Trudy Lynn has been at the music business since
Albert Collins “discovered” her 50 years ago. Based
out of Houston she's a world class vocalist who has
released a handful of solid recordings. Royal
Oaks Blues Cafe (self-released) is far
and away her crowning achievement.
With a “Featuring
Steve Krase” credit on the cover, her long-time
harmonica man is joined by guitarist John Del Toro
Richardson, bassist Eugene “Spade Time” Murray,
pianist Randy Wall and drummer Carl Owens. The
conversations going on between the principals is
fascinating. With Ms. Trudy offering a bawdy and
bluesy 11-tune program of obscurities and classics,
the combination is hypnotic.
She dug deep for these
tunes. Jay McShann's “Confessing The Blues” and Don Robey's “Play The Honky Tonk” are the only real
recognizable tunes on the disc, but the fantastic
“Every Side Of Lonesome,” with its smoky and slinky
guitar and the burnin' harp over the clapping drums
and the band's call-and-response vocal assistance, is
all about her vocals and lyrics (“I've Been on Every
Side Of Lonesome Since He Walked Out On Me”). The
same can be said for “Down In Memphis,” with its
hard blowin' harp intro and more of that contagious
call-and-response from the band (“a four piece band
is ready on the stand/a man at the door with a box
in his hand/a line outside is waiting to get in/the
people just want to hear the blues again/down in
Memphis”).
Trudy Lynn the songwriter is not a common
event and it's one I'd like to hear more of.
Everything on the set is impressive, with standouts
in the deep blues of “Street Walkin' Daddy,” the
'20s-style “Effervescent Daddy” (when you talk it's intoxicatin'/when you walk its like syncopation”)
and the closing “Whip It To A Jelly,” the sexiest
tune on the disc. With acoustic guitar and harp she
sings Clara Smith's lyrics:
“There's a new dance that can't be beat/you move
most everything except your feet/Then you whip it to
a jelly/stir in the bone/You whip it to a jelly if
you like good jellyroll.”
This is about paying
tribute to the era of women singers. It's a rousing
success.
---
Mark E. Gallo
Bryan Lee is contagious. Once you've been turned on
to his music, you're a fan for life. He's an
enormously talented guitarist/vocalist, but maybe
his greatest asset is his enthusiasm and the
excitement he brings to the music. Blind since eight
years old, he has a 50-year professional music
career that shows the rest of us that a loss of
vision does not impact his vision.
From the opener,
"Aretha (Sing One For Me)" to the closer, "Sixty-Eight
Years Young," Play One For Me (Severn
Records) is a knock out record. The opener
will touch a chord for Detroiters. It’s a request
for Aretha to sing a few songs for our hero because
his ex was just seen walking into one of her shows.
“Send one out straight to my baby’s heart/Maybe
she’ll be sorry that we’re apart.” The follower, his
take on Freddie King’s "It’s Too Bad (Things Are
Going So Tough)," is the epitome of classic electric
blues. The guitar work is stellar and his voice is
emotive and he pours himself into each and every
note.
Lee's version of "Evil Going On," with Kim Wilson on
harp, would make Howlin’ Wolf proud, but the
original songs are more impressive. "Poison," the
standout on the disc, again with Wilson, evokes a
dusty Chicago club after dark. The guitar work is
brilliant and the tandem lines with the harmonica
are goose bumpers. There aren’t a lot of players who
grab me as thoroughly. And that voice, gruff like B.B. King’s at time, is a joy to behold.
The band --- Johnny Moeller (guitar), Kevin Anker
(keys), Steve Gomes (bass), Robb Stupka (drums) and
Mark Merrella (percussion) --- is backed by seven horns
and four strings. They lay a solid foundation for
Mr. Lee to do his magic.
This one’s a keeper.
--- Mark E. Gallo
I can appreciate what
Billy Branch said in terms of
it taking him 15 years to get it right before he
went back in the studio to record a new record.
Blues Shock is definitely what I would call a
thinking man’s blues record and Billy’s attention to
the details are apparent throughout this record.
It’s his first recording for Blind Pig and an
impressive one indeed. Kudos to Billy and the Sons
of the Blues for a very fresh, forward-thinking
record. Let’s give it a listen.
The spoken intro to “Sons
of the Blues” is the first clue that this disc is
different, as Billy incorporates lyrics written by
the esteemed poet, Sterling Plump, into this tune.
Liberal use of the Chicago Horns augments Billy’s
harps as he lets us know, “I am…the son of the
blues.” A little bit of preaching as Billy intones
his influences, Little Walter, Sonny Boy, Howlin'
Wolf all serve to back his discourse that he is
indeed, “a son of the blues.”
More harp and Sumito
Ariyoshi on the piano provide the introduction to
our next cut, the Willie Dixon tune “Crazy Mixed Up
World.” Willie was one of Billy’s most profound
influences and it’s only natural for Billy to
include a tune from his mentor on the disc. And
Billy’s right, it is indeed “a crazy, mixed up
world.” A driving backbeat and more of the Chicago
Horns provides the intro for the title track, “Blues
Shock.” This tune was written to express that
moment when everyone realizes the attraction they
have to the Blues. “It’s 12 am and you’re heading
for home…but your automobile’s got a mind of its
own…down to the blues club…you have to go…ain’t but
one thing that you got…a funky little feeling
called…blues shock.” Blues shock, indeed. I would
have to say that I experienced Blues shock in
Austin, Texas a long time ago and it’s never left
me.
“Dog House” is an apropos tune since we’ve all been
there. Ronnie Baker Brooks is party to the
commiseration because evidently both he and Billy
are in the proverbial “dog house.” “Now I’m stuck on
the couch…without my pillow…I’m back in the dog
house again.” Both of them are pretty sweet talkers
so I’m thinking they’ll be out before too long. We
move on to “Function at the Junction,” and this is a
tune that grew a following out of Billy’s live
performances. Cool, funky and upbeat, “Function at
the Junction” is a great party tune as “come
one…come all…we’re going to have a ball…at the
function at the junction.” I think we can safely say
that everybody had a good time at the junction.
