Records. Thus, it’s the DVD that you will want. On
it, you get two concerts of Collins’ best known and
loved songs. Albert Collins died in November 1993.
Whether or not you had a chance to see him before he
succumbed to cancer, this is an essentially video.
---
Tim Holek
The
Legendary Rhythm & Blues Revue disc, Command
Performance (Delta Groove Records), arrived in my mailbox the day before
our Blues Blast festival here in Phoenix. Deanna
Bogart was one of our artists and I looked forward
to hearing what I knew had to be a special record.
Conceived by Roger Naber of the Legendary Rhythm &
Blues Cruise in cohoots with the Master of Mayhem
himself, Tommy Castro, this record had “great
listen” written all over it. I can honestly say that
it met those expectations and then some.
Command Performance represents the best of several
live recordings of the group from stops along the
Rhythm & Blues Revue tour. I had hoped to catch
their performance in Kansas City but it just wasn’t
in the cards, so the record had to be the next best
thing. Kicking things off with Tommy’s band is
Ronnie Baker Brooks singing an original tune, “Can’t
You See.” “Oh wee girl…you’re so damn find…can’t
hardly get you off of my mind…please tell me…I’m not
wasting my time!” Deanna’s piano is kicking it in
the background and this record’s off and running. Up
next is Tommy singing one of his favorites, “I Feel
That Old Feeling Coming On.” Love is in the air and
Tommy’s feeling it come back around to him. Next up
is Magic Dick’s harp out in front on the
instrumental, “Whammer Jammer.” It turns out that
his harp mic broke the night this song was recorded,
so he played through a vocal mic and the result is
one of the gems on the record.
We finally get around to Deanna’s turn on one of my
favorites, “Girl in the Band.” I’ve seen Deanna
perform this song on two or three occasions now and
although she’s “still the girl in the band!” Deanna
rocks. Given its Blues Cruise origins, the band
takes its own sweet time on a number of songs, and
this extended version of D’s song is one of my
favorites. Next up is one for the ladies, “See You
Hurt No More,” with Ronnie and Deanna. Ronnie’s
definitely learned from the best, his father Lonnie
Brooks, and this is a beautiful ballad. “Give me
your dream…for us to share…give me your hand…so I
can be right there…and give me your joy…give me a
tear…I’ll be your security…so give me your fears!”
By far my favorite cut on the CD, I hope to see this
done live by Ronnie and Deanna some day.
Curtis Salgado has come back from his health issues
and he takes the lead as a special guest on the next
cut, “If It Ain’t Me.” “Baby…I need your love…now if
it ain’t me…now baby…tell me who you’re thinking
of!” It’s good to hear Curtis back singing again and
this cut is special for his harp work as well. “If I
Had a Nickel” finds Tommy thinking too hard again.
Things aren’t well at home and he’s in the midst of
trying to work it out all over again…”if I had a
nickel baby…every time my heart were broke…just a
nickel baby…oh yeah…every time…nobody cared…just a
nickel…I’d be a millionaire!” I heard that.
Deanna’s
back in charge on the Billy Preston tune, “Will It
Go Round in Circles.” Ronnie’s sharing the vocals
with Deanna on this tune as well, and I for one could
definitely listen to a record of their duets.
Hmm…maybe a recording project for the future!
Ronnie’s back on the Muddy Waters classic, “She’s
Nineteen Years Old.” “Nothing I can do to please
her…to make this young woman satisfied.” Ronnie
cracks me up with his double entendre to introduce
the resident harp man, “Maybe I give her some Magic
Dick.” I’ve been around Roger Naber enough to know
that this happens all the time!
Speaking of Magic Dick, he fits seamlessly into this
outstanding cast of characters and takes the lead on
our next cut, “Tell Me Mama.” I remember fondly the
days of his J. Geils Band’s hit, “Centerfold,” and his
harp work on this record is amazing. Tommy Castro
finally works his way back to the lead microphone on
“Looking for a Love.” “I’m looking for a
love…looking here and there…searching
everywhere…looking for a love…to call my own!”
