Atlanta guitarist Tinsley Ellis has released
16
albums since the early ’80s, beginning with four as
founder of Atlanta’s premier blues band, the Heartfixers. Since going solo in the late
’80s, he
released 11 discs on Alligator, Capricorn, and Telarc, and has long been regarded as one of the
finest of the newer generation of blues guitarists.
For his 12th solo effort, 16th release
overall, Ellis opted for his own label, Heartfixer
Music, and for an all instrumental effort, Get It!
On this latest album, Ellis lets his guitar do all
the talking, as he shows his amazing versatility on
the instrument, and pays tribute to some of his
heroes while he’s at it.
The opener, “Front Street Freeze,” is a tribute to
Albert Collins, as Ellis deals some classic stinging
Iceman-like leads. The Crescent City-styled “Sassy
Strat” struts along backed by Keven McKendree’s
bouncy keyboards. McKendree is the secret weapon on
this disc, showing almost as much versatility as
Ellis. The lovely ballad, “The Milky Way,” is next
and Ellis’s “twangy” leads will remind guitar fans
of Duane Eddy. Next is a cool cover of Bo Diddley’s
“Detour,” which is followed by the majestic “Anthem
For A Fallen Hero,” Ellis’ tribute to the late,
great Roy Buchanan.
The title track kicks off the second half of the
disc, a rousing Texas shuffle. The rocker
“Fuzzbuster” is equally strong, with keyboards
pounding and Ellis working out the wah pedal as his
screaming guitar almost replicates a human voice at
times. “Freddy’s Midnight Dream” is a dazzling cover
of Freddy King’s ballad and showcases some fine
reflective Texas Cannonball-like picking, well
“Berry Tossin’” sounds like vintage Chuck Berry,
down to McKendree’s Johnnie Johnson channeling on
piano. The disc closes with the gorgeous “Catalunya,”
a tribute to the Catalonia region of Spain.
In additon to McKendree, Ellis is backed by drummer
Lynn Williams, and Ted Pecchio, who plays bass on
several tracks (Ellis plays bass on the rest). Get
It! is a guitar fan’s dream, with its impressive
variety of blues styles and the incredible
six-string skills of Tinsley Ellis on full display.
---
Graham Clarke
Since his debut release in 1999,
Big Bill
Morganfield has been offering up his vision of the
blues, traditional Chicago blues sounds (as the son
of Muddy Waters, this seems appropriate) along with
some of the genre’s own roots (acoustic country blues
and the slicker, jazzier urban blues). This journey
has led to several excellent and well-received
releases, three with Blind Pig, one with Taxim, and
his last one, from 2009, with Black Shuck Records,
and Morganfield has continued to develop into a
strong guitarist, vocalist, and songwriter.
Morganfield’s latest, also on Black Shuck Records,
is called Blues With A Mood. This set stays closer
to his traditional roots, which will please fans of
his father, Howlin’ Wolf, and John Lee Hooker.
Lending Morganfield a hand is a veritable all-star
team of musicians including guitarists Eddie Taylor,
Jr. and Colin Linden (who also produced), piano man
Augie Meyers, bassist Mookie Brill, drummer Chuck
Cotton, harmonica player Doc Malone, and sax man Jim
Horn. There are also guest appearances from
guitarist Bob Margolin, harp wizard Steve Guyger,
guitarist Brian Biesei, and piano player Clark
Stern.
Morganfield wrote seven of the
11 tracks on
Blues With A Mood, some of them touching on topical
or serious issues, such as “Money’s Getting Cheaper”
a lament about the current economy that most blues
fans can relate to, “Devil At My Door,” a tune most
Muddy-like in its approach and delivery, or “Hot
Love.” On other tunes, Morganfield lightens the mood
considerably, such as “No Butter For My Grits,”
“Tight Things,” and “Another Lonely Night.” On the
autobiographical closer, “Son Of The Blues,”
features Morganfield telling about he knew it was
his destiny to play the blues, even though he was
not raised by his father (and was somewhat bitter
about it).
Morganfield also covers four tunes, his father’s
“Look What You Done,” the Memphis Slim rocker,
“Havin’ Fun,” Willie Dixon’s “Ooh Wee” (also done by
his dad), and Junior Parker’s “I Feel Alright
Again.” Vocally, Morganfield does sound like his
father. On several tracks, he shares lead guitar
duties with Taylor and Linden, but on the closing
tune, he takes all the leads himself. The three
guitarists mesh together pretty well, reminescent of
Morganfield’s late father’s work with Jimmy Rogers
in the early days. The musicians all do a fine job
in support and give the recording a traditional
feel.
Big Bill Morganfield continues to develop and to
impress with this latest release. He’s an excellent
performer and songwriter and shows (along with his
sibling Mud Morganfield) that the blues bloodline
continues in the Muddy Waters family tree unabated.
---
Graham Clarke
Chances are that if you’ve listened to a blues
recording of any kind since the mid ’80s, Ron Levy
probably either played on it or produced it. The
keyboardist got his start in the ’60s as a teenager
in Albert King’s band, then served a lengthy tenure
in B.B. King’s band, appearing on a dozen of his
recordings (including Live at Cook County Jail). The
’80s saw Levy working with Luther “Guitar Jr.”
Johnson and Roomful of Blues. He appeared on several
Roomful recordings for Rounder and Black Top during
the 80’s, and soon found himself serving as Black
Top’s house keyboardist and associate producer.
Levy obviously learned his lessons well, as he moved
into the ’90s and co-founded Rounder Records
subsidiary Bullseye Blues, producing and playing on
nearly all of the labels recordings. From there, he
co-founded Cannonball Blues and Jazz Records, where
he produced recordings from Bernard Allison, Big
John Dickerson, Johnnie Bassett, Melvin Sparks, and
Alberta Adams in the late ’90s. Currently, Levy runs
his own label, Levtron Records, where he releases
his own recordings (see below) and has also taken
part in one of a most unique and innovative project,
a web-book that exhaustively covers his 40+year
performing and recording history.
Tales of a Road Dog is an amazing undertaking….a
book that features over a thousand photos from or
related to his career, with over 250 videos. The
cool thing about this format is that Levy will be
able to continue to add songs, video, and stories in
perpetuity, and people who purchase the web-book
will have access to all of this as it is added, plus
the ability to download Levy’s latest CD. Another
neat feature is the ability to email Levy at the end
of each chapter if you have any questions or
comments about what you’ve just read.
Levy has come into contact with basically everybody
who is anybody in the blues genre since the late
’60s, and he has wonderful stories and anecdotes to
tell about nearly all of them. The stories that are
told are told in fun and to entertain and inform,
and Levy has an incredible attention to detail,
considering many of these stories occurred 30 or 40
years ago. Some wonderful characters are introduced
and there’s some interesting background on some of
the artists Levy worked with, like Albert King, B.B.
King, Luther “Guitar Jr.” Johnson, Willie Mitchell,
and the members of Roomful of Blues, along with many
of the other characters he’s encountered over the
years.
Obviously, given Levy’s seemingly limitless memory
and boundless enthusiasm for telling these stories,
he’s had a blast bringing this format to life. Blues
fans won’t be able to put this down, or log off in
this case. Tales of a Road Dog is an excellent read
and hopefully will provide additional entertainment
and information for readers for many years into the
future, and hopefully pave the way for more
web-books of the same type. The possibilities are
endless.
---
Graham Clarke
Funky Fiesta!, the latest release from
Ron Levy’s
Wild Kingdom on Levy’s Levtron Records, features
just about everything you would expect from a Ron
Levy, an all-instrumental effort that focuses on
keyboards and horns and mixes blues, jazz, funk,
R&B, fusion, and Crescent City rhythms into an
irresistible musical gumbo…and that’s just the first
song! It gets even better from there.
Levy produced the disc, composed and arranged all
the songs, played all the keyboards, bass, drums and
programming, percussion, vibraphone, guitars, and
probably catered the meals and parked cars during
the session. He’s joined by a monster horn section
that features longtime collaborator “Sax” Gordon
(tenor sax), Scott Shetler (tenor sax, clarinet, and
charts), Mark Early (baritone sax), Doug Woolverton
(trumpet and flugelhorn) and good friend and musical
partner Lil’ Joe Burton (trombone).
The aforementioned opener, titled “Bunga Bunga
Akimbo,” is a kitchen sink number, with Levy’s
swirling organ, a nasty funky bass line, Sax
Beadle’s tenor sax in the middle, and some dynamic
percussion and horn charts. In the dictionary, under
“opening cuts,” this song should be listed. It’s a
terrific way to kick things off, and it gets better.
More funk follows with “Rebbe of Rhythm,” with
Levy’s keys backed by trash can lid percussion and
synthesizers, giving it a retro 80’s R&B feel. “Back
In The Back” has a film noir feel, with Levy on
vibraphone and ominous organ.
