The Jon Spear Band
hails from central Virginia, and they represented
the Central Virginia Blues Society in this year’s
I.B.C. in Memphis. Singer/guitarist/songwriter Spear
has been around the music scene long enough to
remember opening for the Isley Brothers during their
“Twist and Shout” days, so you know he’s the real
deal. The rhythm section (drummer John Stubblefield
and bassist Andy Burdetsky) boasts well over thirty
years each playing in the D.C. area, and they are
joined by the outstanding young guitarist/vocalist
Dara James.
Their debut release,
Old Soul, contains ten tracks, nine originals
and one cover. Spear wrote all of the originals and
sings on four of them, with James taking the mic on
the remainder. “I Can’t Help Myself” feels like an
old Little Feat song with its funky rhythm work, and
“Devil’s Highway” is a hypnotic blues rocker. The
title track is a smoky ballad with guest Ron
Holloway on saxophone, and “Paid In Full” features a
soulful vocal from James, who also sings on all of
the above tracks.
There are also some
unique selections included. “Forever Home,” a tune
about finding a new home from a dog’s perspective,
was written for a local animal shelter. Spear takes
vocals on the sweet “I Love My Skin,” which won an
award in the 2013 Mid-Atlantic Song Contest
(Children’s Division), “The Second Mouse Gets The
Cheese,” a fun throwback to those great Louis Jordan
jump tunes of the ’40s, the Santana-styled “Mean
Mean Woman,” and the anthem “Live Music Is Better.”
The lone cover is a good one, an extended take on
Bob Geddins’ “Tin Pan Alley,” which really lets
James stretch out on guitar and vocals.
Old Soul is a
highly enjoyable set of blues and soul that features
some impressive original tunes. The veteran Spear,
the rock-solid rhythm section, and the gifted young
James proves to be a winning combination on this
release.
---
Graham Clarke
Big Dave McLean
has been the heart and soul of the Winnipeg blues
scene, dating back to the late ’60s/early ’70s,
influencing many of the artists from the area,
including Colin James. His ragged but right guitar
work, harmonica, and gruff vocals are perfectly
suited for old school, down-home blues. McLean has
recorded rather sparingly over his lengthy career,
but recently signed with Black Hen Music to release
his seventh album, Faded But Not Gone, which
finds the legendary artist joining forces with label
mate and guitarist extraordinaire Steve Dawson, who
produced the session in Nashville, Tennessee.
The dozen tracks on
the new disc include five McLean originals and seven
covers, and he’s backed by a formidable band which
includes Kevin McKendree (keyboards), John Dymond
(bass), and Gary Craig (drums), with guest
appearances by James, Colin Linden, and The McCrary
Sisters. McLean’s mother and brother passed away
just before sessions began for this album, so you
can feel the ache, sense of loss, and healing on
every track.
McLean’s originals
include the autobiographical “I Best Choose To Sing
The Blues,” which features Linden on slide guitar
and Dawson on lap steel.”Don’t Get Mad, Get Even,”
“Shades of Grace,” a poignant tribute to his mother
who sang “Amazing Grace” to him as a child, and “The
Fallen,” a stunning piece written for his brother,
who had passed away the week before it was recorded.
He also covers tunes by Skip James (a powerful solo
reading of “Devil Got My Woman”), Ray LaMontagne (a
funky version of “Devil’s In The Jukebox”) , The
Wood Brothers (“One More Day”), Tom Waits (“Mr.
Siegal”), and Tampa Red (a spot-on “Dead Cat On The
Line,” with mandolin from James).
McLean shines on
guitar and harmonica, and his gravelly vocals are
just what the doctor ordered. Dawson provides his
usual spirited support on a number of stringed
instruments (National steel, lap steel, pedal steel,
banjo, acoustic and electric guitar, Weissenborn) as
well as organ. Their efforts make the entire album a
pleasure to listen to. Faded But Not Gone
shows why Big Dave McLean is such a big deal in
Canada, and why he should be a big deal everywhere.
---
Graham Clarke
Detroit-based singer
Eliza Neals was originally trained as an
opera singer, but has moved from that genre to
become one of the most distinctive blues-rock
vocalist around, making her mark at various local
Motown venues and working her way throughout the
country. With her pile-driving, whisky-soaked
vocals, she’s destined to attract even more
attention, and her latest release, Breaking and
Entering, provides ample verification of her
many talents.
On her latest
release, Neals is joined by several fantastic
guitarists, including Hall of Fame guitarist Howard
Glaser, who lays down some scorching fretwork on
several tracks, including the smoldering title
track, which appears in two versions, the cool
rocker “Goo Goo Glass,” “Windshield Wipers,” and
“Spinning.” He also plays dobro on the opening blues
rocker, “Detroit Drive.” Other guitarists featured
are Mike Puwal, who plays guitar and bass on several
tracks, and Kid Rock guitarist Kenny Olson.
Neals’ vocals are the
big drawing card on Breaking and Entering,
but she also acquits herself equally well as a
composer, writing or co-writing all but one of the
tracks, the exception being the R&B-styled “Sugar
Daddy,” which was penned by Motown legend Barrett
Strong. These tracks move effortlessly from blues
rock to pop to country-flavored fare, and she’s
comfortable in all of them. She also plays keyboards
on several of the tracks, and the aforementioned
vocals will keep you coming back to the disc over
and over.
Neals and the three
lead guitarists are augmented by a stellar group,
including Gabe Gonzales, Tim Grogan, Michael Galante,
Steve Lacross, and Erik Maluchnik (drums), Paul
Randolph and Chris Vega (bass), Shane Visbal
(guitar), Tyrone Smith (keyboards, sax), and backing
vocalists Lizz Kristi and Renee Flemings.
This is powerful
stuff. Eliza Neals has issued some of the grittiest
blues rock you will hear this year. Rest assured
that you will be hearing more from this dynamic
singer/songwriter in the future. In the present,
however, you can get all that you need from
Breaking and Entering.
---
Graham Clarke
The title of the
Igor Prado Band’s new CD, Way Down South
(Delta Groove Music), means much further south than
most blues fans would think. Prado and his bandmates
(brother Yuri Prado on drums, Rodrigo Mantovani on
bass, and Denilson Martins on saxophone hail from
Sao Paolo, Brazil, considerably further south than
your run-of-the-mill blues locale. Though the band
has been around for some time, they received a lot
of positive press after their appearance with the
late, great Lynwood Slim on his excellent 2010
release, Brazilian Kicks. Now they are one of
the most popular blues bands in South America.
On Way Down South,
recorded over a two-year period mostly in Sao Paolo,
with a couple of tracks recorded in California,
Prado and his band are joined by an impressive
line-up, dubbed the Delta Groove All-Stars. The
group includes Omar Coleman, Wallace Coleman, J.J.
Jackson, Mitch Kashmar, Mud Morganfield, Rod and
Honey Piazza, Sugaray Rayford, Kim Wilson, Randy
Chortkoff, Junior Watson, Monster Mike Welch, and
Lynwood Slim.
Way Down South
consists of 13 tracks, with two originals (one each
penned by Rayford and Wallace Coleman) and 11 dandy
classic blues covers. Rayford handles vocals on two
tracks, Ike Turner’s “Matchbox” and his own “Big
Mama Blues,” and Kim Wilson handles vocal chores on
Long John Hunter’s “Ride With Me Baby” and the
Lightnin’ Slim standard, “If You Ever Need Me.”