Deanna shares the vocals with Tommy and she’s on a
search of her own. “Some one to get up in the
morning and rub my head…fix my breakfast…bring it to
my bed…do a little housework…pamper me again!”
An extended version of “High on the Hog” is up next.
At just over nine minutes it’s the longest cut on
the record. But we get a chance to hear Tommy and the
gang each take a turn at soloing and Elvin Bishop
lends his guitar magic to the mix, a welcome treat
on its own. Command Performance closes with Marcia
Ball at the helm singing (what else?) “Sea Cruise!”
“Won’t you let me take you on a sea cruise?”
What a record! I’ve enjoyed it tremendously. All of
the players obviously had a great time on the LR&BR
tour and it shows in their playing and camaraderie.
Kudos to Randy Chortkoff of Delta Groove Records for
clearing all of the hurdles to make this record
happens. Buried deep in the liner notes is Randy’s
goal: “To keep the blues alive you have to put out
fresh new music, not just rewrite history.” Amen to
that! Hearing the ship’s foghorn at the end is a
perfect way to close out this record in honor of the
Legendary Rhythm & Blues Cruise. I’ve not made a
cruise yet, but Lord knows I will, until then, this
record is the next best thing. Enjoy!
---
Kyle Deibler
Visions
of two old bluesmen on the back porch of a juke deep
in the Delta wanders through my mind’s eye as I
listen to the newest release by Colorado Bluesman,
Dan Treanor, the eclectic Brothers, Blood
& Bones. Perhaps I should say two new, old
bluesmen on the back porch of a juke. Dan’s current
collaboration with Jack Hadley is the latest
in series of explorations of what Dan calls
“Afrosippi Blues” and continues the musical journey
begun in Dan’s two previous releases, African
Wind and Mercy.
Dan’s
concept is simple in theory, complex in its
execution. He marries the use of ancient African
instruments, such as the Khalam and Ngoni, with
modern interpretations of traditional styles that
have helped to bring a breath of fresh air to blues
as we know it. His partnership with Hadley enables
Dan to bring to the forefront his skills as a harp
player on this new release.
“Hard
Luck Child” kicks off the record with Dan playing
both banjo and harmonica. They provide the right
sense of desperation as Jack lets us know that he’s
“down in the bottle…can’t find my way back up…I’ve
been down here so long…Lord, I think I’m stuck!” A
hard luck child he is and hopefully he’ll find his
way out. Flute, drums and Dan’s harp all lend a
tribal feel to the next cut, “I Wish You Would.”
Jack’s woman has left him and the pain he feels is
tearing at him. “Come back baby…give me one more
chance…you know I still love you…want to give you
romance…come back baby, I wish you would…love you
real strong like a good man should!” If you’d done
that in the first place, Jack, she wouldn’t have run
away.
“Deeper
and Deeper” finds Jack in the midst of deep
depression. “Deeper and deeper…into the well I
go…deeper and deeper…I’m moving too slow…what did I
do before the darkness came?...man, I just don’t
know.” I’m depressed just listening to Dan’s harp in
the background as Jack bemoans his fate. Nicely
done. Sonic tones emit from Jack’s guitar as the
tempo picks up in “Help Me.” He’s an accomplished
guitarist and his work on this album is stellar. Dan
and Jack are accompanied by the rhythm section of
Gary Flori on drums & percussion and bassist Jody
Woodward. The back end is rhythmic and tight, just
like it needs to be. “Help me, baby…can’t do it all
by myself…don’t want to help, Lord…I’ve found myself
somebody else!”