“Badd Mannish Boyz” combines the blues with modern
urban music, and “Street Beats,” is a funky little
piece of pop/jazz fusion. The brassy “Saxy Girl”
finds Levy on piano and organ, with synth and
saxophone backing, and “Hittin’ It Hahd & Sweet”
showcases more vibraphone and clavinet along with
Jeff “Lockhart Monster” Lockhart’s funky guitar.
“Phunky Memories,” as expected, mixes funk with old
school R&B, and the low-key “Sunny Sunday” features
more vibraphone backed by percolating synth-bass.
The break-neck title track is a highlight, with its
frantic pace and equally frantic organ work and
horns. If this one doesn’t help you get the old
cardio up, you should probably seek medical
attention. The reflective closing track, “Someday,”
reminds me a lot of those late ’70s/early ’80s
fusion jazz recordings that were prevalent way back
then.
Funky Fiesta! shows Ron Levy at his most creative as
a composer and musician. Occasionally, on
all-instrumental recordings, a certain sameness
eventually creeps in, but that’s rarely, if ever,
the case with any of Levy’s recordings. Indeed, with
each listen of this disc, you find something that
you missed hearing the first time around, and you
definitely will be taking in repeated listenings of
this one.
---
Graham Clarke
You pretty much know what you’re going to get with a
Duke Robillard release, and it doesn’t bother you a
bit. The guitarist has always mixed his brand of
blues with jazz, swing, and even early rock & roll.
His songwriting is always a cut above and his taste
in recording other’s material is impeccable. Every
other year or so, Duke Robillard’s fans are blessed
with another excellent release and this year’s
effort, Independently Blue (Stony Plain), is no
exception to the rule.
There is one wild card included this time around,
guitarist “Monster” Mike Welch joins the fun as a
special guest and he helps provide some good-natured
“head-cutting” with Robillard on several tracks,
notably on a couple of Welch-penned instrumentals,
“Stapled To The Chicken’s Back” and the wonderful
“This Man, This Monster.” Another instrumental
highlight is the jazzy urban blues of “Strollin’
With Lowell and BB,” which also gives keyboardist
Bruce Bears a moment in the spotlight.
Robillard’s longtime buddy and former Roomful of
Blues band mate Al Basile also contributes three
tracks, the rowdy opener, “I Woudn’t-a Done That,”
the electified country blues track, “Below Zero”
(co-written with Robillard), and “I’m Still
Laughing.” Robillard’s own compositions include the
rock and roller “Laurene” (named for his wife), “You
Won’t Ever,” which has a Motown feel to it, and the
funky “Groovin’ Slow.”
The ethereal “Moongate,” inspired by a visit to a
mansion in the Berkshire Mountains, is also a
highlight, and a dazzling cover of the old Red Allen
tune, “Patrol Wagon Blues,” which features horns
from Doug Woolverton and Billy Novick.
Providing great support to the two guitarists are
Bears (keyboards), Mark Teixeira (drums), and Brad
Hallen (bass), with Woolverton (trumpet) and Novick
(clarinet) guesting on a couple of tracks as well.
Independently Blue is another standout release from
Duke Robillard, who, as far back as I can remember,
has never released anything that wasn’t the highest
of quality. However, the added presence of Welch on
these tracks makes a great release even better.
---
Graham Clarke
Ronnie Earl and the Broadcasters are celebrating
their 25th anniversary this year, and are regarded
as one of the best blues bands assembled. Earl never
hits a false note and his synergy with the group is
flawless….he and keyboardist Dave Limina always seem
to be on the same wavelength. This makes for
rewarding listening for anyone who takes in one of
their routinely fine CD releases.
Earl’s latest effort,
Just For Today, is his seventh
album for the Stony Plain label, and collects live
performances from three locales – The Regent
Theatre, The Natick Center for the Arts, and The
Narrows Center for the Arts, all in Earl’s home
state of Massachusetts. Earl’s mastery of blues and
jazz guitar is on full display, as he pays tribute
to several of his guitar heroes….Otis Rush (“Rush
Hour”), Hubert Sumlin (“Blues for Hubert Sumlin”),
and Robert Nighthawk (“Robert Nighthawk Stomp”).
On tracks like the strong opener, “The Big Train,”
and the rousing “Vernice’s Boogie,” Earl and
Limina’s rapport is perfect. The John Coltrane
classic, “Equinox,” gets a Latin-styled reworking,
and tracks like “Miracle,” “Heart of Glass,” and
“Pastorale” have an almost spiritual feel. There are
also impressive reworkings of blues classics like
“Ain’t Nobody’s Business” and “I’d Rather Go Blind,”
the latter featuring a guest vocal performance from
Diana Blue.
In addition to Limina, special notice must also be
given to Earl’s peerless rhythm section (Jim
Mouradian – bass, Lorne Entress – drums), who, with
the keyboardist, have been providing outstanding
support for Earl for over 13 years. Guitarist
Nicholas Tabarias joins for two tracks (“Rush Hour”
and the raw original, “Jukein’”).
Many of these tracks are between six and nine
minutes long, but unless you look at the liner
notes, you’ll never know. Earl’s fretwork is
ceaselessly original what he has to say is always
worth hearing. If you’re a longtime fan of Ronnie
Earl, you know what you’re getting with Just For
Today, a fantastic guitarist pouring everything he
has into every performance. For newcomers, this disc
will serve as a great introduction and encourage you
to dig deeper.
---
Graham Clarke
Tough Times Don’t Last, the latest release from
Grady Shady Music by Grady Champion, finds the
Mississippi bluesman in fine form, showcasing a
dozen of his own compositions in his usual
genre-busting style, mixing blues with R&B, funk,
and rock. More so than on previous releases,
Champion’s songs touch on contemporary issues in an
impressive, unblinking manner.
The opening cut, “My Time Baby,” features Champion’s
growling vocal with his harmonica and Thomasine
Anderson’s background vocals. It’s one of the
bluesiest tracks on the disc and sets the mood
pretty well for starters. “Missing You” shows
Champion’s R&B side with a smooth backbeat and sweet
harmony vocals again from Anderson. On the
autobiographical “Mississippi Pride,” Champion
wistfully recalls his upbringing with imagery so
vivid, you can smell the magnolia blossoms and taste
the corn bread and catfish.
“Trust Yourself” is one of several tracks on the
disc that tackle topical themes, in this case
lifting one up above daily adversity. On the
rock-edged blues track, “Broken Down Cadillac,”
Champion takes on lead guitar duties. Chris Gill’s
acoustic guitar and Champion’s harmonica drive the
swampy gospel-flavored “Glory Train.” Champion picks
up guitar again, contributing some B.B.-esque
stinging leads, or the urban blues “Things Ain’t
What They Used To Be.”
The title track is an old-school country soul number
with an upbeat message about showing grit and
determination. It features a rarity, at least on a
blues record….a clarinet solo, courtesy of Amy Lott.
“On The Road” is a spare, funky R&B track with a
hypnotic vocal refrain. “Ghetto” continues along the
R&B vein, sounding like an early tune with some fine
guitar work from Nathan Keck, and more
autobiographical lyrics from Champion. “Cookie Jar”
returns the disc to the blues, with it’s
atmospherical harmonica backing and Champion’s vocal
snarl paying tribute to Howlin’ Wolf. The closer is
a seasonal track, “What Would Christmas Be Without
You.”
Champion has some excellent support on hand for this
release, with Gill, Keck, Caleb Armstrong, and
Granard McClendon (guitars), a trio of keyboardists
(Larry Addison, Kevin Culver, Steve Wilkerson), Lott
(Clarinet), Marquis Champion (bass), and Lil’ Cal
Jackson (drums), along with Anderson’s backing
vocals.
Grady Champion continues to impress with his
always-interesting blues vision, which manages to
evenly balance traditional blues sounds with modern
flourishes of R&B and soul. Tough Times Don’t Last
is another great addition to his ever-expanding
catalog.
---
Graham Clarke
Chris Antonik received a lot of positive attention
with his self-titled debut release in 2010. That
release was a near-perfect mix of traditional and
contemporary blues, with well-chosen covers, plus
exceptional original tunes and guitar work from
Antonik, who left most of the vocal duties to Josh
Williams, Henry Lees, and Mark “Bird” Stafford. It
also garnered Antonik a nomination for Best New
Artist of the Year and Canada’s national Maple Blues
Awards. Antonik’s sophomore effort, Better For You,
finds the talented guitarist stepping behind the mic
more than on his previous release. He also penned
10 of the 11 tracks.
A lot has happened in Antonik’s life since his
previous release, including the birth of a son. Many
of the songs on Better For You deal with
relationships, both building and rebuilding them,
and trying to not only get by in an imperfect world,
but to do better as an individual. Songs like the
moving title track, an “after hours” blues about
improving a relationship, the modern blues track,
“Tell Me What You Need,” and the sweet
gospel-influenced “I’ll Help You Through,” are
first-rate examples of this train of thought.