Morganfield covers his father’s “She’s Got It,”
Kashmar handles Jimmy Rogers “What Have I Done,” Rod
Piazza contributes Elmore James’ “Talk To Me Baby,”
Omar Coleman revisits Lightnin’ Slim with “Rooster
Blues,” and Wallace Coleman closes the disc with an
acoustic take on his own “Trying To Do Right.”
Prado himself sings
on two tracks, including the bouncy “Shake &
Fingerpop.” He shares vocals with J.J. Jackson on
the Joe Tex classic, “You Got What It Takes.” There
are also two tracks featuring Lynwood Slim’s vocals:
Lowell Fulson’s “Baby Won’t You Jump With Me” and
Paul Gayten’s “You Better Believe It.”
Prado and band are
not overwhelmed by the sheer volume of guest stars
on Way Down South, as sometimes happens on
star-studded affairs. His guitar work is spot-on and
the band provides rock-solid support on this diverse
set of tunes. They provide overwhelming proof that
the blues are not only alive and well, but worldwide
to boot.
---
Graham Clarke
The Connecticut-based
Balkun Brothers have already generated a
considerable amount of attention in their five years
of existence, having won Blues Society Challenges in
both Connecticut and Massachusetts, and making the
semi-finals (2014) and finals (2013) in consecutive
years at the International Blues Challenge. Not a
bad résumé, considering the band had not even
released a full length album at the time.
That issue has been
rectified with the release of ReDrova, which
really captures the trio’s (Steve Balkun –
guitar/vocals, Nick Balkun – drums/percussion, Caleb
Battersby – bass/baritone) essence, which is
hard-driving, fire-breathing blues-rock. The
intensity is pretty high on these twelve tracks,
which breathe new life into both the blues and rock
genres, and are all penned by the Balkun Brothers,
who also recorded, produced, and edited the album.
You can probably
classify ReDrova as blues rock, but it
actually incorporates traditional blues in the
band’s blueprint quite frequently. The opening cut,
“Last Jam (Oh Yeah.)” is a straight-out rocker
though, where the title track has a southern rock
feel with some great slide guitar. On the
hard-charging “Got My Boots On,” Steve Balkun picks
up a resonator guitar and proceeds to send the track
to another level culminating in one of the best
tracks on the album.
The swampy “Keep Me
Warm.” settles things down for a moment, which is
probably a good thing, because the raucous “S.F.T.A.”
throws the entire disc into high gear with a
relentless pace and soaring slide guitar (not to
mention a baritone horn solo). “Bippidee Bopp” is a
sweet funky blues which transitions well into “Keep
It Up,” a fiery and fast-paced boogie track.
“Sally’s Blues” is a sweaty, slow urban-styled blues
with accompaniment from Larry “Buzzy” Fallstrom
(keyboards), and some splendid guitar work from
Steve Balkun.
The next two tracks,
both instrumentals change the pace slightly, with
Steve Balkun pulling out the resonator again for the
short instrumental interlude, “Fried Pickle Party,”
then pulling out all the stops on slide guitar for
“Slidin’ Butt,” then an Elmore James homage on the
scorching “Tell Me (What’s On Your Mind).” The
closing track is “Too Damn Long,” which ventures
into Hill Country territory with impressive results.
Simply put, there’s
not a bad cut in the bunch on ReDrova. I
really like the Balkun Brothers’ approach on the
blues, mixing the tradtional sounds of the blues
with some of the best guitar and rhythm work to be
heard these days. I can’t recommend this disc
enough.
---
Graham Clarke
My Own Holiday
consists of Joey Chrisman (guitar/vocals) and Nick
Bartolo (drums) and these two guys can make some
powerful music. Call it stripped-down blues rock if
you want, but it not only incorporates the blues and
rock, but also pop, folk, and Americana. For their
new release, Reason To Bleed (Eclecto Groove
Records), the duo offers 13 striking original songs
that cover love, lust, loss, hope, sin, and
salvation , all penned by Chrisman.
“Hold On Me,” the
opener is a gritty rocker with a droning guitar and
a fiery vocal from Chrisman. “Razorblades” is a
churning pop rocker that says a lot in its barely
two minute playing time. The blues shuffle “Two
Coins” is next and is followed by “Memphis,” which
moves more toward folk territory, while “Devil In
Me” is a rocking blues boogie and the title track
has a Hill Country feel with the droning guitar work
and simple percussion backdrop.
Other tracks include
the haunting ballad “Whiskey in the Well,” the raw
“On the Floor Blues,” the JLH-styled boogie track,
“Smile,” the straight rock and roller “Stone Free,”
“Stranded,” a moody blues ballad, the funky blues
“Don’t Shine On Me,” and the gentle acoustic closer,
“Right Back Where I Started.”
I really like the
duo’s “stripped down” approach. Chrisman’s guitar
work is distinctive and edgy, as is his songwriting,
and his heartfelt, sometimes world-weary vocals are
perfect. He allows the occasional waver and crack to
seep in and that makes the performances that much
more authentic. Bartolo’s percussion work is
standout as well.
There’s nothing
particularly fancy about any of My Own Holiday’s
music. It’s the blues colored with rock, pop, and
folk influences, solid and effective songwriting,
and powerful performances. Reason To Bleed
has a lot to offer music fans of any genre.
---
Graham Clarke
From the age of 19
into his early 30s, through the ’70s into the early
’80s, D. A. Foster was co-owner of the
Connecticut roadhouse, the Shaboo Inn, which booked
such acts as Hall & Oates, the Police, Journey,
AC/DC, and many others, but also hosted numerous
blues acts, such as Willie Dixon, Howlin’ Wolf,
Muddy Waters, Buddy Guy, B.B. King, Freddie King,
and Albert King, among others. Foster had natural
vocal talents himself and benefitted from the
tutelage of many of these blues talents, eventually
forming his own band in the late ’70s, the Shaboo
Allstars, a group which included Matt “Guitar”
Murphy among its ranks.
Recently, Foster
released his debut album, The Real Thing (Shaboo/VizzTone),
a project which finds the singer joining forces with
members of the Phantom Blues Band on a dozen soul
and blues covers, some familiar, some not so
familiar. Upon listening, you will realize a couple
of things --- (1) D. A. Foster is the real thing,
and (2) why has it taken so long for him to release
an album to verify (1).
Foster ably works
through a choice set of tunes, some familiar ones
like a pair of old Duke/Peacock hits associated with
Bobby “Blue” Bland (“Ain’t Doing Too Bad” and “This
Time I’m Gone For Good”), the Jesse Stone (a.k.a.
Charles Calhoun) standard “Smack Dab In the Middle,”
George Jackson’s “Down Home Blues,” Brook Benton’s
“Lie To Me,” and the classic “Gee Baby Ain’t I Good
To You,” and a few newer tunes by Dave Steen (“Good
Man Bad Thing” and “We All Fall Down”), Eddie Hinton
(“Super Lover”), Bill Withers (“You Just Can’t Smile
It Away”), and the title track by Jerry Lynn
Williams.
Foster has a warm,
inviting, and understated vocal style that easily
fits a variety of blues and soul styles, going from
polished and upscale to gritty with little effort.