Billy considers our next tune, “Going to See Miss
Gerri One More Time,” as the finest song he’s ever
written and I can appreciate the effort that went
into writing it. Billy wrote it to honor Miss Gerri
Oliver who owned the Palm Tavern in Chicago’s
historic Bronzeville neighborhood for over 50 years.
For a long period of Chicago’s history the Palm
Tavern was the place to be for the entertainment
elite who came through the Windy City. Frank
Sinatra, Sammy Davis, Jr., Miles Davis, Quincy Jones
and many other dignitaries were amongst those who
held court at the Palm Tavern after hours. “And, I’m
going to see Miss Gerri, one more time. She’s the
one…who’s always on my mind. And I’m going to see
Miss Gerri one more time. Only God knows, what’s on
her mind?” Miss Gerri always affectionately called
Billy “her son” and his tune is a beautiful tribute
to the woman who had such a strong influence on his
life.
I appreciate the lighter tone of the instrumental,
“Back Alley Cat” after Billy’s tribute to Miss Gerri
and it feels just right. Billy ably accompanies the
keyboard styling of Sumito Ariyoshi and the tune
allows me to catch my breath for a minute before
moving on to Billy’s take on the John Lee Hooker
classic, “Boom Boom”. “I love the way you walk…up
and down the floor…when you’re talking to me…that
baby talk…boom, boom, boom…I’m going to shoot you
right down.” Billy’s blowing a mean harp and the
band is fully engaged in doing John Lee justice.
Billy’s drummer, Moses Rutues, Jr., takes the
microphone for the next tune, “Slow Moe,” as
Priscilla McDonald plays the part of the nagging
woman on the telephone to perfection. “Don’t try to
rush me, baby…my work is done…when I get through…some
men are in a hurry…they do it way too fast…baby,
don’t you worry…because I’m damn sure, built to
last.” They call him “Slow Moe” for a reason, and
he’s never in a hurry!
Intricate fretwork from Dan Carelli, Billy’s harp
and the piano of Sumito Ariyoshi all complement each
other as Billy simply asks, “Baby Let Me Butter Your
Corn.” “I’m long and lean…baby, I won’t mess it
up…I’ll spread it real smooth…and fill your
buttercup.” Billy’s the right man for the job and
he’ll do a good job buttering her corn.”
Blues Shock
closes with another instrumental, “Song For My
Mother” and it is a fitting tribute to Billy’s
mother, Doris Haddock. Hauntingly beautiful, I’m
drawn to the emotive tones of Billy’s harp and
appreciate the artistry of this tune that is so ably
complimented by the piano playing of Sumito Ariyoshi.
While it probably lessens my “blues shock” with its
jazz influences, “Song For My Mother” is a perfect
way to end what has been a very interesting disc
from Billy Branch and the Sons of the Blues,
I noted at the beginning of the review that
Blues
Shock is a “thinking man’s” blues record and I
believe that to be true. Billy has done an amazing
job of harnessing his influences and honoring them
in a way that is at once both refreshing and
provocative. I would strongly recommend you grab a
copy of this disc at Billy’s website,
www.billybranch.com, and for all our sakes, Billy,
don’t wait another 15 years to put out a disc this
good!
---
Kyle Deibler
I’ve known Lisa Mann for a few years now and one of
the great disappointments of last summer was seeing
her tour through Colorado being cancelled because of
a family emergency. But in life things happen and
Lisa’s back with an amazing new album called Move
On. This deserving member of the Cascade Blues
Society’s Hall of Fame is an outstanding vocalist
and plays a mean bass to boot. Let’s give her new
disc a listen!
So of course Lisa’s bass provides the intro for the
opening cut on her disc, the title track, “Move On.”
A song of determination and the need to live
positively, Lisa stands tall as she proclaims her
healthy zest for life. “The truth I got to tell
you…I think you understand…when life gives you
lemons…you know it’s time to make a stand…you’ve got
to move on forward…cause there ain’t no other way to
go.” Brian Harris’s work on the organ is a nice
adjunct in “Move On” and I appreciate Lisa’s bass
solo toward the end of this first cut.
Jeff
Knudson’s fretwork sets the tone for our next cut,
“Are You Lonely”, and here we find Lisa dealing with
the end of a relationship. “Are you lonely…where you
are…and, are you wishing on some shooting star…that
you could be…right here with me…are you lonely where
you are?” Lisa’s definitely having second thoughts
and while I’m sure he’s crazy for leaving her, it
isn’t clear that Lisa would be better off with him
back in her life. Might be best to pass this one by.
Up next is a beautiful ballad, “Give You My Love,”
and here we find Lisa madly in love with the man in
her life. “I want to give you my hand…I want to give
you my time…but baby, most of all…I want to give you
my love.” There’s an appealing tone of satisfaction
in Lisa’s voice and I’d wish her all the best with
this one.
Sonny Hess joins Lisa on the next cut, one that
she
wrote, “The Blues is My Medicine,” and lends her
vocals and guitar to the mix. “Up early in the
morning…jamming late at night…ain’t nothing like the
blues baby…to make you feel alright….I know just
what it takes…to get me going…the blues, oh the
blues…is my medicine.” I really like this tune and
of course the Blues is the medicine of choice for a
lot of us. Sonny’s fretwork is very intricate and
lends itself well to the healing vibe of this tune.
Another ballad, “You Don’t Know,” finds Lisa’s bass
at the forefront augmented by the sweet harp of
Mitch Kashmar as Lisa strives to give relationship
advice to a friend of hers. “You don’t know…what you
want…you don’t know…what you got, baby…you throw a
good man down the drain…and then you calling him
back again. I feel for the guy in this tune knowing
that if Lisa says he’s a good man, then undoubtedly
he is. I think he’ll come to his senses and leave
Lisa’s friend behind rather than endure much more of
her indecision.