The opening track, “Long Way To Go,” gets the disc
off to a rousing start with Antonik singing and
sparring musically with guest harp man Steve
Marriner of MonkeyJunk. “Turn To Shine” is an upbeat
tune that Antonik wrote in honor of his wife, with
vocals by Josh Williams, who also plays Hammond
organ on this and most of the rest of the disc. The
positive and upbeat “Come From A Good Place,”
featuring sultry singer Shakura S’Aida, follows, a
song inspired by Antonik’s new son. Derek Trucks
Band lead singer Mike Mattison adds his distinctive
and soulful vocals to “Broken Man,” a wonderful
genre-crossing tune dealing with heartbreak, and
Antonik and Williams (on harmonica and vocals) team
up for an acoustic version of the disc’s lone cover
tune, Big Walter Horton’s “Have A Good Time.”
Antonik, who only sang on one track (Otis Rush’s
“Double Trouble”) on his debut, takes the remainder
of the vocal duties on the second half of the disc,
except for one track by Williams (the funky “Nothing
I Can Do”). He acquits himself well with his gruff
and understated style. Hopefully, he will continue
to develop in this area. He does a fine job on “So
Tired,” a song about life on the road that packs a
punch, courtesy of the splendid horn section
(Rickard Underhill – alto sax, Perry White – tenor
sax, William Sperandei – trumpet, William Carn -
trombone) present here and on several other tracks.
Also lending a hand are Chris Chiarelli (drums) and
Andrew Taylor (bass), plus Suzie Vinnick and Gavin
Hope (harmony vocals), Julian Fauth (piano), Ben
Fisher (rhythm guitar) and Ted Onyszczak (bass) on
selected tracks. Chris Antonik does a fine job of
evading the dreaded sophomore jinx with Better For
You. For this release, he steps out more as a
composer and singer (the guitar skills were already
there and continue to be), and not only equals his
dynamite debut release, but improves upon it in many
ways.
---
Graham Clarke
Doug MacLeod is a blues artist in the tradition of
the traveling bluesmen from the genre’s early days.
He worked as a sideman for artists like Big Joe
Turner, Pee Wee Crayton, Eddie “Cleanhead Vinson,
Big Mama T hornton, and George “Harmonica” Smith and
has become known for his amazing acoustic guitar
work, his songwriting and storytelling, and his
showmanship. Over the past 30 years, he has
released numerous records (live and studio), DVDs,
and his songs have been recorded by artists like
Albert King, Joe Louis Walker, Albert Collins, and
Eva Cassidy.
MacLeod’s latest release is a “live in the studio”
effort for Reference Recordings called There’s A
Time. Joined by drummer Jimi Bott and bassist Denny
Croy, MacLeod offers 13 original tunes that
showcase his songwriting talents. Tracks like the
swinging “Rosa Lee” and the slow blues, “Black
Nights,” get the disc off to a promising start. “The
Up Song” offers encouragement, and “My Inlaws Are
Outlaws,” gives us a taste of MacLeod’s sense of
humor, as does “St. Elmo’s Rooms and Pool.” The
gently rolling “A Ticket Out” is another highlight.
“The Entitled Few” is one of three “talking blues”
tracks. The others are “Run With The Devil” and
“Dubb’s Talkin’ Religion Blues.” “I’ll Be Walking
On” finds MacLeod trying to end a relationship on
peaceful terms, while “East Carolina Woman” finds
him pondering whether he’s running away from a
relationship or running from himself, and “The Night
Of The Devil’s Road” has an ominous spooky Delta
vibe.
MacLeod’s guitar work is amazing in its versatility,
and his vocals are superb. The songwriting is highly
personal, but touches on themes that listeners can
easily relate to. There’s A Time is a fine addition
to Doug MacLeod’s already impressive catalog of
recordings.
---
Graham Clarke
After a series of personal setbacks derailed his
career for a period of time, Houston bluesman Hadden
Sayers returned to the music scene in 2011 with his
release, Hard Dollar. The single, “Back to the
Blues,” was nominated for Song of the Year at the BMAs and the album helped restart his music career
and got him back out on the road again, doing over
100 gigs throughout the country.
Sayers wrote nearly all of the songs for his new
recording while on the road, making the title of his
new disc, Rolling Soul (Blue Corn Music), an
appropriate one. Different people from different
towns with different stories of their own inspired
Sayers to write these songs, which are basically
heartfelt studies of the human condition.
The funky rocker “Don’t Take Your Love (Out On Me)”
kicks off the disc with Sayers’ wah-wah guitar
combining with Jim Ed Cobbs’ clavinet with
interesting results. “Something Wrong In The World”
is a soulful track that Sayers wrote in response to
hearing of the death of one of his musical mentors.
“Want What You Have” and “Unlucky” are both rowdy
roadhouse rockers while “Alone With The Blues” is a
slow blues with the aching lament, “if you ain’t got
nothin’, you ain’t got nothin’ to lose.”
“That’s What You Do” features vocals from Ruthie
Foster, who hired Sayers as a guitarist, triggering
his comeback. The tender, heartfelt, country-tinged
“The Man I’m Supposed to Be” was penned by Sayers to
his wife. “Crazy Enough” is a good old Texas
shuffle, while “Tippin’ In” swings relentlessly.
“Insomniac Blues” is a restless after-hours track
with some smooth piano accompaniment from Dave
DeWitt.
Sayers is backed by a solid core of musicians that
include Cobbs, DeWitt, Foster, Mark Frye (bass),
Tony McClung (drums), and Phil Clark (sax,
harmonica). Rolling Soul has more of a soul/R&B bent
that Sayers’ previous releases, but that’s just fine
because the songs and performances are as
outstanding here as on his last effort. Plan on
hearing much more from this talented artist.
---
Graham Clarke
Jump blues fans needing a fix would do well to seek
out the new CD by Big Papa and the TCB, Six Pack Of
Cool (Inland Blue Records). This swinging six-piece
band has recently been involved (via their song, “Go
Big Papa!”) in Papa John’s Pizza’s national
television ad campaign over the last two years,
including a commercial appearance during this year’s
Super Bowl. Their sound mixes jump blues with rock
and swing, and they have played with a variety of
blues artists, including Robert Cray, Coco Montoya,
Tommy Castro, Big Bad Voodoo Daddy, the Fabulous
Thunderbirds, and Rod Piazza and the Mighty Flyers.
They’ve also had a couple of songs appear on A&E’s
series, Breakout Kings.
Fronted by singer/guitarist Chris “Big Papa” Thayer,
the group includes Steve Brown (bass), Ray Wilson
(drums), John Mila De La Roca (piano), Maurice Oliva
(saxophone), and Marques Crews (trumpet). This
newest release returns the band to their jump blues
and swing roots with 13 dazzling tunes, 12
originals penned by the group. They include a
rousing set of jumpers including the opener, “Papa’s
In Da House,” “Drink Drank Drunk,” “A Thin Line
Between Love and Hate,” “A Lil’ Bit O’ Somethin’,”
and the positively manic “Showtime.”
Guitar slinger/vocalist Gino Matteo joins the band
on the funky mid-tempo “Crazy ‘Bout The Girl,” and
the band shines on the slower numbers like “200 Lbs
of Trouble,” “My Way Back Home,” and “The More
Things Change.” Other tracks, like “Big Bad Blues,”
“Baby’s Got A New Friend,” and “Wait Till Yo Daddy
Getz Home,” have a New Orleans flavor to them. The
band also covers Piazza’s menacing “Murder In The
First Degree.”
Thayer is a fine front man, with a powerful and
versatile voice, playing it cool, tender, or tough.
The band is outstanding, and additional musicians
include Tom Cook (trombone), Darrian Larkins-Thayer
(backing vocals), and Phoebe Thayer (slide whistle).
It all adds up to a most impressive release that
should definitely get you on your feet and keep you
there for a while.
---
Graham Clarke
The Rev. Jimmie Bratcher is the genuine article….an
actual preacher who plays the blues. When asked
about this apparent conflict (at least to some
people), Bratcher explains that, in his opinion,
“there are only two kinds of music – good and bad –
and hopefully I’m making some of the good kind.” One
listen to his seventh, and latest release, Secretly
Famous, and you will be inclined to agree with his
assessment, as Bratcher goes back to the blues-rock
influences that inspired him to pick up a guitar in
the first place.
Bratcher wrote most of the songs (10 of
12) and
they are all strong, ranging from “57,” a funky
tribute to the Shure SM57 microphone, one of the
most-used mics in rock and roll, to the swinging
“Feel Like Friday,” to the love song, “It Just Feels
Right,” written for his wife, to the humorous
“Bologna Sandwich Man,” an ode to that highly
underrated and underappreciated sandwich meat.