Of course, it doesn’t hurt to have the musical
backing of luminaries like Mike Finnigan (keys,
backing vocals), Tony Braunagel (drums), Larry
Fulcher (bass, backing vocals), Johnny Lee Schell
(guitar), Lenny Castro (percussion), David Garfield
(piano), Josh Sklair (guitar), horns from Darrell
Leonard (trumpet), Joe Sublett (sax), Lee Thornberg
(flugelhorn, trombone, trumpet), and backing vocals
from Julie Delgado and Nita Whitaker.
Braunagel and
Finnigan produced the disc and it sounds like
everybody had a ball recording it. I’m pretty sure
that you will have a ball listening to this fun and
entertaining set of blues and soul. You’ll agree
that D. A. Foster is definitely the real thing.
---
Graham Clarke
If you’ve heard the
last two recordings from Delmark recording artist
Linsey Alexander, you’ve heard the string-bending
talents of his band leader, Breezy Rodio, who
has been leading The Hoochie Man’s band for the past
several years, after moving to Chicago from New York
and finding a musical mentor in guitarist Guy King.
He’s also recorded a few solo efforts of his own in
the meantime. His debut featured several prominent
Windy City blues artists including Alexander and
Lurrie Bell, but he’s also dabbled in reggae, with
one disc that featured guitarist Donald Kinsey.
On Rodio’s latest
album, So Close To It (Windchill Records),
the focus is strictly on blues as the skilled
guitarist/singer mixes his own impressive originals
with covers of tunes made famous by B.B. King,
T-Bone Walker, and others. The King covers are
really choice, including a sweet take on “When My
Heart Beats Like A Hammer,” the slow blues “Sneakin’
Around,” and the ballad “Please Accept My Love.”
Walker’s “Too Lazy”
gets a swinging treatment and Rodio’s jazzy reading
of Ray Charles’ “Just About To Lose Your Clown”
(with Chris Foreman on B3) is first-rate. There’s
also an entertaining cover of the Elvis Presley
tune, “One Broken Heart For Sale.”
Rodio’s originals mix
well with the covers. On “Mary,” he captures Albert
King’s string-bending style perfectly. “The Day I
Met You” is an exquisite slow blues that also
features vocals from Joe Barr and Carl Weathersby,
and Lurrie Bell mans the mic and plays guitar on the
T-Bone-esque “I Win Some More.” The swinging “I
Can’t Get Enough of You” is another highlight, and
the houserocker “Time To Come Back Home” finds Rodio
getting excellent support from Foreman’s B3. Harp
legend Billy Branch joins Rodio on the feisty
“Walking With My Baby (She’s So Fine).”
There’s also a bonus
13th track, another slice of heavenly T-Bone
goodness called “Evil Hearted Woman,” which was cut
live in the studio.
So Close To It
is a great set of updated traditional blues that
will please blues fans from start to finish and
serves as a powerful and effective introduction to
Breezy Rodio, one of the finest blues guitarists the
Windy City has to offer.
---
Graham Clarke
It’s been said that
going through adversity of any kind will either make
you or break you. Greg Nagy, formerly of the
Midwest blues/soul outfit Root Doctor, recently saw
his 25-year marriage come to an end during the
recording of his latest release, Stranded
(Big O Records). From that unfortunate turn of
events, Nagy has produced what may be his best work
to date, offering ten absolutely riveting
performances.
The title track opens
the disc and features an achingly soulful vocal
performance from Nagy. The understated “I Won’t Give
Up” is out of the same soul bag, featuring the
keyboards of Nagy’s former Root Doctor musical
partner, Jim Alfredson, who also co-produced the
album and composed several of the songs with Nagy.
Other standouts include the funky blues “Long Way To
Memphis,” the irresistibly catchy “Run Away With
You,” which has more of a pop/R&B feel, as does
“Walk Out That Door,” and the upbeat “Still Doing
Fine.”
“Been Such A Long
Time” turns on the funk with some nice guitar
riffing from Nagy, and “Sometimes” is a feisty
R&B/Jazz number with guitar work from Zach Zunis.
The closer is Kevin McKendree’s “Welcome Home,” a
heartfelt ballad. The album’s lone cover is a dandy,
too ---.an excellent reading of Bobby Blue Bland’s
classic “Ain’t No Love In The Heart of The City.”
While Greg Nagy’s
vocals and guitar are most definitely strong points
of Stranded, the album also features some
outstanding tunes. As with any good blues song,
these tunes, and Nagy’s performances of them, not
only make you feel the hurt, but they also show a
resilience and refusal to surrender. This is a great
disc for fans of blues and soul.
---
Graham Clarke
As I listen to Ray
Goren’s latest EP release, Save My Soul
(RJ Ray Entertainment), I shake my head in
amazement. This cat hasn’t been on Planet Earth but
FIFTEEN years and he’s making amazing music. They’re
still talking about his 2014 releases, the Eddie
Kramer-produced EP LA Sessions, and
Private Angel, his outstanding collaboration
with two South Central bluesmen (dubbed the
Generation Blues Experience). Already, Goren is
approaching the total package as a performer,
dynamic guitarist, talented vocalist, and an
impressive tunesmith, and this latest release
verifies all of it wholeheartedly.
Save My Soul
has five original tracks, all written by Goren. They
range from the funky rocking blues of “Stop,” to the
title track, a melancholic power ballad to the pop
sensibilities of “Can’t Live Like This,” to the
crunching rocker “I Need You To Stay” to the
optimistic closer, “Rise Together.” Goren shows a
remarkable versatility both as a vocalist and a
guitarist, ripping away one memorable solo after
another.
Backing Goren on
these tracks are Chaun Horten and Rob Humphreys
(drums), Justin Glasco (bass, keyboards, percussion,
background vocals), and Jeff Glasco (backgroung
vocals). Produced by Justin Glasco, with help from
Jon Sosin (who also co-wrote most of the songs with
Goren and plays guitar, synthesizers, bass,
keyboards and provides backing vocals),
Save My Soul
has a definite modern feel to it, which is
appropriate because young artists like Ray Goren are
who will be tasked with bringing the blues forward,
while keeping one foot planted in the music’s roots.
Keep your eye on this exceptionally talented young
man.
---
Graham Clarke
When the Canadian
Roots band Jubilee Riots decided to record
their next album (they previously recorded as Enter
the Haggis), they put out a call to their fans
around the world to send their stories as
inspiration. Letters came in from as far away as
Japan and Australia, ranging from dark to humorous
to humiliating. The band took these 500 or so
letters as inspiration and set out to make an
energetic album designed to get people on their
feet, combining serious and personal stories with
dynamic, upbeat rhythms.
The results can be
heard in the band’s latest release, Penny Black
(Firebrand Entertainment).
The 11 tracks mix a wide range of topics, from
dealing with relationships (“Trying Times,”
“Unsteady”), taking risks and challenges (“Two Bare
Hands” and “Traveler”), even a bit of humor (“I
Stole The President’s Shoes”). There’s also
“Astray,” a story of a survivor of the Holocaust who
reunites with family after thinking that they were
dead. “Lived a Life” is uplifting and has a country
feel, and the poppish “Cut The Lights” is
irresistibly catchy.
The band consists of
Brian Buchanan (vocals, guitars, keyboards, fiddle),
Bruce McCarthy (durms, percussion, vocals), Craig
Downie (trumpet, whistle, harmonica, vocals), Trevor
Lewington (vocals, guitar, banjo, mandolin), and
Mark Abraham (bass, vocals). They are assisted by
The Spring Standards’ vocalist Heather Robb on
several tracks.