On the other hand, Lisa doesn’t have
the trepidation of her friend and she tells us so
proudly in our next cut, “My Man.” “Let me tell you
all about…my sweet man…and there ain’t no one in
this whole world…that can make this old girl…oh,
make me feel so good inside…and there ain’t no
doubt…I just got to shout it out…because it’s
something I just can’t hide.” He’s obviously doing
something right to win Lisa’s affections and this
one sounds like a keeper to me.
So of course the shoe’s on the other foot and Lisa
comes out on the wrong end in “I’ve Been Used.” “He
told me he loved me…said he’d always be true…but now
I can see…that I’ve been used.” Lisa’s conflicted as
her man works to win her back and Jeff Knudson is
conveying her indecision with an extended guitar
solo that amplifies her mood. Ultimately Lisa
realizes she’s being played and exacts her revenge
on this man who played with her heart.
Up next is
“Big Long List,” and it’s a tune that Lisa and I have
commiserated about already. It seems that our “to
do” lists are similar and I feel her pain when she
notes, “When I’m trying to get to sleep…in the middle
of the night…I’m counting those sheep, to about
103…but every time I close my eyes…you know, all
that I can see…is that big, long list…of all the
shit that I’ve got to do.” Here’s hoping that both
of us can at least shrink the list down to a
manageable size!
Unrequited love seems to be the
theme of the day as Lisa tells us about another love
in her life in “Ain’t That Lovin’ You, Baby.” “You
know I love you, baby…but you don’t even know my
name. Let me tell you, baby…tell you what I would
do…I would rob, steal, kill somebody…just to get
back home to you.” I’d say that’s a pretty
convincing love and hopefully this man will give
Lisa her chance.
“Doin’ OK” finds Lisa in a good mood and content
with her life as it is. “Oh, sometimes…I get aches
and pains…and I haven’t got a nickel to my name…ooh,
,and I don’t think things are going to change…but
I’m feeling pretty good about it…just the same…looks
like I can safely say…I’m doing ok.” You’ve got to
love Lisa’s optimism and her common sense approach
to what’s most important in her life. Up next is
Lisa’s take on the Little Milton tune, “The Blues is
Alright.” “I got a song…I want to sing…and I’m going
to sing it just for you…everybody hear what I
say…the Blues is back…and it’s here to stay!” Lisa’s
version is upbeat and I’m sure Milton would
appreciate her version of one of his classic tunes.
So the end finds up back to the beginning with
Lisa’s heavy bass intro to the final tune on her
disc, “This Bitch.” Lisa’s alter ego can be hard to
deal with at times and Lisa’s yet to escape the
influences of “this bitch.” “She sticks her nose in
people’s business…butts in where she don’t belong…and
I’m always apologizing…for the things that she’d
done wrong…she’s got nasty, nasty habits…and she’s
always talking trash…she chased away my friends…and
even spent up all my cash…I can’t seem to break
free….everywhere I go…I’ve got to bring this bitch
with me.” All I can say, Lisa ,is pick your poison,
coffee or tequila and good luck!
There’s an amazing amount of Blues talent in the
Pacific Northwest, and Lisa Mann is definitely one of
the Rose City’s rising stars. Move On is an
excellent album and Lisa’s surrounded herself with a
great cast of musicians to bring her vision to
fruition. Jeff Knudson, Brian Harris and Michael Ballash on drums, are all members of Lisa’s core
band, the Really Good Band, and I’m happy to see a
few choice friends helped her out as well. The
songwriting is top notch, Lisa’s vocals are stunning
and I appreciate the humor is some of her work as
well.
This disc is available for purchase on Lisa’s
website,
www.lisamannmusic.com, and I’d grab a copy
soon. And I, for one, am hoping that Lisa is able to
get back out on the road this summer so folks can
see what I already know --- this is one outstanding
blues woman, y’all!
---
Kyle Deibler
I’m the first to admit that I’m not that familiar
with Cathy Lemons back story so I took a few minutes
to read through her website, peruse her blog and
easily reached the conclusion that she is a true
blues woman. She’s lived the life, experienced the
hardships and most importantly, she survived. Her
new record on Vizztone, Black Crow, is indeed a dark
one but a pleasant respite from a lot of what I’ve
been hearing lately. Cathy wrote six of the ten
tunes on the disc and shows a lot of courage in
continuing to bare her soul to the world. Let’s give
this disc a good listen.
The first cut up is Cathy’s version of a classic Kim
Wilson tune, “I’m a Good Woman.” All Cathy is
pleading for is an opportunity --- an opportunity to
prove her worth as a woman and her love for her man.
“I’ll never mistreat you. baby…never tell you no
lies….I’m a good woman…give me a chance!” I’m
thinking any good man would be out of his mind to
not give Cathy her chance. Lead guitarist Steve Gurr
also adds a little bit of harp to our next cut,
“Ain’t Gonna Do It,” a tune written by Kieran Kane.
Cathy’s resolve is steadfast and she’s sticking to
her guns, “I’ve been down on my knees…I know how to
crawl…its closing my eyes…and watching, everything
slide…slip away…slip away…and I ain’t gonna do it…ain’t
gonna ball…I ain’t gonna do it…that’s all!” Cathy’s
strength will carry her through whatever
circumstances the hardships she facing will bring
her way, and she won’t compromise along the way.
The
title track, “Black Crow,” is next and this is a
tune Cathy penned with Steve. “There’s a black
crow…he came down to visit me…he circled round and
round…won’t let me go…won’t set me free.” All that
Cathy truly wants is to feel the protection of his
wings around her, and though he might be mad, she
loves him dearly. A beautiful tune, with a very
haunting melody, and one that I’ll come back to time
and again.
More harmonica from Steve provides the intro for
“Hip Check Man,” a tune very upbeat and a nice
change of mood. “My hip check man…bout to drive me
out of my mind…hip check man…how can I fix them
broken bones?” Cathy’s in a healing mood and she’s
intent on nursing her “hip check man” back to
health. I have no doubt she’ll get the job done. The
mood changes back to the darker side with the slow,
moving ballad, “You’re in My Town Now.” “You’re in
my town baby, my town…you must think…I’m somebody
else. Boy…you fool with me…last thing…you’ll ever
do.” Cathy means business and he’d best be careful
before all hell breaks loose. By her tone I can
guarantee you that Cathy means business here. No
ifs, ands or buts about it! Some beautiful keyboard
work from Kevin Zuffl and intricate fretwork by
Stevie Gurr emphasizes the conviction in Cathy’s
words and the man in question had better tread
lightly.