Other highlights include the opener, “Jupiter and
Mars,” which Bratcher co-wrote with his son, Jason,
the rowdy Texas shuffle, “Check Your Blues At The
Door,” the defiant “When I Fall Apart,” and
“Starting All Over Again,” a blues rocker about
second chances. Bratcher also covers John
Loudermilk’s “Tobacco Road,” rocking it up in the
process, and bares his soul on a gripping version of
The Association’s “Never My Love.”
Bratcher is a talented and versatile guitarist and
vocally, he’s sometimes brings to mind Lyle Lovett.
Backing him are band members Craig Kew
(bass/background vocals) and Lester Estelle, Jr.
(drums/background vocals), with guest musicians Rick
Steff (keyboards) and background vocalists Kimberlie
Helton, Vicki Atkin, Jake Vest, and Tommy Conner.
Secretly Famous is a fun and inspiring release that
will definitely satisfy roots fans and blues rockers
alike.
---
Graham Clarke
Kelly Richey’s career spans over 30 years. Her
pile-driving guitar style and sinewy vocals show
influences from artists like Led Zeppelin, Jimi
Hendrix, Janis Joplin, John Lee Hooker, and Stevie
Ray Vaughan. Since forming her own band in the early
’90s, Richey had recorded 14 albums of her
no-nonsense blues/rock, and Sweet Spirit (Sweet Lucy
Records) may be her best yet.
Richey’s latest offering features ten songs, the
longest clocking in at nearly four minutes, a
relatively short running time for recordings these
days, but when the songs and performances are this
good, you find yourself disappointed when you get to
the end of the disc. Richey wrote all the songs and
is backed by a dynamic rhythm section (Freekbass –
bass, Robby Cosenza- drums). Keyboards are added on
various tracks by Bernie Worrell, Robert Lee
Carroll, and J. Tom Hnatow, and producer Duane Lundy
and Dave Farris add percussion.
Though the songs are brief by today’s standards,
they pack a punch. Highlights include “I Went Down
Easy,” a blues/rock boogie, the scorching rockers
“Leave It All Behind” “One Way Ticket,” and “Fast
Drivin’ Mama,” the introspective “Everybody Needs A
Change,” and “Dyin’,” a haunting, atmospheric track
about making the final journey. The anthemic “Hard
Workin’ Woman” closes the disc in rousing style.
Sweet Spirit, though relatively brief at 31 minutes,
is a well-spent half hour for blues/rock fans. This
incredibly tight set captures Kelly Richey at her
best, with her powerful vocals, crisp, concise
guitar work, and a powerhouse band in support. If
you’re disappointed because it’s over, just start it
over again….it’s just as good the second time
around.
---
Graham Clarke
The new release from The Hitman Blues Band,
Blues
Enough (Nerus Records), features more of the
blues/rock that has made them such a popular draw in
the New York area for over 20 years. The main
difference this time around on their fifth release
is the addition of a three-piece horn section for
the duration of the album, giving their sound a
little extra punch. Fronted by guitarist/singer
Russell “Hitman” Alexander, who also wrote all 11 of the tracks, the band also features Kevin Rymer (keyboards), Mike Porter (bass), Guy
LaFountaine (drums), and the previously mentioned
horn section (Michael Snyder – saxes, Eric Altarac –
trumpet, Alan Alpert – trombone).
The rock-fused title track kicks off the disc in
appropriate fashion and quickly moves to “Sam The
Bluzman,” a swinging tribute to the late jump blues
musician Sam “The Bluzman” Taylor, who passed away
in 2009. The Latin-flavored “Fishing Where The Fish
Are” puts out some sound advice, followed by
“Backhand Drive,” which features some scorching
slidework and double entendre lyrics. “Every Piece
Of Me” is a nice slow soul ballad with a nice vocal
turn from Alexander and greasy Memphis-style
keyboard work from Rymer.
The Texas shuffle, “Everything You Do” is a standout
with more great slide work from Alexander and some
tasty piano from Rymer. “Streets of Downtown” is a
rock ballad dealing with the plight of street
people. “Life’s Too Short” is another swing number
that adds harmonica from Neil Alexander to the mix,
and “Better Class Of Bums” blends urban blues with
jazz. The soul-drenched “Deaf, Dumb & Blind”
showcases Alexander’s strong vocals again, with the
band giving it their all in support. The closer,
“Tough Street,” is a slide guitar fan’s dream.
Blues Enough is a fine set of original tunes. I
really like the addition of horns to the band’s
sound, which was already pretty potent before their
arrival. Their presence makes a good band and
recording a great one.
---
Graham Clarke
At the age of four,
Frank Bey started singing in a
gospel quartet with his brother and cousins,
appearing on radio and at numerous live appearances
as The Rising Sons. At 17, he took a job with
Otis Redding as his driver/valet, also serving as
Redding’s opening act. While with Redding, Bey
improved his singing and performing skills, but went
on a long hiatus from the music business during the
’80s and ’90s, returning in recent years to become a
mainstay on the Philadelphia music scene.
Guitarist/singer Anthony Paule has been a part of
the San Francisco Bay Area music scene for many
years, touring and recording with artists like Boz
Scaggs, Charlie Musselwhite, The Johnny Nocturne
Band, Jackie Payne, Phil Guy, Maria Muldaur, Barbara
Lynn, Johnny Adams, and Mark Hummel. He’s also
released two albums and fronts his own band, which
features Paul Revelli (drums), Tony Lufrano
(keyboards), Paul Olguin (bass), and a tight horn
section (Mike Rinta – trombone, Nancy Wright – tenor
saxophone, Steffen Kuehn – trumpet).
Bay Area radio host Noel Hayes ("Wednesday Blues With
Noel") heard Bey at a Philadelphia club and
eventually helped book Bey in San Francisco, where
he slowing began to build a loyal group of fans.
Hayes got the idea to pair Bey with Paule and his
band for a live recording at Biscuits and Blues….the
results being the new Blue Dot Records release, You
Don’t Know Nothing.
Playing before an enthusiastic audience, Bey, Paule
and the band work through a dynamic set of ten
songs, mostly cover material. Bey’s robust vocals
are a plus and he shines on a group of soul/blues
classics like “Ain’t That Loving You,” “Get Your
Money Where You Spend Your Time,” “You’ve Got To
Hurt Before You Heal,” “Midnight and Day,” “Hard
Times,” and the title track. Paule’s guitar work is
excellent in support of Bey and he even takes the
mic on his swinging composition, “Can’t Get The Time
Of Day.” Paule’s band provides superlative backing
throughout.
Apparently, Noel Hayes knew what he was doing,
pairing this first-rate singer and guitarist,
because You Don’t Know Nothing is a great live set
of old-school blues and R&B. Hopefully, we will hear
more from this group in the near future….maybe a
studio release or two.
--- Graham Clarke
This is a really nice find….Delmark Records recently
unearthed this 1969 session from the late blues
singer/songwriter/guitarist Arthur “Big Boy” Crudup,
cut in Chicago with a group of musicians that
included guitarist Jimmy Dawkins and drummer Willie
“Big Eyes” Smith. The session, entitled Sunny Road,
was Crudup’s third session for Delmark, but for some
reason was never released.
For the uninitiated, Crudup was one of Elvis
Presley’s favorite blues artists. Presley recorded
three of his songs, including his first record,
“That’s All Right, Mama.” His guitar style was
pretty basic, rudimentary, but he was an
above-average singer and songwriter who wrote tunes
like “So Glad You’re Mine,” “Rock Me Mama,” and
“Who’s Been Foolin’ You.” By the time he arrived at
Delmark, he had been out of the music business for a
while, working as a sharecropper, but his skills
were relatively intact, judging by this session.
The title track opens the disc and finds Crudup in
good voice, and he even quotes his now-famous
“That’s All Right, Mama” in one of the verses.
“Please Don’t Leave Me With The Blues” is a solid
track that cuts off after two minutes, like it might
have been a work in-progress. Dawkins plays on three
tracks, including “She Gives Me A Thrill,” which
features Crudup singing the praises of his
16-year-old girl, who he says may be young, but has
“old ideas.”
All of the songs are strong and Crudup sounds great.
Other standout tracks include “Mistake I Made in
L.A.,” apparently taken from a personal experience,
“I Have Called Up China,” which features more
six-stringed support from Dawkins, and “I’m Leavin’
Town.” There’s also some amusing studio conversation
between Crudup and producer/Delmark owner Bob
Koester, who also contributed the liner notes to the
disc.
There are a couple of items of note to consider from
this session. First, Crudup recorded all but two of
these tracks with his guitar plugged into the same
rotating Leslie speaker that Buddy Guy used for a
couple of tracks on Junior Wells’ Hoodoo Man Blues
album a couple of years earlier, giving his fretwork
a decidedly keyboard-like effect on those tracks.
Also, Crudup was pretty downhearted, thinking of the
recent death of his wife.