While Penny Black
focuses more on roots than blues, the songs are all
memorable, both lyrically and musically, and is
definitely worth checking out. I really like the
diversity in instrumentation and just the
originality of the concept, and chances are that you
will, too. It’s a great set for music fans in
general, and deserves to be heard.
--- Graham Clarke
Make It Easy,
the latest release from Toots Lorraine, is a
wonderful slice of vintage West Coast-styled Blues
with some classic Chicago Blues thrown in for good
measure. Lorraine and husband, guitarist / producer
Chad Dant, ordinarily front a Jacksonville,
Florida-based band called The Traffic, but for this
release, the pair traveled to Kid Andersen’s
Greaseland Studios in the Bay Area, and employed
some of the West Coast’s go-to musicians. The new
release features a dozen tracks, seven originals
written by Lorraine and Dant (listed in the credits
as “Chad Mo’”) and five covers.
Lorraine’s vocals are
as cool as the other side of the pillow on tracks
like the jazzy title track, which opens the disc,
the sultry slow blues “When Did You Stop Tryin’,”
the splendid T-Bone-esque “Get Back To Lovin’”
(featuring some great fretwork from Dant), the
lovely ballads “Wrong Side of Love” and “Hindsight.”
She’s also standout on the uptempo numbers, too,
such as “Let Your Tears Fall Baby,” “Satisfied”
(which features Andersen on guitar), and Big Joe
Turner’s “Low Down Dog.”
Lorraine shows
another side of her vocal talents on the traditional
gospel tune, “Wade In The Water (with backing vocals
from Dant and Andersen) and “Love The World,” the
Jimmie Vaughan/Dr. John inspirational tune that
closes the disc, and Dant gets the spotlight on the
slick instrumental “Chad Mo’ Shuffle.”
The stellar band includes Andersen, who also
co-produced with Dant, on guitar, bass, and piano on
selected tracks, Lorenzo Farrell on keyboards, Mike
Phillips on bass, June Core on drums and percussion,
and Aki Kumar on harmonica.
Make It Easy
is a fine and varied set of Blues that shows the
talent and versatility of Toots Lorraine.
---
Graham Clarke
Ghost Town Blues
Band has attracted a lot of attention over the
past couple of years with their memorable live shows
(usually prefaced by a Second Line entrance)
throughout the Southeastern part of the U.S. and
their 2nd Place finish at the 2014 IBC in Memphis.
The six-piece Memphis ensemble has released a couple
of well-received albums, plus a fascinating DVD
(Once there was a Cigar Box) featuring front man
Matt Isbell and his “side job,” creating cigar box
guitars. For their latest effort, Hard Road to
Hoe, the band opted to forego the usual album
release process, bypassing record labels and
financing the project themselves via Indiegogo.
From the beginning of
the disc, the autobiographical title track that
features Matt Isbell playing shovel, drummer Preston
McEwen playing “electric-analog broom,” and
bottleneck slide guitar from Matt Isbell using a
guitar made from his grandmother’s silverware chest,
among the accompanying instruments, you know that
this disc is going to be not only something
different, but something special as well. “Big
Shirley” is next, with frenetic piano backing from
Jeremy Powell and a fierce boogie woogie vibe.
Memphis harp master
Brandon Santini guests on the next two tracks,
providing vocals and harmonica to the funky Crescent
City-flavored “Tip of My Hat” and “My Doggy,” which
also features a cameo vocal appearance from Isbell’s
pooch. The next two tracks are a set, beginning with
“Mr. Handy Man,” a Second Line entrance in tribute
to the founder of the Blues which segues into one of
my favorite tracks “Hate To See Her Go,” which is
highlighted by some fine soloing from Isbell, Suavo
Jones (trombone), and Richie Hale (tenor sax).
“Tied My Worries To A
Stone” is a fiery blues rocker and the rootsy “Dead
Sea” reminds me of a long-lost John Hiatt track, and
features that great silverware chest guitar again.
“Nothin’ But Time” is a slow blues with a bit of a
Southern Rock flair thanks to the soaring guitar
work, the gravelly vocals and Powell’s B3. “Dime In
The Well” is a short, but funky Hill Country blues
that features Isbell on 3-string cigar box guitar,
and “Seventeen” is a pop-styled cautionary tale
about growing up too fast. The disc closes with a
nice country blues tune, “Road Still Drives The
Same.”
To be completely
honest, I can’t imagine anyone NOT liking Hard
Road to Hoe. The songs and musicianship are just
fantastic, as good as any I’ve heard in a while.
This was a lot of fun to listen to and it makes me
want to go watch GTBB’s live show as soon as
possible. To me, that’s the purpose of a good
recording and this album fulfills that purpose.
Trust me when I say that you will be hitting
“Replay” a lot with this disc.
---
Graham Clarke
For his latest
release, Just The Way That It Goes,
Australian bluesman Isaiah B Brunt journeyed
to New Orleans. The result is his first completely
electric recording and a relaxed, straightforward,
rootsy effort that takes it’s sweet time to develop
and slowly builds in intensity. Brunt produced the
disc and wrote all of the tunes, backed by a set of
NOLA musicians (Richard Bird – bass, Mark Whitaker –
drums, Mike Hood – keys, David Stocker – mellotron,
Kenny Claiborne – harmonica) who certainly know
their way around a groove.
“She’s So Fine” kicks
off the disc and it’s a smooth midtempo number,
while “Let Your Heart Know” is one of several gentle
ballads. “The River Runs High” is a vivid laidback
Delta-styled blues with Claiborne’s harmonica
backing, and the swinging “Precious Stone” benefits
from Hood’s sparkling piano. “With A Kiss” is one of
several tracks that feature Brunt’s exquisite slide
guitar, which always leaves you wanting to hear
more.
“Lover’s Blues” is a
heartfelt, soulful ballad with a great vocal turn
from Brunt. The lovely title track is probably the
best track on the disc, with very compelling lyrics
and some wonderful B3 from Hood (the unsung hero of
the disc). The optimistic “Never Give Up” is next,
followed by the haunting closer, “Which Way To Go,”
a track accentuated greatly by Stocker’s mellotron.
Just The Way That
It Goes is Isaiah B. Brunt’s best release yet,
and finds him branching out from the traditional
blues of his previous efforts into Soul and Jazz
with impressive results.
---
Graham Clarke
NYC blues man John
Earl Walker has not only been playing the blues
for the past couple of years, he lived the blues as
well. At the end of 2012, he lost nearly everything
he had during Hurricane Sandy. In addition, he lost
his longtime rhythm guitarist, Joey Tremello, who
passed away in 2013. Walker has picked up the
pieces, however, and recently released his 6th and
best album, Mustang Blues (Walkright Music).
Longtime fans of
Walker’s should already know what they’re getting
with this disc --- razor-sharp blues rock of the
highest order, along with some witty and creative
songwriting. Walker penned all ten tracks on Mustang
Blues, including the title track, a humorous look at
owning a Mustang in the city, and “Superstorm Sandy
Blues,” a scorching slow blues which recounts
Walker’s struggles during and after the storm.
Walker offers up new
views on familiar blues topics, such as “Hey Baby,”
“The Devil Follows Me,” “I’m Already Gone,” and “My
Mama Told Me.” The funky “Readjust” touches on the
difficulties in making changes in life, and “One
Plus One” looks at infidelity with a new twist. The
hard-driving closer, “Even Up The Score,” is about
resilience and revenge. There’s also an
instrumental, “Funkify,” which allows Walker to show
off his guitar skills (always a highlight of his
releases).