A cover of an Earl King tune, “It All Went Down the
Drain,” is up next and Cathy more than does it
justice. “But you wanted…something fresh…you wanted
it next to…your sweet flesh…like a sewer…when it
rains…it all went down the drain…you and I.” Cathy
came out on the short of end things of this time and
is left to fend for herself. Tempo slows way down
and then the funky saxophone of Doug James makes an
appearance to brighten things up in “The Big
Payback.” Cathy’s been done wrong and this is a
woman who doesn’t get mad, she gets even! “Better
get ready…for the big payback.”
We move on to a
ballad that Cathy wrote, “I’m Going to Try.” Cathy’s
learning that life is not always going to come easy,
it’s not always going to work out and the life best
lived is one she’s best engaged in. “I never
thought…to just look up…always looking low…the
promise of what I might be…never, never, never,
Lord…seemed to show. But that’s all over now…I’m
going to try.” A tough life lesson to learn, to be
sure, but Cathy will be better off in the long run.
The band comes to life in support of our next tune,
“Texas Shuffle.” “All my friends went to
jail…watched them go down…one by one…I’m the last
woman standing…police got me on the run.” Sounds
like luck was on Cathy’s side this time and I’m sure
she’s happy to avoid the misfortune of all of her
friends.
I appreciate the starkness of the final
tune on Cathy’s disc with just her and Stevie on
acoustic guitar in “The Devil Has Blues Eyes.” “The
Devil has blues eyes…ah, the devil has blue eyes…and
the way that I love him…I swear, Lord…I’d like to
die.” A definite departure from the rest of her
disc, but a fitting way to bring this record to a
close.
I have to admire Cathy’s honesty as a blues woman.
The truths of her life are all out there for folks
to read and she’s survived to become a woman whose
voice needs to be heard. The darkness of Black Crow
is probably not for everyone, but true Blues fans
will appreciate the simple truths and honesty in her
lyrics. You can find out more about this blues woman
from the Bay Area on her website at
www.cathylemons.com. Enjoy the journey!
--- Kyle Deibler
Singer Cathy Lemons is regarded as a blues legend in
the San Francisco Bay Area, where she has enthralled
audiences for over 25 years with her distinctive and
soulful vocals and the ease with which she moves
from blues to soul and R&B to gospel. The Dallas
native has worked with such notables as Anson Funderburgh, Tommy Castro, John Lee Hooker, Kid
Andersen, and Stevie Ray Vaughan. Her latest release
is Black Crow (Squeeze Play/Vizztone), and it
demonstrates her musical style and range very
effectively.
Lemons penned six of the ten tracks on
Black Crow,
including the stunning title track, the boogie
rocker “Hip Check Man,” “You’re In My Town Now” and
“I’m Going To Try” a pair of slow blues ballads, the
self-descriptive “Texas Shuffle,” and the spooky
acoustic closer, “The Devil Has Blue Eyes.” She ably
covers four tunes, including Kim Wilson’s “I’m A
Good Woman,” the O’Kanes’ “Ain’t Gonna Do It,” and
funky remakes of Earl King’s “It All Went Down The
Drain” and James Brown’s “The Big Payback.”
Kid Andersen produced the disc, giving it a raw and
earthy feel, allowing plenty of room for Lemons’
vocals to stand out. Backing Lemons is guitarists
Stevie Gurr and Volker Strifler,
drummers/percussionists D’Mar and Robbie Bean,
keyboardists Kevin Zuffi, sax man Doug “Mr. Low”
James, and bassist Paul Olguin.
With Black Crow, Cathy Lemons should receive some
much-deserved attention far beyond the Bay Area.
She’s a talented and honest vocalist that doesn’t
have to shout and scream to get her point across, a
welcome variation from what is often perceived as
the norm these days.
---
Graham Clarke
For their latest CD,
First Name Lucky (Tweed Tone
Records), Tweed Funk’s aimed to capture the energy
and excitement of their live shows. The Milwaukee
band’s previous effort, 2012’s Love Is, was one of
my favorite releases of that year, and I really dug
the band’s raucous blend of blues, funk, and soul on
that release. First Name Lucky improves on its
predecessor and then some, with seven outstanding
originals and four dynamite covers.
Tweed Funk is still fronted by soul vet Joseph
“Smokey” Holman, and the powerhouse band includes
guitarist J.D. Optekar, bass player Eric Madunic,
drummer Nick Lang, sax man Jon Lovas, and trumpeter
Kevin Klemme, with Brian “Looper” Lucas adding
harmonica and backing vocals from Chrissy Dzioba and
Sara Moilanen. They remind you of those hallowed
days when sweaty funk and horn-driven bands ruled
the galaxy…and those who were around back then know
of what I speak.
On the opener, “Blues In My Soul,” Holman testifies
like it’s his own story, and he effortlessly segues
into the funky blues, “Time To Burn.” Other original
tracks like “Hoodoo Power” and “Get It On” also play
on the funky side of the blues, the latter track
featuring Lucas’ harmonica. Optekar penned most of
the originals (one was co-written by Holman) and the
remaining originals venture into soul territory
(“Divided”), swinging urban blues (“Deed Is Done”),
and blues in a T-Bone Walker vein (“Sippin Misery”).
The four covers are equally impressive. “Let The
Good Times Roll” is taken in a swinging B.B. King
style, and the old Peppermint Harris gem, “I Got
Loaded,” has a New Orleans flair. Bass player
Madunic turns in a fine vocal on the Stax classic,
“Knock on Wood,” and Holman pulls out all the stops
on the Black Joe Lewis and the Honeybears’ track, “Sugarfoot,”
channeling James Brown with his manic delivery.