Where the effects of the Leslie showed in his
fretwork, his depression showed in his simple,
heartfelt songs and his sometimes emotion-wracked
vocals, most notably in the closing track, “All I
Got Is Gone,” which comes as close to the real deal
blues as you will ever hear. Crudup, backed by
Dawkins’ sympathetic guitar, bares his soul on this
track, lamenting the loss of his wife and the
direness of his situation, and the effect is
chilling.
Smith provides excellent rhythmic support, and also
contributing are Mike Thompson, who plays guitar on
“Please Don’t Leave Me With The Blues,” and Mark
Thompson, who plays bass on several tracks.
Sunny Road is as deep and personal a blues album as
you’re likely to find. Despite the easy, laidback
feel of the music, the intensity and emotion of the
material and Crudup’s performance lift this set way
above standard fare.
---
Graham Clarke
The wind definitely blows along the Front Range here
in Colorado, but that pales in comparison to the
storm that hit my living room when I put Jesse Dee’s
disc, On My Mind / In My Heart, into my CD player and
hit play. This young artist from Boston has an old
world soul and has managed to put together one of
the freshest sounding discs I’ve heard in a long,
long time. A significant addition to Alligator
Record’s catalog of artists, Jesse Dee is going to
be heard from for a long time to come and that’s a
good thing. So let’s hit play and give the disc a
spin.
We start with the title track, “On My Mind, In My
Heart,” and we hear Jesse re-affirming his love for
a girl who lives apart from him in another part of
the country. “We’re bound by our love…our bones and
our blood…our minds and our memories!” Jesse is true
to this girl and for as long as their love lasts,
they’ll always be together. A drum intro leads us to
our next cut, “No Matter Where I Am.” Here we find
that Jesse is more than happy to offer his
assistance to the object of his affection. “So when
you’ve lost your faith…and when everything around
you…starts to feel like it’s coming un-done…I’ll be
your super glue…you can call me and I’ll come
running…no matter where I am!” Jesse’s definitely
true to his word and if that doesn’t reassure her,
nothing will.
“Fussin’ and Fightin’” is up next and
Jesse is lamenting the rough spot that he finds his
relationship in. “But we’re just waiting our time…if
we’re not trying to find…a way to come together and
love each other…put our differences aside…stop
fussin’ and fightin.’ I have a feeling they will
find common ground and be able to move forward soon.
The next tune up is “I Won’t Forget About You,” and
here we find Jesse reflecting on a girl from his
past. “You’re not the words to this song….you’re not
the conversation that I can’t remember…even though I
thought I could…it don’t matter what you…no matter
what I do…whatever comes what may…I won’t forget
about you!” Jesse’s loyal to those he loved in his
life and she’s lucky to have known him. Trouble
seems to brewing in our next tune, “Tell Me (Before
It’s Too Late),” and Jesse is concerned about the
actions of the woman he loves. “I can see by the
pain in your eyes…that something’s wrong…so tell
me…tell me before its too late!” Jesse would rather
face their problems head on, but he needs her to tell
him what’s wrong. Here’s hoping for their sake she
finds the strength to do so.
“From the Start”
features Jesse singing a duet with Rachael Price.
Sometimes love is indeed blind and the love of your
life is standing right there in front of you. Jesse
and Rachael both seem to come to that conclusion at
the same time. “I should have known…we find love…and
get together somehow….after all these years…thought
I’d never find you but here you are…waiting for me
from the start!” It’s a beautiful song and features
great vocals from both Jesse and Rachael.
Life hasn’t always been easy for Jesse and he’s not
shy about telling us about it in “The Only Remedy.”
“Now I can say I’ve learned my lesson…I guess I
never knew…just what I was missing….until the day
you came along…you proved me wrong…you turned my
backwards world around…I wish I knew then…what I
know now!” The love of a good woman has turned
Jesse’s world around 180 degrees and he’s back on
the right track with a love to believe in. “Your
love was the only remedy…that could cure me from
misery!”
This theme of pondering love continues on
in our next cut, “What’s a Boy like Me to Do?” Here
we find that Jesse’s woman is being unfaithful to
him and he’s torn. “And even though I still love
you…I’m not really sure I still want to…but you’re a
love…I can’t afford to lose…what’s a boy like me to
do?” Life’s choices aren’t always easy and I’m
confident that Jesse will reach the right decision
here. Jesse faces the same decision again in “Sweet
Tooth.” “I got a sweet tooth woman…you know I can’t
do without…I’ve got to give you up…even though I
don’t want to…I know that I should!” Jesse’s sweet
tooth for this woman has a strong hold on him but in
the end he’s making the right decision by giving her
up.
On My Mind / In My Heart closes with two tunes:
"Boundary Line" and "Stay Strong." “Boundary Line” is a
ballad that finds Jesse reflecting on love. “I have
loved…and I have lost…I have crossed the boundary
line.” And “Stay Strong” finds Jesse encouraging his
girl to hang in there, they will get through the
problems they’re experiencing now and make it
through. “I know if we keep on trying…we’re going to
get there…I know it…it’s only a matter of time…so
stay strong…stay strong girl….I know we’re going to
get there!”
I’m the first to admit that Jesse Dee is an artist
that snuck up on me, but I can easily say that On My
Mind / In My Heart will make my top ten list at the
end of the year. And John Nemeth, Tad Robinson and
Curtis Salgado, watch your backs. There’s a new soul
singer in town, and his name is Jesse Dee.
---
Kyle Deibler
Rolling Soul is the title of
Hadden Sayer’s latest
release on Blue Corn Records, and it’s a good one.
This Ohio based Texas Bluesman continues to write
great tunes that are at once reflective and positive,
with the end result being a musical journey that
begs one to attempt it more than once. Let’s give
Rolling Soul a spin.
Hadden’s blistering
tones from his Stratocaster deliver the opening
volley in “Don’t Take Your Love (Out on Me).” Hadden’s evidently met a hot woman who
cautions him in advance that she’s not the easiest
creature to please and he pursues her anyway. The
loving was good, the emotions ran deep, but this fire
just wasn’t meant to burn for too long. The end
result is Hadden pleading with her “Don’t take your
love out on me!” And of course, she moves on anyway.
Our next tune, “Something Wrong in the World,” finds Hadden reflecting on the loss of a good friend and
mentor, Charlie Wright, and wishing he could reach
out to anyone to share the pain of his loss. The end
result is a beautiful tune lamenting the loss of his
baby as Hadden deals with the emotions surrounding
him, knowing that “there’s something wrong in the
world tonight!” Tempo and attitude both pick up in
the next cut, “Want What You Have.” The lesson here
is that sometimes, you just need to appreciate the
things you do have in life. “Tired of feeling
lonely…tired of feeling blue…looking for something
to move me….I’m ready…to stop this feeling bad…and
if you can’t have what you want now baby…better
learn to want what you have!” Amen to that.
Time to slow things done a bit and Hadden obliges
with a beautiful ballad, “Alone with the Blues.”
Here we find Hadden in a reflective mood, pondering
life’s mysteries and the love between a woman and a
man. “When you told me you were leaving….I thought
you meant you were coming back…now I see that you
were lying….I was denying…new man come to take my
slack…Now I’m alone…along with the blues!”
“That’s
What You Do” is the next cut, and it’s a wonderful
tune written by Hadden in appreciation of his wife
and the love she’s brought to his life. “Holding you
tight…could push these blues away…forever…because
what you do…you take my fantasy and turn it into a
memory…between me and you…that’s what you do!”
Hadden’s found a good woman and couldn’t be happier,
that’s for sure. We move on to “Lay down Your
Worries,” a duet that Hadden sings with Ruthie
Foster. The theme here is there are times when you
just have to let it all go, “lay down your
worries…self preservation is the key to your
pain…lay down your worries!”
Our next tune, “The Man I’m Supposed to Be,” finds Hadden again reflecting on the love of his life and
appreciating all that she brings to their life
together. “But every night…when I lay down in
bed…sometimes with you only in my head…I pray to
God…that you will never see…that I’m not the man I’m
supposed to be!” A wonderful sentiment and one I’m
sure Hadden lives his life by; working every day to
measure up to the man “he’s supposed to be.”
“Crazy
Enough” finds Hadden reflecting on a lyric that
implies his woman’s behavior is because “she’s only
a woman in love.” “She never backs down…she’s never
giving in…I never know what trouble I’m in…she told
me specifically…just where to go….cause she crazy…or
maybe…she’s only a woman in love…she’s my baby…and
maybe that’s just crazy enough!” Bad luck also seems
to follow Hadden on his travails and we hear all
about it in “Unlucky”. “You can tell…by the way that
I’m singing the blues…there’s a dark cloud hanging
over my head…if lucky is a mystery….I ain’t got a
clue….guess I’ll just go back to bed!”