I’ve been listening
to Walker for a while now, and I think Mustang
Blues is my favorite of his albums. The guitar
work is always there and that’s as strong as ever,
plus I really like his laconic vocal style --- it
matches perfectly with the songs that he writes and
gives them a personal touch. The support he receives
from his band (Peter Harris – bass, Frank Diorio –
drums, Gene Cordew – keys, and Steve Ress, who plays
slide on the title track) is superlative. It all
adds up to another winner for John Earl Walker.
---
Graham Clarke
Jewel Brown
got her start as a child prodigy in Houston during
the ’40s. By the time she was in her late teens, she
was a regular on the Houston club scene, and by her
mid 20s, she was beginning a seven-year stint as
vocalist for Louis Armstrong and his All Stars. She
retired from the music biz in the early ’70s to take
care of her parents and only sang and recorded
sporadically through the rest of the century.
The last 10 to 15
years found Ms. Brown performing with the
Preservation Hall Jazz Band frequently at festivals
and eventually recording one of the best CDs of
2012, Milton Hopkins & Jewel Brown, with the
former B.B. King guitarist, which launched her on
European, Asian, and South American tours and a gig
at the Chicago Blues Festival.
In 2014, Brown
traveled to Japan to record with the outstanding
swing band, Bloodest Saxophone. The album, Roller
Coaster Boogie, was initially released on a
Japanese label but is now available to a wider
audience since it has been reissued domestically on
Dynaflow Records, which is great news for music
fans. Brown and the seven-piece band rip through 13
classic songs mixing blues, jazz, swing, R&B, and
pop, and the 77-year-old vocalist sounds like she’s
having more fun than she’s had in years.
Bloodest Saxophone
swings relentlessly and they are an excellent
compliment to Brown’s powerhouse vocals. She moves
effortlessly from pop chestnuts like “Bewitched”
(yes, the theme from the old TV series), “Twilight
Time,” “Goody Goody,” and “One Monkey Don’t Stop No
Show” to swinging jazz numbers like “That’s a Pretty
Good Love,” “Don’t Go To Strangers,” and the
interesting “Afrodesia.” Of course, there’s plenty
of great classic R&B and blues here as well, with
Tina Dixon’s “Walk That Walk Daddy-O” Classie
Ballou’s “Crazy Mambo,” and the fine closer, Jimmy
Witherspoon’s “Ain’t Nobody’s Business.”
It’s a real shame
that Jewel Brown was off the music scene for so
long, but judging by these two outstanding releases
in two years, she’s back with a vengeance, and her
career resurgence is great news for blues fans.
Hopefully, she and Bloodest Saxophone will reunite
soon and give us more.
---
Graham Clarke
I’ve watched Brandon Santini grow from his earliest days on Beale Street
to the BMA-nominated artist he’s become today and
it’s been a pleasure to be along for the ride. I was
happy to receive a copy of Brandon’s latest disc, Live and Extended,
in the mail and I continue to be
appreciative of all he’s accomplished as a Bluesman.
Recorded live in Quebec, Canada, the band is hot and
the tunes even hotter. Let’s give it a listen.
From their French intro, Brandon and the band are
off and running with “One More Mile.” “Just one more
mile…yeah…just one more mile to go…it’s been a long,
desolate journey, girl…but I don’t have to cry no
more.” Brandon kicks in with a tremendous harp lick
and the band is tight behind him. We’ve got Timo
Arthur on guitar and vocals, Nick Hern on bass and
vocals with Chad Wirl behind the pots and pans. The
band is tight, the crowd is raring to go, this is
nothing but a party.
More harp and we move on to
“This Time Another Year,” the title cut from
Brandon’s last CD. “This time, another year…ah,
people…I wonder…where would I be?...I might be up in
Chicago…or people, Lord…I might be back down in
Tennessee....Say, oh yes.” We segue into the
mellower “Elevate Me Mama” and Brandon is singing
about his lust for the woman in question. “Elevate
me, mama…a woman…I’m about five or six floors on
down…yes, you know everybody, they tell…you are the
vainest woman in town.” Sounds to me like the
woman proved that to Brandon and we’ll move on from
there, though I do appreciate the fact that Brandon’s
harp is definitely the lead instrument for this
tune.
The French respond enthusiastically and the band
moves on to “Evil Woman.” “I say…evil woman…where
you going…and what’s your name…yes…you know I love
you baby…and I believe that’s a crying shame.” This
evil woman definitely has Brandon’s attention and
it’s safe to say he’s under her spell. Brandon takes
a minute to ask the audience if they’re having a
good time and then Timo breaks out the intro for
“Have a Good Time.” His fretwork is spot on and the
band is ready to go. “I just got paid…and I got a
pocket full of dough…said….all we got to do is let
the good times roll….we’re going to have a good
time, people…rock and roll all night long.” Brandon
and the band will play all night so I’m hoping the
crowd know what’s in store. “Well, you can fish like
Peter…you can pray like Paul….but when judgment day
come…you’d better have a good time.”
Brandon’s back
at the lead with his intro on “Help Me With the
Blues,” and Chad’s right behind him on the kick drum.
“Well…I’m begging you baby…won’t you please come
back home…well, I’m begging you baby, won’t you
treat me right…said, ‘help me with the blues…cause I
can’t carry on.” Timo kicks in with some blazing
fretwork and Brandon’s got it going on with “help me
with the blues.”
We stay uptempo with the next song on the set list,
“Got Love If You Want It,” and Timo’s fretwork has
the crowd jumping as Brandon takes the stage after
what was obviously a set break. “I’ve got love…if
you want it, babe…I’ve got love if you want it,
babe…now we can rock a while.” Brandon’s girl is
teasing him and he’s open to her bad intentions.
“No
Matter What I Do” finds Brandon at odds with the
woman in his life. Brandon sounds sincere and
faithful to his woman so I’m not sure why he’s in
the dog house. “I’m troubled every evening, Baby…you
come home…said I’ve been looking for you, baby…but
you’ve been out there all alone…tell me baby, why
can’t I get along with you?” The answer’s not really
clear and I’m thinking it’s time for Brandon to move
on. The band slows the tempo down and Brandon offers
up his first ballad of the set, “What You Doing to
Me”. “Yes, that 61 Highway…it’s the longest highway
I know…we’re going go down to New Orleans, Baby…put
down our heavy load. Just you and me babe…I said
pack your bags…we’ve got to go.” Sounds like
Brandon’s got some romancing on his mind and New
Orleans is definitely a place to go for some fun and
good loving.
We’re back at a frenetic pace as the band moves on
to “My Backscratcher” and Brandon’s leading the way
on harp. “Said, get on now woman…you’d better stay
away from my door…cause I done found me a new
backscratcher…I don’t need you anymore.” Brandon’s
message is short and sweet to his old lover, there’s
a new woman in my house. At this point in the night
it’s time to Boogie and Brandon leads the band into
“I Wanna Boogie With You.” “Said…we can boogie real
fast…we can boogie real slow…said hang on baby…don’t
let go.” Brandon and the band are in high gear and
the visions of folks dancing all around are
appearing in my head.
The last cut on the disc,
“Come on Everybody,” keeps the party going and
Brandon is blowing a mean harp throughout. “Come on
everybody…we’re going to have ourselves a ball…yes,
everybody…let’s get together…don’t you know…there’s
going to be some kind of shaking going on.” You
can’t help but have a good time when Brandon and the
band are in a mood like this.