As much as I liked Tweed Funk’s last release,
First
Name Lucky improves on every aspect of it. If you
like your blues on the funky soul side, this one
will earn steady rotation on your personal play
list, and should be on your year-end Top Ten list,
too. Expect to see it on mine.
---
Graham Clarke
Alligator, Mississippi native
Johnny Drummer (born Thessex
Johns) has been a part of the Chicago Blues scene
for over 50 years, beginning with a stint playing
drums (what else) behind Carey Bell and Lovie Lee,
then playing and recording with Eddie King, before
starting his own band, the Starliters, in the mid ’60s, where he soon took up vocals and left the
drumming to others.
By the mid '70s, he was working fulltime for the
Chicago Police Department, playing the blues on the
side and learning the basics of harmonica from
Junior Wells before switching to keyboards in the
mid '80s. Drummer has released a few singles over
the years for various labels, and has enjoyed a
lengthy tenure with Earwig Records. Recently, he
issued his fourth album for the label, Bad Attitude.
Drummer’s new release sounds a lot like his previous
ones. In other words, it’s good, solid Chicago Blues
with a healthy dose of soul and funk thrown in. What
makes Drummer’s work stand out is his songwriting.
He’s an excellent storyteller who always mixes humor
with his tales of love and and life. The 13
tracks on Bad Attitude include standouts like
“Another Rooster is Pecking My Hen,” “Bit Her In The
Butt,” the witty title track, and “One Size Fits
All.”
He also shines on the
soul ballad “Make You Happy,”
the defiant R&B kicker “Don’t Call Me Trash,” the
downhome tracks, “Sure Sign of the Blues” and “My
Woman My Money My Whiskey,” which feature his
harmonica, and the excellent slow blues “Ain’t No
Secret in a Small Town.”
Backing Drummer on these tracks is a premium set of
the Windy City’s finest musicians – Kenny Hampton on
bass, Anthony Palmer on lead guitar, Sir Walter
Scott on rhythm guitar, Jeremiah Thomas and Terrence
Williams on drums, Ronnie Hicks on keyboards, Rodney
“Hotrod” Brown on sax, and Kenny Anderson on
trumpet.
Fans of Chicago blues and soul can’t go wrong with
Bad Attitude. Johnny Drummer deserves to be heard by
a wider audience and, hopefully, this is the album
that will get it done for him.
---
Graham Clarke
St. Louis Times (Black Hen Music) may be
Jim Byrnes’
most personal record yet. Loaded with songs
associated with artists based in the city along with
his own compositions which recall his younger days
there, the disc serves as a sound musical journey
through a city that often gets overlooked in blues
discussions. The city is celebrating its 250th
anniversary this year, so the disc serves as a fine
introduction to this often-overlooked musical hub.
St. Louis Times is the sixth collaboration between
Byrnes and Steve Dawson, a partnership that has
lasted ten years. Byrnes is also joined by guests
John Hammond, who plays National Steel and harmonica
on a couple of tracks and joins Byrnes on vocals for
James “Stump” Johnson’s “Duck’s Yas Yas Yas,” Colin
James, who contributes acoustic guitar on one track,
and No Sinner’s Colleen Rennison, who shares vocals
duties with Byrnes on the old Fontella Bass/Bobby
McLure hit, “You’ll Miss Me (When I’m Gone).”
Byrnes’ choice of cover material is first-rate, with
the aforementioned songs, plus tunes from Albert
King (“Don’t You Lie To Me”), Chuck Berry (a funky
version of “Nadine”), W.C. Handy (the title track),
Little Milton (“That Will Never Do”), and Lonnie
Johnson (“Another Night To Cry”). Byrnes’ own tracks
recall his formative years in the city with a song
about one of the more notorious neighborhoods (“Cake
Alley”), a nice slow blues (“Old Dog, New Tricks”),
and a vivid picture of the town (“The Journey
Home”).
Byrnes does a great job on vocals and guitar, and
Dawson and Hammond both contribute some wonderful
slide guitar on multiple tracks. The remainder of
the band is rock solid in support, with Darryl
Havers on keyboards, Jeremy Holmes on bass, and
Geoff Hicks on drums, with a marvelous horn section
that includes Tom Colclough (clarinet), Jim Hoke
(tenor sax), Bill Huber (trombone), Steve Herman
(trumpet), and Larry Paxton (Sousaphone).
St. Louis Times is not only Jim Byrnes’ most
personal recording, it’s also his best. He really
seems to be firing on all cylinders with this one,
maybe because it hits so close to home, literally.
Whatever the reasons, this should be essential
listening to blues and roots fans.
---
Graham Clarke
Solomon King’s latest release,
Train (JLM, Inc.),
finds the Los Angeles-based singer/guitarist doing
what he does best, mixing blues, rock, and soul in
equal batches. This is King’s third release….his
debut, 2009’s Under the Sun, was nominated for a
Grammy, and the 2011 follow-up, Medicine, was also
well-received. He also had a couple of songs
featured on the HBO series, True Blood.
King kicks the album off with the funky “Son of
Diddley” rocker, “Baby Does Me Good,” and “Bad To
Me” is a blues-rocker with some splendid guitar from
King. The catchy “Coffee Song” is a keeper, too.
“Slo Blues” is, like the title says, a slow blues
ballad with a smooth vocal from King and some nice
fretwork, and “Great Wall” is a classic blues
shuffle.
“Country Song” puts a country slant on the
proceedings, as King reflects on the country music
genre in a talking vocal style reminiscent of Lou
Reed. “My Baby’s Love” is a soulful ballad, complete
with background singers and nice guitar break. The
title track is a moody rocker with a thundering
rhythm and a twin guitar attack. The closer, “Blue
Angel,” is a tender ballad.
Lending King a hand are Johann Frank (guitar),
Stephen “Styxx” Marshall (drums), Princeton Arnold
(bass/background vocals), Buddy Pierson (Hammond
B3), Nate Laguzza (drums/percussion), Jimmy Powers
and Glenn Doll (harmonica), and Gaby Teran, Jorge
Costa, Maxayn Lewis, and Connie Jackson (background
vocals).