“Brothers, Blood & Bone” surprises me with its
almost reggae feel. “But find the time to teach your
children well…will they learn…only time will
tell…after all is said and done…we’re all brothers,
blood and bone.” I appreciate Dan’s harp work on
this song and the reverb I can hear in the right
channel is a nice touch. “Water from the Well” is a
country blues song and continues the light mood
found in the previous cut. “Going to take my baby…to
my favorite fishin' hole…going to pack a little
lunch…and down the road we go.” A darker mood
returns in “Callin’ Out Your Name.” “Can you feel
me?...you’re deep in my soul…if you feel me…don’t
leave me on hold!” A vocal choir consisting of
Delores Scott, Sky Downing and Christine Webb makes
a surprise appearance and contributes a gospel touch
to Jack’s query.
“It’s a
Blues Thing” pays homage to the bluesmen of the
Delta. “Over in the corner…sitting on a chair…a
funky old man with snow white hair…the music is
grooving…it touches his soul…so he picks up his harp
and he starts to blow.” I don’t know if Dan needed
that much introduction but in another 20 years he’ll
be that old man in the corner, blowin' on his harp.
Country blues comes at us again in the form of the
gospel flavored “The Other Side.” “When the time
comes…I’ll cross to the other side…lay me
down…beneath the big oak tree…with a banjo by my
side…when the time comes…I’ll cross to the other
side. Our vocal choir is back in full force as Jack
contemplates life in the hereafter.
“You and
Me” finds Jack reaching out in the spirit of
brotherhood to the world. “All over the world…people
want the same thing…all over the world…you’d better
tell the children…somebody better help me…to find my
way…to believe in you…like you believe in me!” This
spirit of brotherhood is contrasted with conflict on
the next cut, “The War.” “Oil for guns and
money…it’s a policy of state…suicide bombers…just
another form of hate!” Haunting harp work by Dan
echo’s the feeling of desperation conveyed by the
knowledge that in parts of the world, we’re just not
getting it right. “We’ve really done it this time…we
live in a world of hurt!”
Treanor,
Hadley and company close out what has been another
very interesting project with their version of the
Blind Lemon Jefferson classic, “See that My Grave is
kept Clean.” The inclusion of radio commentary on
casualties in Iraq at the end of this tune is just
another example of the intricate details that can be
found within the tapestry of a Dan Treanor project.
I find
that Dan Treanor is true to his vision of what he
wants his music to sound like, call it “Afrosippi
Blues” or give it another name if you’d like, but
give Dan credit for the way in which he presents his
music to you. His last album, Mercy, was an
absolutely brilliant record from beginning to end.
Brothers, Blood & Bone is surprising in the
amount of social commentary it presents to us, but
that’s really what the blues is all about.
The more
I listen to Dan Treanor’s music, the more I
appreciate the details found in its presentation.
I’m sure this Colorado bluesman is never going to
garner the appreciation his music truly deserves,
but do yourself a favor. Pick up a copy of
Brothers, Blood & Bone and give it a real
listen. You’ll hear a record that is rich in the
details, true to its origins and amazingly
contemporary in its sound. You’ll also hear an
amazing bluesman true to his inspiration; it doesn’t
get any better than that.
---
Kyle Deibler
The boys
from Delta Highway were recently here in Phoenix to
play Blues Blast, and they rapidly proved themselves
to be a crowd favorite at the festival. They’re
touring heavily behind their new record, Devil Had a
Woman, and their mix of contemporary and Delta Blues
styles appealed to everyone at the festival.
They open up with “23 Hours” and Justin Sulek’s
guitar picking sets the tone with just the right
amount of distortion for Brandon’s apology to his
woman. We’re never clear why she’s mad at Brandon,
but out the door she went and so far she hasn’t
come back. Like Brandon says, “Well…I’m sorry,
Baby…surely didn’t mean to do you no wrong…you’ve
been gone for 23 hours, baby….that’s 23 hours too
long!” In the end she never comes back and that’s
the last of it. “Devil Had a Woman” finds Brandon
entranced with a new love. “I never met a
woman…quite like you…you treat me so bad…always
untrue…the Devil had a woman…looked a lot like you!”
This one is obviously bad and Brandon is smart to
let her go. Victor Wainwright plays piano on this
cut and tears it up in support of Brandon’s decision
to move on to a woman who will treat him better.