It’s obvious there was great energy in the room the
night this recording was made. Brandon and the band
played their butts off for a very appreciative
French audience in Quebec, and there was definitely
a whole lot of shaking going on. Life on the road
has been good to Brandon and the band, you can hear
it on this disc and I’m happy for my friend. I know
how hard he’s worked to get where he and the band
are at today.
You can keep up with the band and
order a copy of this disc at
http://www.brandonsantini.com. Definitely catch
them live when you can and throw this disc in when
you can’t. Both are guaranteed to make sure you
“have a good time” and it doesn’t get much better
than this.
---
Kyle Deibler
Back in the day, here in Colorado, the Informants
ruled the Blues scene and I actually had someone
pitch me the band for our festival in Phoenix. If I
had known then what I know now, that would have been
a “no brainer” and Kerry Pastine would have loved
prowling the Blues Blast stage. But I’m here in
Colorado now and Kerry is still making her mark on
the Colorado music scene with her new project, Kerry Pastine & the Crime Scene. Their new disc,
The Other
Side, continues to show me the error of my ways.
Let’s throw it in and give it a spin.
“Just say yes…just say no…either way you got let it
go…you’ve got to test the fire…you got to take me
higher.” Kerry’s an alpha woman and she’s
challenging her lover to reach the very depths of
her soul. The only way he’s going to do that is to
“Test the Fire,” an aggressive first tune and we’re
off and running. A heavy bass line from Mac McMurray
and we segue into our next cut, “Cold Stare Hot
Touch.” Here we find that Kerry has a man playing
hard to get and he has no idea he’s already lost the
battle. “I hate to say it but I’ll lay it on the
line…here it is honey…you’re doing time…my cold
stare…oh….my hot touch…this love affair…is
poisonous.” He’ll learn the hard way that Kerry’s in
control here and he may not make it out alive. Paul Shellooe kicks it with a scintillating guitar riff
and it’s clear that life as he knows it is
definitely changing for Mr. “hard to get.”
“I’m Not
the One” is up next and this ballad is my favorite
tune on Kerry’s disc. “Oh, but you’re telling me…by
the things that you say…that our love could never be
true…why don’t you let me go…if your heart is not
for real…I’m not the one that you give your love…I’m
not the woman you’re thinking of…I’m not the
woman…whose heart you have chained.” Intricate
guitar work from Paul chimes in right on time and we
can hear the heartbreak in both Kerry’s vocals and
his fretwork.
A heavy backbeat from Seger Marion on the drums
leads us into our next tune from Kerry & the Crime
Scene, “Let’s Call it Love.” “Take a picture of me,
baby…give me kisses on the run…the moon is drenched
in whiskey…tell me I’m your only one….let’s call it
love.” I’m not sure that this is love but Kerry’s
all in and it’s working for now.
I hear the sounds
of stormy weather in the background as Paul plays
some flamenco guitar on our next cut, “The Other
Side.” This hauntingly beautiful melody finds Kerry
reflecting on the last moments of a love in her
life. “When I first met you…like déjà vu…an instant
taste of a familiar time and place…another
lifetime…we’d be…I know this man…perhaps you took me
by the hand…I’m mesmerized by your eyes…I’m under
your spell…take me to the other side.” “Dirty 2
Step” finds Kerry giving dance lessons to her man.
“Step to the right…now swing me back…go and shake
what you got…like a hat on a heart attack…now tell
me honey…what we gonna do? We’re going to get
down…do the dirty 2-step…do it now.”
Original Informant, Mark Richardson, brings his keys
to a mix on a tune he wrote, “Locked Inside.” “But
you…have given me my eyes…and you…have shown me…we
were destined for sin….and this can’t be good….but
it’s all right.” I like the beat of “Locked Inside”
but there’s no doubt that Kerry’s in trouble here.
The reverb in Kerry’s intro to “Ride & Die” adds an
interesting touch to her tale of seduction here.
“Million dollar love…do you still want me…drink
up…aim high….your Johnny B. Good is touching down my
thigh…hell bent…snake eyes…tell me lies…lies…ride or
die.” This is probably Kerry at her hell-raising
best and that’s all I can say. We move on to “Save
My Soul” and Kerry’s letting the world know she’s a
grown woman and that’s all there is to it. “Oh…I
can’t take no more….oh…I can’t take no more…ain’t no
love…can fill my heart…ain’t no hate….can tear me
apart…oh…ain’t no way God…can make me whole…yeah,
ain’t no one…can save my soul.” What will be will
be, and Kerry’s more than up to dealing with the
consequences of her life.
A taste of Rockabilly comes into play with a snappy
snare drum intro to “Liar, Cheater, Dead.” Kerry’s
obviously been done wrong and he’s hearing all about
it here. “Well, you’re a dead man…don’t look good to
me…you’re a dead man, honey…I’m going to set you
free. You’re a liquidated…soon departed…son of a
gun.” Somebody please remind me to never piss Kerry
off. Thankfully our tempo slows down as Kerry
tackles another ballad in “Intoxicating Madness.”
Seems here the man in her life will definitely be
bringing her some problems to go with the love he
offers. “Turn me round…I’m getting dizzy…on the love
go round…a surge of spinning sin…stir me up…I want
to drink you in…intoxicating madness…here it comes
again.”
Sounds of bikes in the background provide
the appropriate backdrop for our closing tune,
“Motor Vixen from Hell.” “She was just 17….a crazy
little queen…her mama never got no rest…up in the
Hollywood hills…getting her thrills…the camera was
obsessed…high heels in the air…take away without a
care…shaking her little tail in the air…the motor
vixen from hell.” I love the way Kerry & the Crime
Scene rocked out the ending and brought this wild
ride to a close.
Fortunately for me I’ve had the opportunity to see
Kerry Pastine & the Crime Scene recently and they’re
all that’s advertised and more. The Other Side
features great original songwriting from Kerry and
guitarist Paul Shellooe to go with the two tunes
contributed by keyboardist Mark Richardson. The band
plays their collective asses off and Kerry’s vocals
are spot on. I love this disc and I am definitely
looking forward to seeing where the next adventure
takes Kerry & the Crime Scene.
You can follow the
band at
http://www.crimesceneband.com and pick up a copy
of The Other Side while you’re there. You’ll
be helping out a great Colorado band, and you can
thank me later.
---
Kyle Deibler
Colorado is blessed with an abundance of talented
Blues artists in the square state and one of the
best is my friend Eef, with her bright red ES-333.
Eef & the Blues Express are one of the tightest
bands around and Eef has received our Colorado Blues
Society’s Member’s Choice Award for her songwriting
talents. They’re on full display here as Eef & the
Blues Express let it rip on their new disc, All
Rivers Run to the Sea. I’m ready to hit play so
let’s give it a listen.
JD Kelly’s trombone provides us with the opening for
our first tune, “The Elword Blues,” a tasteful
repartee between Eef and JD concerning a man’s need
to keep his woman satisfied. As Eef sings, “Buy her
a brand new car…give her a diamond ring…buy her a
new credit card…give her everything…you’d better
treat her right…and if you don’t, ‘she might run off
with the garbage man.’” Eef gives us a tasty guitar
solo to savor while Jimmy Ayers chimes in with some
tasty keyboard work on both the organ and piano to
bring it all into focus. The ending of the song
might surprise some (the reason for the song’s
title) and I’m remembering a night at Uncle Bo’s in
Topeka on my way back from the BMA’s when the tune
ended differently. The guilty will not be named here
to protect their identities though Chooch is the
only innocent one in the band.