Train represents Solomon King’s finest effort to
date. It’s the most complete picture of his musical
vision so far.
---
Graham Clarke
Mikey Junior’s eighth album,
Traveling South (SwingNation/Vizztone),
is a scorcher. Based in the northeastern U.S., Mikey
is self-taught from listening to his collection of
blues recordings and has been playing since he was
in high school, making his mark on the East Coast by
the time he was in his early 20s. He’s an engaging
singer and songwriter and blows a mean harp to boot.
Traveling South was produced by Dave Gross, who also
plays guitar. Also assisting Mikey are guitarist
Dean Shot, drummer Michael Bram, bassist Matt
Raymond, and keyboardist Jeremy Baum. They mesh
beautifully as a unit, beginning with the smoldering
opening cut, written by Mike Vernon, with some nice
chromatic action from Mikey. “Nobody Does It Like
Me” has a Chicago swagger to it, as does “Morning On
My Way,” which sounds like a long-lost Billy Boy
Arnold cut.
Mikey and the band shine on tracks like the
down-home “Mill Tavern,” the solid “Bad Time Blues,”
and “The Cheat,” which is as close to a blues rocker
as you get on this disc. “You” features a strong
vocal from Mikey, and “She’s Good At Being Bad”
showcases some ominous tremelo fretwork. The catchy
“Please Come Back,” an R&B-flavored rave-up, “Wrong
Number,” a smooth soul track, and “Trying To Do The
Best That I Can,” a lively country blues, close the
disc as strongly as it opened.
Blues lovers who worry about the future of
traditional blues in the hands of the youngbloods
can take solace in the fact that a young man like
Mikey Junior is faithfully bringing those great old
sounds to life for a host of new fans to savor.
Traveling South is a superlative set of old-school
blues.
---
Graham Clarke
For her latest CD, Belle of the Blues (Big Song
Music), singer Lisa Biales draws on some major
talent, with EG Kight returning as producer (along
with legendary producer Paul Hornsby) and a top
notch roster of musicians including guitarist Tommy
Talton (Gregg Allman, Dickey Betts, Cowboy),
keyboardist Randall Bramblett (Sea Level, Steve
Winwood), and drummer Bill Stewart (Cowboy, Gregg
Allman, Bonnie Bramlett). They, along with the
remainder of the backing band, provide a lush
backdrop for Biales’ wonderful vocal talents.
The 11 tracks on Belle of the Blues are a pretty
wide-ranging set, with several excellent songs
co-written by Kight and Tom Horner and a few choice
covers mixed in. As befits the title, the focus on
this disc is more blues-oriented than her previous
releases with tracks like the sassy title cut, “Sad
Sad Sunday,” a nice Memphis-styled soul ballad with
some sterling B3 from Bramblett and dobro from
Talton, the menacing “Graveyard Dead Blues,” and
“Peach Pickin’ Mama.” Kight teams with Biales for a
duet on “In My Girlish Days,” and they share harmony
vocals on a couple of other Kight tracks, “Trouble
With A Capital T” and “Bad Girl.”
In addition to the musicians mentioned above, other
contributors include Hornsby on piano, harmonica
player Pat Bergeson, Tommy Vickery and Johnny
Fountain on bass, Ken Wynn on acoustic guitar, and
Gary Porter on tambourine.
There’s plenty for blues fans to enjoy on
Belle of
the Blues, just like Lisa Biales’ previous efforts.
It seems that she’s found a kindred spirit in EG
Kight and hopefully this is a partnership that will
continue for the immediate future.
---
Graham Clarke
The Terry Quiett Band first made a national impact
with their 2011 release, Just My Luck, which
finished in the Top 100 most-played CDs on the Root
Music Report Blues Chart. Their 2012 follow-up, the
live A Night At The Orpheum, continued the hot
streak, earning accolades all around.
Taking Sides
(Lucky Bag Records), Quiett’s 10th album in 15
years, takes a somewhat novel approach by splitting
the disc into two distinct sides (similar to the days
of the LP). One side focuses on Quiett’s impressive
slide guitar, while the other side works in a
soul/R&B vein.
The first half of the disc will definitely satisfy
Quiett’s current fans…..six powerful blues-rockers
including the raucous opener “Come The Morning,” the
muscular rocker “Nothing At All,” featuring some
impressive slide guitar, a redo of “Cut The Rope”
that actually improves on the original, “Wheelhouse
Blues,” a standout shuffle, the energetic “Voodoo
Queen,” and “Weak-Minded Man.”
The second half of the disc is quite a contrast to
the first, still loaded with the intensity and
energy associated with Quiett, but more on the soul
side of the blues. “A Fool Should Know” kicks off
“Side B,” and features a strong soulful vocal from
Quiett. “Two Hearts” has a bit of a West Side vibe
going, with some great fretwork from Quiett, and the
spicy R&B track “Gimme Some” adds a tight horn
section, also present on the funky “I Come Running.”
“Get Back On” is a feisty blues-rocker on the jazzy
side, and the R&B track “You Can’t Come Back” offers
with one of Quiett’s best solos. There is also a
very cool “Bonus” track and the album’s lone cover,
Marvin Gaye’s “Let’s Get It On,” that closes the
disc.
Quiett and band (Rodney Baker – drums, Nathan
Johnson –bass) are joined by “Missippi” Hal Reed,
who contributes some positively blistering harmonica
work on several tracks, Scott Williams on keyboards,
organ, piano, and tenor sax, Brad Turgeon on
trumpet, and Jordan Northerns on trombone. Taking
Sides shows Terry Quiett expanding his already
considerable musical talents in a major way, which
will certainly add a lot more fans to his burgeoning
fan base.
---
Graham Clarke
I can think of three good reasons why you should
pick up Mick Kolassa’s new CD, Michissippi Mick (Swingsuit
Records). Kolassa is a Michigan native who is a
lifelong musician and fan of the blues. He’s been
playing on the Memphis music scene for over two
decades, and is a member of the Board of Directors
for the Blues Foundation.