Justin kicks in with some wicked slide guitar and
the haunting melody of this song will stay with you
for awhile.
Slow mournful tones emanate from Brandon’s harmonica
and Chris Stephenson fills in behind Brandon on the
organ as we begin to hear the sounds of Brandon’s
despair. “I’m feeling bad now baby…Lord, I don’t
believe another day is going to change…as long as
we’ve begin together now Baby…I sure nuff would have
thought you’d change your evil ways”. I don’t know
what it is with Brandon’s choice of bad women but
they’ve just been tearing him apart. The misery
continues with “We Got a Thing Going On”. “Only last
night…I sit all alone…I was just waiting for you
babe…honey child, I was waiting for you to come back
home”. Brandon, the only “thing going on” is in your
mind, a little more Jack Daniels and a little less
misery is definitely a preferred alternative to
being treated like dirt. Move on dude! The rhythm
section for Delta Highway, Keven Eddy on drums and
Slim Louis on bass provides a solid back beat on
“Got a Thing Going On” and deserve their props as
well for keeping the back end as tight as it can be
on this record.
More piano from Victor and a stirring harp intro
from Brandon lighten the mood as the boy finally
gets it together and decides to head out on “Got to
be on My Way.” Keven’s drumming is extremely tight
on this track and matches Brandon’s staccato harp
notes as the we hear the truth, “I’m going to leave
her baby…honey, I got to be on my way…I ain’t going
to have no more…of you treating me this a way!” 'Bout
time, Brandon! It finally sounds like Brandon gets it
right on “Funky Little Baby.” “I got a funky little
baby…yeah…she’s so sweet and fine…I got a loving
little baby…you might see is so nice and kind…she’s
the sweetest little woman…that a man ever did find!”
Hang on to this one!
The tempo picks up on “Shake It Just a Little Bit”.
“I said don’t tell Ma…don’t tell Pa…we’re going down
to the old Blues Hall…going to shake it…shake it
just a little bit!” One of Delta Highway’s faster
numbers, I have visions of swing dancers running
through my mind as I listen to the intensity of
Justin’s guitar work behind the staccato notes of
Brandon’s harp. This song is just a full out train
out of control and very much appreciated. So of
course the record slows back down as Justin picks
the intro to “Somebody’s Got to Go.” Chris’s organ
track mirrors the haunting depression of Justin’s
guitar as Brandon sings, “You know you done me
wrong…I got to find somebody else…leave here
woman…honey, take yourself on down that road…you’re
going to reap just what you sow!” “Somebody’s Got to
Go” is definitely my favorite song on this record
and the perfect melting pot of harp, guitar and
organ that is indicative of the Delta Highway sound.
“I like the way you work it baby….the way you shake
that thing…you know you drive me crazy
darling….drive me right near insane!” Brandon’s
definitely feeling the new love of his life in “I
Want You to Know” and finally happy for a change.
Here’s hoping this one works out and she stays
awhile since Brandon is definitely motivated to
treat her right. Delta Highway closes out Devil Had
a Woman with “Going Home.” “Well I told you,
baby…once before…if you don’t love me, baby…I’m going
out that door…I’m going home!” The boundaries are
set and she either gets the message or she doesn’t.
But at least Brandon is clear on what he intends to
do, and it’s definitely a step in the right
direction even if leads to going back home!
Delta Highway’s sound continues to be an interesting
mix of Delta T-Model Ford-style blues with
contemporary edges that defies categorization.
Brandon, Justin, Slim and Keven continue to spread the
Delta Highway gospel one stop at a time and look for
them at your favorite Blues bar or festival soon.
The hidden track at the end of Devil Had a Woman
pays respect to one of their strongest influences, R.L. Burnside, and is indicative of their reverence
for the roots that help to shape their music. When
you see the boys, buy them a shot of Jack Daniels
---
they’ll be your friends for life and that’s a good
thing!
---
Kyle
Deibler