Chooch’s snare work
provides the stark intro to our next tune, “The
Blues Express,” as JD’s trombone adds its deep tones
to the mix. Here Eef sings about a relationship that
seems to fall apart. It’s really nobody’s fault,
it’s more a matter of two people just drifting apart
and dealing with the resulting sadness at the loss
of something. “Drifting further and further….on the
Blues express.” We’ve all been there and it’s just a
part of life and living. Up next is the title track,
“All Rivers Run to the Sea,” and one of the newer
tunes that Eef has written. Jessica Rogalski and
Kerry Pastine join the vocal mix as background
vocalists as Eef tells us the story from a third
person point of view, “Staring at the ceiling…and
you’re feeling so low…cause you had to let her
go…just remember what will be…will be…cause, all
rivers run to the sea.” Ebb and flow is indeed a
part of our lives and what will be will be…cause all
rivers run to the sea.
Jimmy Ayer’s organ is at the forefront of our next
tune, a ballad, “You’re Only Fooling Yourself.” Here
we find Eef in the midst of a love triangle and she
could be the odd one out. “Oh, honey…one day you’ll
have to choose…but you don’t want to lose…the one
who loves you…oh baby, one day you will fall…left
with nothing at all…and I won’t be there to catch
you.” Soulful tones emanate from Eef’s Gibson and
it’s not apparent that the man in question will
choose wisely, but she’s strong enough to move on if
need be. JD’s trombone is front and center on the
one tune he wrote for the disc, “Dynamite,” and this
is one of my favorite tunes to see the band play
live. JD has the vocal on this one and he’s not shy
about telling us, “Your love’s like nitro…goes off
on my command, baby…bring it on to Pappa…I’m your
loving man….talk about dynamite…nitro.”
A tasty bass
intro from Brian Hornbuckle takes us to the next
tune, “I Want My Baby Back.” Here we find that
there’s a good chance that Eef’s man has left her
for another woman. Brian adds an excellent solo in
the middle and I find myself hopeful for Eef’s sake,
“but my honey’s gone…I wonder where he might be…my
baby’s gone…I want my baby back with me.”
The band
closes with “I Need You to Leave Me Alone” and I can
hear the intricacy of the arrangement in the intro.
Jimmy’s organ, complimented by JD’s trombone, with a
tasteful back-end from Glenn and Chooch. Eef’s
Gibson jumps into the fray as her fretwork conveys
the firmness of her decision. “You call me up at
night…just to make sure I’m that I’m ok…oh, you call
me up at night…but honey, I really need you to stay
away…oh, you turned my heart to stone….I really need
you to leave me alone.” Eef’s firm in her conviction
that this relationship has ended, and it’s time for
him to go.
You won’t find a much tighter band that Eef and the
Blues Express. They’re a fixture here on the Front
Range in Colorado and we’re lucky to have them. Eef’s songwriting continues to impress and she’s
definitely a threat on her ES-333. For more
information on Eef and the Blues Express, head to
her website at
www.eefguitar.com. The band has an
active calendar this summer, so catch them when you
can and grab a copy of Eef’s new disc while you’re
there. All rivers do run to the sea and your CD
player will thank you later.
---
Kyle Deibler
I think I'm going to have a conversation with my
friend Bobby Messano. On a day where we've given all
of our money to pay our taxes and some of us are
still looking for love, Bobby chooses to release his
new disc, Love & Money. Bobby's done himself proud
here and I'll make it a point to talk to him about
release dates later, let's give it a spin.
Bobby opens with "April Showers" and some intricate
finger picking provides the intro for our first cut.
A pessimistic tune, Bobby is definitely writing some
good stuff here. "How cold can it get...when you're
trying your best...not to tell them to screw
themselves....where did the happiness go...that I
used to know....April showers...don't bring no
flowers til the rain is mixed with snow." I'm not
sure what's got my friend down but he's not pulling
any punches telling us about it, that's for sure.
Our tempo picks up for "Boddentown," and it's got a
nice, light feel to it. A beautiful instrumental,
I'm feeling like it's delivering the flowers that
"April Showers" was missing and perhaps that's the
reason for its placement in the sequencing of tunes
on Love & Money.
A violin makes an appearance in the
intro to our next cut, "Everything is Gonna Be
Alright," and here I find Bobby contemplating his
place in the universe. "I've been looking for blue
skies to come...now the sun is finding
me....everything is going to be alright...I see the
flowers for the trees...everything is going to be
alright...that's the only way I can go." Bobby's
been down, but he's a fighter and he's making his
way back. Next up is
"Had to Cry Today," and Bobby's fretwork is making
the statement here in a Peter Frampton sort of way.
"Had to cry today....well, I saw the sign and I miss
you now." Bobby was in a relationship that found the
love in his life just wanting to be free and it's
tearing him up. I can hear the agony in his playing
and you feel for the pain that Bobby's sharing with
us here in a classic blues-rock fashion.
"Hard Road"
evolves from a guitar-driven intro to more of a hill
country celebration as Bobby tells us about his
journey home. "Walking up that hard road...trying to
swim upstream...someone tell me where to go...the
streets are so mean...high road high...low road
low...just trying to get back home...on that hard
road." The title cut, "Love & Money," is up next and
here we find Bobby's woman is doing a good job of
spending all that he has. "Amex, Visa...whatever it
takes...got writer's cramp and it's easy to
shake...the two things in the world you really
need...are always taken away from me...the world
goes around for love and money...we are all
obsessed....with love and money." Bobby's right,
more hearts have been broken and relationships
shattered by fighting over the two things we really
need, love and money.
Our next cut, "My Failed Career," starts off with a
light snare intro as Bobby prepares to tell us his
tale of woe. "I make a damn fine punching bag...you
know the kind...women like to marry...I take the
garbage out...and make a gourmet dinner...I'll even
do the laundry...but when they find out what it's
all about...no big, black limousines in the
driveway...grab their Gucci bags and run for the
hills...now they see it my way...welcome to my so
called failed career...that's what makes this Blues
boy real." I feel Bobby's pain here, but not every
woman is in it for all the luxuries the world can
offer. There are a few good meat and potatoes women
in the world. Keep looking my friend.
"Rollin' On"
is up next and here we find Bobby still wishing the
world would look a tad bit brighter. "Another
sleepless night...don't feel right...staring at the
moon...can't lay in bed...gotta move ahead...gotta
feel those horses running...there's only one way...I
can roll...the blues don't feel the same...gas in
the tank...I let it crank...I'm rollin on." Bobby
slows the tempo down and I find that "Seasons" is a
really nice interlude to what have been a couple of
hard driving tunes. "Loneliness...leave me
alone...happiness...is something I've known...the
seasons change...and your heart becomes an
island...rain does fall...dark clouds
come...loneliness...just go away." Bobby's very
reflective here but ultimately "Seasons" is a tune
of optimism that life will get better and the
seasons will change.
The life of a Bluesman isn't an easy one and Bobby
expounds upon that sentiment in our final cut, "What
I Got." "I got no money...I got no girl...I got no
car...I got less curls...I got no house...I got no
cat...but what I got, I can't live without...I got
some music...to play for you...it's from the
heart...so you know it's true...it's filled with
soul...so come along....what I got...is this funky
song...what I got...I got some love...it's in my
heart...but I'll share it up...cause what I got...it
keeps me strong."