“Tippin’ In” is the next tune on
Rolling Soul and
here we find a single man not realizing that his
single days are over, he’s been hooked by the love
of his life whether he knows it or not. “And I don’t
know…what I’m going through…never felt this way…til
I fell for you…all I want to do is get next to
you…I’m tippin’ in on you girl…and there ain’t no
other love for me in the whole, wide world!”
Another
ballad, “Insomniac Blues,” is a tune Hadden wrote
about being home alone while his wife was out of
town. “Lord…I cry every night…I’m tossing and
turning in my sheets…won’t you come back to me
baby…come back to me…so I can get some sleep!” The
shoe is usually on the other foot and Hadden isn’t
dealing well with trying to sleep without his wife
beside him. We close with an upbeat tune by Hadden,
“Can’t Get You off My Mind”. “I can’t get…can’t get
you…off of my mind…told me upfront you were going to
love me…then you left me behind…and now I can’t
get…I can’t get over how a man could be so blind…and
I can’t get you baby…can’t get you off of my mind!”
This relationship was a quick one and somehow I
don’t think Hadden’s that worse for wear over this
woman.
Rolling Soul is an excellent disc and one I’ve
looked forward to after enjoying Hadden’s last disc,
Hard Dollar, tremendously. This transplanted Texas
Bluesman writes a mean lyric, plays a mean Strat and
ultimately has written some outstanding tunes for
our listening enjoyment. Hadden is one of my
favorite writers, and I was happy to see his CD
release show at the Rum Boogie in early February
where we all enjoyed an amazing show. You can grab a
copy of Rolling Soul on his website,
www.haddensayers.com.
Or better yet, catch one of Hadden’s live shows on the road and buy it from the
man himself --- you’ll be glad you did!
---
Kyle Deibler
I was a happy camper when
Brandon Santini handed me
a rough copy of his new record, This Time Another
Year, to listen to on the way back to Little Rock
after the IBC. It made the miles go by and I was
blown away by the disc. I’ve followed Brandon from
the very beginning and this is definitely his best
recording to date, so let’s throw it in the CD
player and give it a spin.
Brandon starts out with a self-penned tune, “Got
Good Lovin,” and I’m going to venture that it’s a
song written for his fiancé, Pamela. My boy got
engaged over the holidays and this writer wishes
them both all the love and happiness they deserve.
Congratulations, you guys! In the tune Brandon speaks
to the care his woman is taking of him, “My baby got
good lovin…I’m telling you it’s true…she cook my
breakfast every morning…and my supper every
night…I’m telling everybody…you know she’s clean
outasite!
Great tune to start the disc off and let’s
roll on to the title cut, “This Time, Another Year.”
Brandon’s harp is at the forefront on this one and
finds him reflecting on the turns that life takes,
“This time another year…all people I wonder…where
would I be? Well, I might be up in Chicago...or
baby…I might be down in Tennessee!” The band: Jeff
Jensen on guitar, Bill Ruffino on bass and James
Cunningham all have Brandon’s back and are as tight
as can be. I can hear the sweet staccato notes off
Jeff’s guitar in the background and wherever
Brandon’s blues take him…he’s going to be all right!
“What You Doing to Me” is the next cut on the disc,
and features Victor Wainwright on this tune penned
by Victor, Brandon and Jeff. Here we find Brandon
reflecting on the woman in his life, “I say oooh….oooh…ooohwe...baby,
what are you doing to me? She’s got a strong hold on
our boy for sure and that’s probably a good thing.
Victor takes a turn with the vocals on this one, and
I love this tune as my favorite one on the disc.
The sun is going down and we find Brandon reflecting
on late night adventures in our next tune, “Late in
the Evening.” Both he and his girl are working hard
to make ends meet and the late night is the only
time they have to themselves. “Get on up in the
evening…ah people…I say…after that old sun starts to
sinking on down…that’s when I get with my sweet
little baby….and you know we start to messing
around.” Sweet notes emanate from Victor’s piano as
he underscores the passion and love Brandon has for
this woman, and I’m thinking late in the evening is a
pretty good time of night! Bill Ruffino’s bass sets
the tone next for the melancholy “Dig Me a Grave”
before Jeff’s guitar echoes the sad sentiment of
this tune. “Nobody loves me…nobody seems to care…I’m
going to dig me a grave, Lord…you know I had all I
can bear!”
The band takes a turn covering “Bye Bye Bird” by
Sonny Boy Williamson and Willie Dixon before moving
onto another Santini original, “Things You Putting
Down.” “I love you baby…love you with all my heart
and soul…yes, well…the things you putting down…well
most people…they just don’t know. Brandon definitely
loves this woman and will do anything he can to
please her. “I say the things you putting down…just
can’t go out and buy!”
Another ballad, “Been So
Blue,” is up next and Brandon’s harp provides the
intro to our tune as Brandon lets us know how he’s
feeling, “Well…I’ve been traveling…and I just rolled
up in your town…well…I need a buddy…I need a good
time buddy just to come around!” Brandon’s been
feeling down and needs a good friend to cheer him
up.
Women can definitely be fickle and Brandon
chooses to cover one of Victor’s tunes next, “Coin
Operated Woman,” to explain how much. “A night on
the town…boy, she’ll complain about the
wine…everybody but her…you know they’re having a
real good time…I got a coin operated woman….drop
that coin in the slot…she won’t be satisfied til
she’s taken every penny I got!” Better off to let
this one go, Brandon.
Brandon’s harp leads the way next as the band
handles a shuffle in “Help Me with the Blues.” Jeff
and Victor both take solos while Bill and James hold
the back end down. “Well…I’m thinking about
Memphis…dreaming about that river town…well…let me
try to find my baby…I’m Tennessee bound….say…help me
with the blues!” Definitely a great tune before we
find Brandon worrying about sneaking out of the
house in “Raise Your Window.” “I say…raise your
window baby…I ain’t going out the front door…there’s
a man down there…and I don’t know!” Sounds like our
boy is enough trouble as it is and the window is
definitely the preferred exit in this case!
This
Time Another Year closes on a high note with “Fish
is Bitin”. “Lay on the shore…gaze at the stars
above…you know…it’s nice to be living…hanging with
the ones you love!” Can’t say I’m surprised the band
is closing with a party tune and I’m sure most of
you aren’t either!
Armed with a couple of California transplants in
Jeff Jensen and Bill Ruffino and the tight
in-the-pocket drumming of James Cunningham, Brandon
has definitely found the band to take his music to
greater heights. This Time Another Year is his best
record to date and one that Brandon and the boys
should be extremely proud of. I’m guessing they’ll
be making a lot of noise on the touring circuit this
year, and more power to them. This disc has a great
shot at being in my top ten at the end of the year,
so grab one from Brandon on the road or hit him up
on his website,
www.brandonsantini.com. This Memphis-based bluesman and his band are definitely on the
rise!
---
Kyle Deibler
I’m the first to admit I’d never heard of Boston’s
James Montgomery until his new disc, From Detroit to
the Delta, arrived in my mailbox for review. James
grew up in Detroit experiencing the likes of James
Cotton, Johnny Winter, Junior Wells and others at
Detroit’s famous Chessmate Club. It was there that
he sat in with James Cotton one night, and in the
middle of a song Cotton turned to him and said “take
it.” That was James’ first harp solo with a national
touring act, and it started him on a career that has
lasted now for over 40 years. From Detroit to the
Delta is a high-energy disc with a lot of James’
friends, like John Cotton, Johnny Winter and DMC
sitting in. So let’s give it a listen.
“Intoxicated” is our first tune up and here we find
James reflecting on a late night rendezvous with a
woman who caught his eye. “3 o’clock in the
morning…I can’t touch the ground…I just had a taste
of your love…turned me upside down!” This woman set
James on his ear and he’s finding that he’s
“Intoxicated” with her. Time will tell how it all
works out but it’s going fine at the moment.
A
strong bass presence provides the intro to James’s
take on an old Willie Dixon song, “Same Thing.”
“Make’s a man go crazy…when a woman wears her dress
so tight…must be the same thing…make a tomcat fight
all night!” All the men are up in arms, fighting
over the same hot women. Sounds like a hot time in
the Motor City to me. Our next tune has Johnny
Winter in playing a mean slide guitar and is
appropriately entitled, “Little Johnny”. “You just
couldn’t top Little Johnny on the slide guitar!”
Little Johnny is a 12 year old prodigy and
definitely a guitar player of note as we listen to
Mr. Winter tear it up as Little Johnny. Definitely a
fun tune and Johnny’s guitar playing is right on.
James’s take on a John Lee Hooker tune, “Motor City
is Burning,” is up next. “The Motor City
burning…ain’t a thing in the world that I can
do…yeah, the Big D burning down…burning down to the
ground.” James’s mournful harp provides the
inspiration for our vision of the streets of Detroit
burning, and it’s a powerful image indeed! Our next
cut, “I Don’t Want to Have a Heart,” has a soulful
touch to it as James tells us about the loss of a
woman in his life. “My heart was too weak…and my
love was too strong…I don’t want to have a heart!”