Those facts figure into Reason #1 for picking up
this disc…..100% of the proceeds, the GROSS
proceeds, from sales of this recording will go to
the Blues Foundation, split between the HART Fund,
which provides financial aid to ailing blues
musicians and their families, and Generation Blues,
which helps budding musicians learn their trade by
offering scholarships to several music camps,
workshops, and seminars. You can find out more about
both programs by visiting the Blues Foundation’s
website,
www.blues.org.
Reason #2 for picking up this disc is another sound
one….It’s loaded to the gills with some great music.
Kolassa mixes seven originals with five classic
tunes, touching on a number of styles ranging from
the traditional to modern. His original tunes are
strong, with standouts like “Blues Are All Around
You,” “Blowtorch Love,” “Burned That Bridge,” and
“Baby’s Got Another Lover.”
The covers include a reworking of W.C. Handy’s
“Beale Street Blues,” with new lyrics added by
Kolassa, a major revamping of the ’60s rocker, “The
Letter,” which transform the classic into a slow
blues, the Cab Calloway standard, “Reefer Man,”
given a countrified makeover, the Johnny Mercer
masterpiece, “Blues In The Night,” and a really nice
take on Jimmie Rodgers’ “Mississippi River Blues”
(complete with yodel), which closes the disc.
Reason #3 for giving this album a spin…..Kolassa is
backed by some of Memphis’ finest musicians,
including producer Jeff Jensen, whose lead guitar is
a high point among high points, Victor Wainwright on
piano, Eric Hughes and Brandon Santini on harmonica,
Bill Ruffino on bass, Doug McMinn on drums, Chris
Stephenson on organ, and backing vocals from Reba
Russell and Redd Velvet.
Michissippi Mick is a fun musical ride that explores
a broad array of blues styles that not only will
reward listeners, but also will go toward a pair of
great causes that will help ensure that this music
continues to thrive today and continue to develop in
the future.
---
Graham Clarke
Polly O’Keary is an award-winning bass
player/singer/songwriter based in the northwest U.S.
She’s been in music for 25 years, winning multiple
awards (including Washington Blues Society’s Female
Vocalist of the year three times), and recently
served as bass player for Too Slim & the
Taildraggers for four years before forming her own
trio, The Rhythm Method, with drummer, and fellow
Taildragger, Tommy Cook, and guitarist Clint “Seattle
Slim” Nonnemaker.
The trio’s new release,
Compass, features 10
original songs written by O’Keary, plus one
co-written with Seattle Slim. They range from
blues-rock ( “Fools Gold,” “Stop, Train,” and “How
The Mighty Fall”) to upbeat pop (“Summer”), to
soulful R&B (“Your Honor” and “Let Me Be Kind”), to
traditional blues (“Harder Than It Has to Be,” a
shuffle featuring piano man Arthur Migliazza, “I’ve
Got None,” and the exquisite slow blues “Losing You
Again”), to funk (“You Get Me High”).
I really like O’Keary’s songwriting. There are some
familiar topics covered on these tracks, but she
puts a unique, sometimes amusing twist on several of
them, “I’ve Got None” being one particular example.
Vocally, she has a lot of range, really shining on
the slower ballad styles, but equally capable or
tearing through the uptempo material, too. She
throws down some pretty nasty bass, too.
The Rhythm Method provides great support, too.
Slim’s fretwork and and Cook’s time-keeping are both
spot-on. There’s additional support from Migliazza,
Norm Bellas (Hammond B3), the Seattle Horns, and
backing vocals from Anita “Lady A” White and Kevin
Sutton.
Overall, I found Compass to be a very enjoyable
album, with a fine, versatile set of songs and some
great singing and playing from Ms. O’Keary and
friends. I will be looking forward to their next
release, hopefully in the near future.
---
Graham Clarke
One of Ontario’s most popular blues bands,
The Smoke
Wagon Blues Band, specializes in a brand of blues
that mixes rock, soul, and funk. Their 2012 release,
It Ain’t Easy (billed as Corey Lueck & the Smoke
Wagon Blues Band), reflected those styles very
effectively. Their latest release, Live In Hamilton,
captures the band on their home turf, at May, 2013
set recorded at Stonewalls Music Hall.
The band works though an
11-song, 71-minute set,
mixing three cover tunes with their nine original
compositions, all written by Lueck and guitarist
Mike Stubbs, which cover a variety of styles. “Hen
House Hopping” is a funky boogie tune, “Josephine”
keeps the funk going with some nice keyboard work
from Nick Succi, who also shines on “Wrong Side
Girl.”
“I Can’t Change” moves into ballad territory with a
great vocal from Lueck and support on saxophone from
Gordon Aeichele. “Fine Furred Momma” is another
mid-tempo blues with some great work from Stubbs and
the rock-steady rhythm section (Jason Colavecchia –
bass, Tibor Lukacs – drums) and from Lueck on
harmonica.
The country rocker “Barton Street Blues” is
obviously a crowd favorite as they and the band join
in on the vocals, and “Smoke Wagon Boogie” allows
the band an opportunity to stretch out on their
respective instruments, while “Lonesome Whistle
Blues” is a slow blues.
The covers include the smoky opener, a lengthy
version of Bill Withers’ “Ain’t No Sunshine,” with
some great saxophone from Aeichele, a ten-plus
minute version of Dave Mason’s “Feelin’ Alright”
that segues into Donovan’s “Season of the Witch,”
with some fantastic instrumental work from the
entire band, and a funked-up version of Muddy
Waters’ “Blow Wind Blow.”
Live in Hamilton really catches the Smoke Wagon
Blues Band in their element and they rise to the
occasion. This is one of the better live CDs I’ve
heard in a while….everything clicks perfectly.
---
Graham Clarke
Back Pack Jones was formed in 2012, consisting of
five musicians from the Springfield, Illinois area: Mike
“Big Mike” Wallace (vocals), Kirk Lonborn (guitar),
Mike Baier (bass/vocals), Wendell Day (keyboards),
and Harvey Horton (drums). They’ve competed in the
I.B.C. twice, making the semi-finals in one of those
years, and have also opened for B.B. King. On their
debut release, Betsy’s Kitchen, they offer a
nine-song set of originals that showcases their
contemporary blues sound, which is augmented on
several tracks by a five-piece horn section.