Doesn’t sound like this one is ending up well for
James but it happens.
“Delta Storm” finds James
paying a trip down to the Delta to visit the
Crossroads to pay his dues. “But I’m lost…lost in a
storm that’s rising…in the Delta tonight…I trusted
you…but it was only make believe!” A broken heart is
taking him to meet the Devil, and James seems up for
the task. Mournful tones emanate from James’ harp to
echo the pain he feels on this trip to the Delta.
Up next is the Montgomery take on Bo Diddley’s
classic, “Who Do You Love.” David Hull’s fretwork on
the bass is very prominent and provides the
background to DMC’s vocal on this excellent version
of Bo’s tune. The tempo slows down slightly and
George McCann’s guitar is front and center on our
next cut, “Put Your Money Where Your Mouth Is.” “Put
your money where your mouth is…better lay your money
down…when you’re crawling out my window…your feet
never touch the ground!” This woman sneaking out his
window has been talking James down all over town and
she needs to stop. “Hit the Road Jack” is up next,
and features some incredible fretwork from McCann
and background vocals from Charise White. James and
the band give it a unique, jazzy feel that is quite
appealing and I like what they’ve done with it.
A tune written by guitarist George McCann, “Rivers
Edge,” is our next tune, and his soaring fretwork is
complimented by some equally intense harp chromatics
from James as the band takes the opportunity to
embark on a very interesting instrumental journey. A
heavier bass line supports the next track, “Changing
of the Guard,” and here we find James being let down
easy by the woman he loves. “I tried to keep the
other dogs at bay…you were throwing bones…every time
I looked away…you tell me it’s a blessing in
disguise…I don’t have to play the fallen part…it’s
just a changing of the guard!” She’s obviously more
than ready to move on and James is just a casualty
of the game.
Our final cut, “Black Cadillac,” is a
one cut take with James Cotton on harmonica done
old-school style. “Look here baby…better get
satisfied…Poor James got to have one more ride…in
that black Cadillac…this morning!” Both Cotton and
Montgomery are enjoying themselves on this tune, and
it’s a fitting end to an excellent disc.
I’m truly surprised that I have yet to cross paths
on the Blues Highway with James Montgomery, but I’m
hopeful that it will happen soon. Back in its heyday
the James Montgomery Band was on equal footing with
the J. Geils Band and Arrowsmith as the dominant
groups in the Boston area, and it’s easy to see why.
From Detroit to the Delta reflects the talents of an
amazing group of musicians who have obviously been
at this for a very long time and have played
together for years. James Montgomery is indeed back
with this high-energy disc for our listening
pleasure, and that has been a good thing. You can
grab a copy of this disc and find out more about
this Boston-based band on his website,
www.jamesmontgomery.com, and catch them live if you
can. I’m sure you’d see an amazing show from this
Boston legend and his band.
---
Kyle Deibler
I will tell you from the start that this won’t be
the typical DVD/CD review that you are used to
reading from me. The Healers - Live at Knuckleheads,
is indeed a great DVD/CD set performed by Jimmy
Hall, Samantha Fish, Danielle Schnebelen, Reese
Wynans, Kate Moss and Kris Schnebelen. But more
importantly, it’s a project that grew out of the
love these artists have for those kids
affectionately known as “Blue Stars,” kids with
cancer and other life threatening illnesses that
have happily received the gift of music in the form
of guitars, amplifiers and a million other items
from the Blue Star Connection, an organization
formed by the Grand County Blues Society of Winter
Park, Colorado, expressly for this purpose.
From humble beginnings, the simple act of giving one
kid with cancer here in Colorado a guitar and
amplifier, Blue Star has grown to give instruments
to hundreds of kids since its inception in 2005, and
outfitted over 25 Music Therapy Departments in
hospitals all over the United States. Sneha, a
deceased Blue Star from New Delhi, India probably
said it best, “Medication gives relief, Blue Star
Connection gives happiness; the combination gives
health.” It is with this cause in mind that this
amazing group of artists, appropriately dubbed The
Healers, descended upon the famous Knuckleheads
Saloon in Kansas City and donated their talents and
their time to a musical event that fortunately
everyone had the foresight to film and record on
behalf of the Blue Stars.
The mechanics are simple. The set list includes:
"San-Ho-Zay," "Grits Ain’t Groceries," "Messin’ With the
Kid," "Rollin’ & Tumblin’, " "As the Years Go Passing By,"
"Got My Mojo Working," "Love My Baby," "This is a Man’s
World," "Keep on Smilin,’" and "Goin’ Down." These tracks
are found on both the DVD and CD. Two other tracks,
"I Still Want to Be Your Man" and "I Put a Spell on You,"
are bonus tracks to be found on the DVD. The DVD was
filmed utilizing a three-camera shoot and the
production values are outstanding. I’m sure the
audio found on the CD is on par with what I heard
from the DVD through my stereo system, and the result
is an excellent collection of performances from the
Healers.
The concert includes wonderful vocal
performances from Jimmy Hall, Samantha Fish and
Danielle Schnebelen, while Kate, Kris and Reese
Wynans keep the back end tight. I can’t say much
more about the DVD presentation other than everyone
who performed were at the top of their game and the
camaraderie they shared while performing is a joy to
behold.
Kudos to Knuckleheads for providing the venue,
Category Five Amplifiers for supplying the gear,
Stellar Press for aiding in the filming and graphics
work for the DVD and CD, and to Kate Moss and her
company, Moonshine Design, for her outstanding work
on developing the packaging and booklet included in
this product. And of course a major amount of credit
goes to my friend John Catt and all of the board
members of the Grand County Blues Society for
embarking on this course in the first place.
So all that’s really left is up to you, the readers
of this review. All I can do is strongly encourage
you to support the Blue Star Connection by
purchasing The Healers – Live at Knuckleheads DVD/CD
combination from the Blue Star website at
www.bluestarconnection.org. You’ll receive an
outstanding collection of performances from the
Healers and you can read more about this amazing
organization while at their site. And if you have an
instrument to donate, or want to make an additional
contribution on behalf of the Blue Stars, you can do
that as well. The mission statement of the Blue Star
Connection emphasizes in part its goal to outfit
every Musical Therapy Department in the country. And
while they’re well on their way, there’s much more
work to do and they can use your helping hand.
---
Kyle Deibler
’m the first to
admit I wasn’t ready for the laid-back groove that
is Southern Hospitality. I’ve known Victor
Wainwright and J.P. Soars for quite awhile now and
have seen Damon Fowler live, so what I expected was
an explosion. But I’m also the first to admit that
the groove that is their new record, Easy Livin’,
is a dish that is to be savored and enjoyed as well.
That said, let’s give this cast of characters a
spin.
The band opens with
“Southern Livin” and J.P.’s slide guitar kicks off
the party while he sings the first verse about life
in the slow lane in the South. “I want to walk down
to the water…and give myself a drink…grab my fishin
pole…to catch me something to eat.” Life is good and
J.P. is enjoying his day in the sun fishing and
swimming. Sounds like a very rough life to me.
"Long Way Home” is
our next tune in the rotation and J.P.’s guitar
provides the rock and roll intro to this cut.
“Well…it’s a long way home…when you ain’t got no
one…such a long way home…if you ain’t got no
one…that’s why I feel…so loved inside!” J.P.’s got
himself a good woman and she’s the reason the road
isn’t quite as long as it normally is when he knows
he’s heading back to her. I like J.P.’s rough edge
compared to Victor’s smooth vocals and its working
for me. “Kind lies…and whiskey again…rich man’s
pleasure…poor man’s sin…where does it start…and
where does it end?” Damon’s quite at home lamenting
the tough times in this tune that he wrote, “Kind
Lies & Whiskey.” J.P. takes a guitar solo at Damon’s
request and fills this song with a lick that
reflects Damon’s depressed mood and off we go. When
the whiskey is gone it will be time for Damon to
head back out into the world and tackle the demons
he’s facing now.
“Mile after Mile” is
up next and here we find the band on the road to
Texas for a gig. An up-tempo ditty with a Beverly
Hillbillies style intro, the boys are having fun on
the road and it shows. “Now…over in West Virginia…we
had one helluva time…sippin’ that old moonshine…it
just keeps getting better…mile after mile!” J.P.,
Victor and Damon are all good friends and this tune
definitely reflects the camaraderie they share on
the road.
Victor’s soulful
vocals finally come to the light next in a ballad
called, “Certified Lover.” Here we find Victor
searching for a good woman to bring some joy into
his life and stand by his side. “I want a certified
lover…that’s what I need…that’s what I need.”
Hopefully Victor will find that good woman to take
the edge off a rough time in his life. The band
takes a minute to tackle an instrumental next.
“Fried Neck Bones and Home Fries” is the name of
this ditty and starts off with a Middle Eastern
flair before heading off on a more Latin adventure.