The opening track, “Riptide Baby,” swings hard and
Wallace’s warm vocals are complemented by Day’s
keyboards and a smooth guitar break from Lonborn.
“I’m Just A Man” has an R&B feel, and “Fixin’ To
Leave” is a slow blues with some immaculate fretwork
from Lonborn. “Baggage” is a funky number with
clever metaphorical lyrics and some guitar work that
brings Carlos Santana to mind, while “The End” is a
powerful jazz-flavored track with some nice
keyboards from Day and a strong vocal turn from
Wallace.
“Even God Sings The Blues” is another fine slow
blues track, with an eye to current events, with a
great guitar intro from Lonborn and even more great
work during the song. “Hey Diddle Riddle” is a fun
tune with a jazzy beat and nursery rhyme references
and a violin thrown into the mix (courtesy of Chenoa
Alamu). “Hiding In Plain Sight” is the rockinest
song on the disc with some scorching riffs from
Lonborn and saxophone from Archer Logan, and “I Got
A Girlfriend” swings the disc to an entertaining
close.
Betsy’s Kitchen is a pretty diverse set of blues
styles, mixing funk, swing, and jazz in equal
measure, plus a great set of original tunes. Back
Pack Jones shows that they are capable of playing
all of them equally well. It will be interesting to
see what’s next for this band.
---
Graham Clarke
When Patti Parks returned to the music scene in
2003, after a lengthy hiatus, she did it with a
vengeance, winning a trip with her band to the I.B.C.
in 2006, winning Best Female Blues Performer from
Nightlife Magazine in 2011, and being recognized as
Best Blues Female vocalist by Buffalo (N.Y) Music
Awards for the last two years. She sings with a
whole lot of soul and sass, and she wrote all nine
tracks on her latest CD, Cheat’N Man.
The jumping “Baby Don’t You Know” kicks off the
disc, featuring a four-piece horn section, followed
by the smoky ballad, “Happy You’re Mine” and the
defiant “Back Off.” “It Ain’t Right” is a splendid
slow blues with some great guitar work from Charles
Buffamone, and “Mama” is a fairly straightforward
ballad. The title track is a great soul/blues and
features Parks’ strongest vocal and some great tenor
sax from Boby Serete. “Everyday” is a Chicago-styled
blues, while “What I Had To Be” is a swinging R&B
tune. “Whatcha Gonna Do” has a brassy, almost Big
Band feel.
Parks can sing it tough or sing it tender, depending
on the style she’s tackling, and packs plenty of
passion behind it. The seven-piece band, paced by
longtime collaborator Guy Nirelli (keyboards) and
assisted by a multitude of guest musicians swings
relentlessly. Cheat’ N Man is a strong set of
original and diverse tunes that should easily move
Patti Parks beyond the Buffalo area, if there’s any
justice in the world.
---
Graham Clarke
John Lyons was born in Michigan, but moved to
Switzerland in 2001. His music has been influenced
by not just the blues, but also rock, pop, and soul.
He is an excellent songwriter who bares his soul
with each tune and has a real knack for a catchy
hook or melody. On his third release, Sing Me
Another Song, Lyons’ full talents are on display as
a performer and composer with nine great songs
dealing with affairs of the heart.
“Another Wave,” a catchy power pop tune, gets the
disc off to a fine start, and moves into “She’ll
Tell You No Lies,” a bluesy ballad. “Believe” is a
hopeful acoustic number, while “Waiting For You”
finds Lyons dealing with life as he waits for his
lover to return. The title track is a keeper with
its catchy hook and some nice guitar, and the
pensive “Beautiful” is just that, and would appeal
to multiple genres with its dreamy arrangement and
vivid imagery.
‘Helengeli” is a dreamy acoustic track, and the
gentle Beatle-esque ballad “Under the Stars” sounds
great. “Dear James” is a devastating song about a
break-up, and is followed by “The Blues Moved In,” a
poignant view of loneliness. ‘Blink of an Eye” has
an easy rambling country-folk groove, and “Bluestar
Highway” turns the amps up for a blues-rock
finish….well, technically not the finish because
there’s a bonus track included, an inspirational
track that closes the track on a positive note.
Backing Lyons is a great band, which includes
Matthew Savnik (B3, piano), Simon Britschgi (drums),
Gabriel Spahni (bass, background vocals), and Simon
Winiger (bass). Sing Me Another Song has plenty of
memorable songs that will appeal equally to blues
and roots music fans.
---
Graham Clarke
Mary Ann Casale was born on Long Island, and she
grew up listening to jazz and blues musicians who
practiced and jammed in her uncle’s cellar, which
piqued her interest in music and performing. She
began in the college coffeehouse scene on Long
Island, which eventually led to a career as a solo
performer and a singer in several bands, traveling
around the country. Then, she took a 30-year
break.
Recently, Casale began writing and performing again,
and it’s almost like she never left in the first
place. She’s released an album, Running Out of Time
(Crustee Tees Records), which was produced by Tas
Cru, who also plays guitar and harmonica on several
tracks. Otherwise, with the exception of a few
additional instruments on a couple of tracks, it’s
pretty much Casale’s show, and she’s more than up to
the task.
Casale’s songs have a personal touch to them,
whether ruminating about the brevity of our time on
the planet (the lovely title track), of love and
deceit (“Don’t Knock On That Door”), or the
difficulty of letting things go (“All That Is Left
Behind”). Her songwriting is simple, but powerful,
and vocally she packs a wallop, too, with her deep,
bluesy delivery…at times somber, at times whimsical
(as on “Faces Never Seen,” “No Place To Hide,” and
“One of These Days”), and also soulful and sultry.
Casale has continued to build her audience on the
east coast with her unique mix of blues, folk, and
Americana, and the gentle, but powerful Running Out
of Time should give her resurgent career a boost.
--- Graham Clarke