It’s a fun tune and a great way to break up the
disc.
An up tempo swing
then makes its appearance in the form of “Shoestring
Budget.” Here we find that times are tough and
Victor is struggling to make ends meet. “Well…I’m
low on gas…and I’m bustin’ my ass…haven’t had a
meal…since the day before last…and I’m livin’…livin’
on a shoestring budget.” His woman wants some of
Victor’s cash and he just doesn’t have it to spare.
“Keep your hands out of my pockets…not chancing all
my money on you!”
The band tackles
another tune by Damon next, “Don’t Feel Like Going
There Today,” and here we find Damon in mood where
he just isn’t feeling the work he’s doing and would
rather be somewhere else. “I’d rather spend my
time…in a mellow kind of way…don’t feel like going
there today!” Damon tells us boss that he doesn’t
see a future at his job, hands him the mop and walks
on out the door. Good for you Damon. J.P.’s back on
the lead vocals for a tune he wrote, “Come Back
Home,” and here we find that he’s doing his best to
convince his woman to come back to him. Victor’s
pounding the keys in the background as J.P. pleads
his case, “I cooked your favorite dinner…turned down
the lights…I’ll treat you til the morning
light…baby, won’t you come back home?” Not sure
she’s buying what J.P.’s selling, but at least he’s
trying and we’ve got to give him credit for that.
“Powered for the
Mountain” then finds Damon in a similar predicament.
“I keep thinking about your voice…longer hair…a
cotton sun dress…late at night…perched up in my
window…drinking wine…and smoking cigarettes.” Damon
seems to have it bad for this woman, he wasn’t sure
what he thought of her and now that he knows what he
wants, she’s moved on. That’s how it goes sometimes;
he who hesitates can definitely be lost.
Victor’s back on the
vocals and keyboards as the band tackles “Don’t
Boogie Woogie.” Victor’s not feeling good and is
trying to figure out what’s wrong with him.
Unfortunately, he’s not happy with the doctor’s
solution, “Don’t Boogie Woogie…and say your prayers
tonight…you can’t do it son…you know it ain’t
right…turn on Jesus when you turn out the
light…don’t boogie woogie tonight!” Knowing Victor,
there’s a snail’s chance in hell he’s going to
follow this doctor’s advice.
The band closes out
their disc with a tune written in collaboration with
their producer, Tab Benoit, entitled “Sky is What I
Breathe.” Damon takes the vocal lead on this tune on
what is a very sweet ballad. “How deep is the
ocean….out past the river Mud…Lord, I never loved
the motion…but I leave it like it was…clean river
flows…wildflowers grow…green as the tree…sky is what
I breathe.” You can hear Tab’s influence here and
his love of nature is shared by everyone in the
band. It’s a very cool tune and a great way to end
this disc.
Southern Hospitality
is a band we’ll be hearing from for a long time to
come. It’s an amazing collaboration between three
artists with very different styles who have managed
to come together with their appreciation of all
things Southern to forge a very tight bond. Kudos to
Chris Peet on the drums and Chuck Riley on bass for
keeping the back end tight through a very eclectic
collection of tunes, and a shout goes out to Tab
Benoit as well for guiding them through the
recording process to produce this outstanding debut
disc.
I do think though
that Southern Hospitality is a dish best served
live, so catch them out on the road if you can. I’ll
be in West Virginia for their appearance there in a
couple of weeks and the Charlie West Festival should
be rocking, that’s for sure. You can learn more
about SOHO as they liked to be called on their
website,
www.southernhospitalityband.com, or on
Blind Pig’s site as well. Grab a copy of Southern
Livin’ while you’re there, it’s like Miss Willa’s
fried chicken and bread pudding all rolled into one,
and that’s a good thing!
---
Kyle Deibler
So, please don’t tell
anyone but Sena Ehrhardt has been rocking my
world all day long. One can safely say that working
with Jim Gaines in the studio lit a fire under Sena,
and her second release for Blind Pig Records, All
In, is exactly that. Sena’s definitely all in on
this disc. Got my headphones on, pushed play and
let’s see what all the fuss is about.
Sena opens up with
“Buried Alive,” and a powerful guitar intro from her
father Ed sets the tone for the passion that Sena’s
feeling in this song. She’s missing her lover and
he’s a long way in the wrong direction for her to
get there in time. “Captivated…frustrated…you’ll
feel the jealousy….in the crowded room where you
called out my name…and the people watch you watch
me…I’m irresistible poison running in your
veins…sometimes it feels…lie your buried alive!” The
fire runs hot between these two and someday soon
it’s going to burn them both to the ground.
“Cry to Me” is up
next and here we find Sena giving love advice to a
man she’s loved. “When you’re all alone in this
room…and there’s nothing…but the smell of my
perfume…don’t you feel like crying…come on…cry to
me!” Sena’s more than willing to cure him of the
loneliness he’s feeling but he’s going to have to
reach out to her for that to happen. The title
track, “All In,” is the next cut up and Sena’s run
out of patience. The object of her affection needs
to figure it out…and now! “Either you’re all in…or
I’m out!” It doesn’t get any clearer than that and
dude, if I were you, I’d be all in!
Dave Smith’s bass
guitar is heavy in the forefront of our next tune,
“I Want to Get You Back,” a tune written by Tom
Hambridge and Gary Nicholson. Sena’s angry at being
scorned and two can play this game. “I know you got
a jealous bone…so I took a walk around the block…the
hounds are howling at my door…but the key don’t fit
my lock…I want to get you back!” Sena’s on a mission
and she’s definitely angry at being done wrong, so
payback’s a bitch. Ed Ehrhardt’s guitar provides the
delicate intro for “Cold Cold Feeling” and Sena’s
playing the part to the hilt. “I got a
cold…cold…feeling…it’s just like ice around my
heart…oh, you know…I’m going to quit somebody…every
time that feeling’s done!” Her relationship has
definitely come to an end and Sena’s heart is
telling her it’s time to move on.
Life experiences and
what to learn from them is the topic explored in our
next tune, “Live and Learn.” “I made some
choices…listened to some voices…I wish I hadn’t
heard…I know what it ain’t bout me…but the best I
can tell…these lessons are mine to learn…I might not
always be right…but I’m about the good fight…live
and learn!” Sena’s got a healthy attitude about her
life lessons and she’s right, the best you can do is
live and learn.
Our next cut, “Man
Up,” has a strong rock and roll vibe with Sena again
in the face of a man she loves. “You say you want
me…but you want to be free…it’s time to chose one or
the other…what do I have to do to get you to see…I’m
the one and not your mother…Man up…before it gets
too late!” The choice is clear and hopefully he’ll
make the right one for Sena’s sake and I’m worried
about this one. This mama’s boy had better wake up
soon and cut the apron strings before its way to
late to know.
Sena’s man troubles
continue in “Storm’s Rising.” Here the problem isn’t
indecision or another woman; it’s her man burying
his face in a bottle of whiskey. “Storm’s coming
baby…I can see it in your eyes…you look at me…but
you don’t see a thing…that liquor’s killing you
inside!” A sad tale indeed and all Sena can do is
let him go. Our theme of liquor causing problems
continues in the next cut up, “Baby Valentine.” Here
we find Sena’s mom worried about her little brother
and there’s not much anyone can do. “When you were a
baby…you were a virgin child…a mama’s baby…you could
make her smile…but it’s gone…you threw it old
away…please baby valentine…come home to stay!”
There’s nothing more powerful than a mother’s love,
and that doesn’t seem to be enough to entice Sena’s
brother to turn over a new leaf and come back home.
“So Excited” has a
jazzier feel to it and Sena’s back in love again.
“Ooh…when you touch me baby…tears of joy I’m
crying…you’re so fine…think about you all the time!”
Her man definitely has Sena in the palm of his hand
and she’s happy with the love she’s feeling for this
man. “So excited…don’t know what to do with
myself…you’re so fine…think about you all the time.”
All In closes with a lovely ballad entitled,
“Dreamin’ or Dyin’.” “As a young girl…I didn’t think
you’d be mine…everybody told me…you’re a smart
girl…use your mind…I waited long enough…I didn’t
hesitate…cause the minute…I stop dreaming…is the
minute…I’m dying…what’s the use without
dreaming…even if they pass me by!” A beautiful tune
and a wonderful way for Sena to close out her second
record.
I was more than
pleasantly surprised by this disc from Sena Ehrhardt.
All In features eight tunes written by Sena
and her father Ed, an amazingly tight band behind
her, outstanding energy and definitely contains more
than a touch of Jim Gaines’s magic. He definitely
got the best out of Sena with this recording, and
All In will one of the strongest discs released
by a female artist this year. I’ve yet to see Sena
perform live, but know she’s been booked for Blues
from the Top this summer and I’m definitely looking
forward to catching her then. Great job, Sena!
---
Kyle Deibler