Fortunately for us what Bobby Messano has is his music to share with us and
honestly, that's enough. Love & Money is
an excellent disc, release date aside, and it
reminds me that it must be about time for Bobby to
make his way back out here to Colorado to share his
music with us. Bobby's one of the hardest working
Bluesmen I know, so check out his website,
bobbymessano.com,
for his touring details and grab a copy of Love &
Money while you're there. Bobby might not have
much but what he's got is great music and the least
we can do is share that knowledge with him.
---
Kyle Deibler
Life is funny sometimes. I’ve known
Jeff Jensen
since he was literally knee-high to a grasshopper,
shepherded him through three IBC’s and along the way
we probably tossed back a shot of tequila or two.
All along the way Jeff has stayed true to his muse,
and his new record, Morose Elephant, is indicative
of that. Backed by his band of Bill Ruffino on bass
and Robinson Bridgeforth on drums, and a
bevy of Memphis guests that include Reba Rusell,
Victor Wainwright, Eric Hughes along with Anne
Harris on violin, Gary Allegretto and others, Jeff
has managed to put out his best record to date. It’s
a bit quirky at times, but it’s all Jeff, so let’s
give it a spin.
Survival is the theme of the day as Jeff and the
band open up with “Make It Through.” Jeff’s life
hasn’t always been an easy one, but he’s persevered
and we hear that here. “Don’t need much money…I got
a whole world of wealth…surrounded by great
people…as long as I have my health…I’ve got this
strange, little feeling…that I’m going to make it
through.” Jeff has made it through indeed and his
current European tour is indicative of that. Bill
and Robinson are laying down a heavy back end as the
band moves on to “Get Along.” “It’s not simple to
define…you see things…so do I….I’m not always
right…I’m sure not always wrong…it’s a big, old
world…we’re not always going to get along.” Jeff
calls this his “protest song” and he’s right in that
no matter how hard we all try, we’re not always
going to get along. Victor Wainwright is pounding
the keys on his Wurlitzer in the background and this
tune definitely has a defiant show of strength to
it.
Jeff’s guitar takes the lead for a soulful intro
to our next tune, “Fall Apart,” and he’s very
reflective here on a trip down memory road.
“Fireflies light up the darkness…it flickers just
like her soul…following the spring breeze
comments…gambler’s always end up in the
hole…everything put together…will fall apart.”
Jeff’s fretwork is particularly tasteful and
exquisite here to listen to and I’m appreciative of
his efforts.
A solid bass intro from Bill accompanied by Marc
Franklin’s trumpet lead us to our next cut, “Going
Home.” Here we find Jeff contemplating life in the
next life. “There won’t be no…dying over there…there
won’t be no sickness over there…I’m going home to
live with God.” Definitely a church revival feeling
is in the air and I can clearly hear Reba’s
background vocals lending her character to the mix.
As we move on to
“Paper Walls” I’m struck by the Vaudevillian feel to
this tune, it almost belongs in a Tim Burton movie.
“So…blow, blow…the big, bad wolf away…your paper
walls will fall…as it rains all day”. Victor joins
the fray at his piano and lends his vocals as well
to an old traditional, “What’s the Matter With the
Mill.” “Now, one had a bushel…one had a peck…the
other had a cornfield around his neck…now, what’s
the matter with the mill?” The recording studio is
jumping and everyone’s having a good time.
“Ash and Bone” brings us back to a more somber
feeling as Jeff intricately picks the intro before
Anne Harris brings her violin to the forefront.
“Sweet magnolias…how you used to smile…I’ve got the
picture in my mind…I can see it for miles, mile,
miles…” Anne’s virtuosity is simply amazing and the
perfect addition to Jeff’s vocal, “so when I
retire…to the great unknown…my memory falters…when
I’m ash and bone…ash and bone.”
“Elephant Blue” is
an instrumental composed by Jeff, Robinson and Bill,
and gives the band a chance to run with moment and
serves to lighten my mood after “Ash and Bone.” The
band can play it fast, they can play it slow and
Chris Stephenson jumps in at just the right time
with an organ solo that tops the whole thing off.
Eric Hughes’s harp is the next instrument to join
the mix as he plays the intro to “Bad Bad Whiskey.”
“Whiskey and these women…they’re driving me out of
my mind…every time I get another…I think I’m doing
just fine…bad..bad..whiskey…makes me lose my happy
home.”
As the band heads into the home stretch, our next
cut, “I’ll Always Be in Love with You,” makes good
use of Marc Franklin on the trumpet and Kirk
Smothers on tenor and baritone sax while Victor’s back
at his piano. “Sweetheart…if you should stray…a
million miles away…I’ll always be in love with you…I
know you’ll cry hopeless…on someone else’s
chest….I’ll always be in love with you.” I have a
feeling I know who this song was written for and
I’ll leave it at that.
We close Morose Elephant with
Gary Allegretto lending his harp magic to “Empty
Bottles”. “I’m a hard working man…I’ve worked all my
life…I’ve got nothing to show…except four kids and a
wife…as for our future and retirement…well, we’re
going to be living off the government…it’s hard to
stand for something…when you can’t stand at all.”
Jeff Jensen’s rise in the Blues world continues to
amaze me. When I look back at our first meeting in
the Rum Boogie some ten years ago, I’m
happy for Jeff that he’s living his dream and is
among good friends in the Bluff City. Memphis can
chew you up and spit you out, but Jeff is one of
those who managed to stick.
Morose Elephant can be
found on Jeff’s website at
www.jeffjensenband.com,
and take a look at the band’s touring schedule while
you’re there. Jeff’s a frenetic player live and
there are days where Robinson and Bill have their
hands full trying to keep him on the ground. But no
matter how you look at it, you will be entertained
and you will be glad you went.
---
Kyle Deibler
Anyone remotely interested in good music has had to
hear of Steve Earle, one of the legendary
storytellers of our generation. It turns out that
he’s had a desire to record a blues record for a
long time. Here’s how he tells it: “For my
part, I’ve only ever believed two things about the
blues: one, that they are very democratic, the
commonest of human experience, perhaps the only
thing that we all truly share and two, that one day,
when it was time, I would make this record. And it’s
time. Hell, everybody’s sick of all my f**king happy
songs anyway.” It was time indeed, Steve, so let’s
give Terraplane from Steve Earle & the Dukes a spin.
We start with Steve blowing a harp intro to “Baby
Baby Baby (Baby),” a tune about a clandestine affair
destined to stay in the shadows. As Steve tells us,
“My little gal..she stand five feet ain’t…I wanna
hold her but I know I can’t…I only see her when the
moon is blue…call her on the phone and I
say…baby…baby…baby.” The Dukes are in fine form
behind Steve and consist of Kelly Looney on the
bass, Will Rigby on the drums, Eleanor Whitmore on
fiddle and vocals, and Chris Masterson on guitar. We move on to “You’re the Best Lover that I
ever Had,” and the intro here consists of some
intricate finger picking to get it going. Steve
definitely sounds satisfied, “Hey baby…when you call
my name…the heavens shake and the angels sing…I know
it’s a sin but I want you bad…you’re the best lover
that I ever had.” I’m liking the Hill country vibe
of this tune and thinking a Steve Earle blues record
is definitely a good thing.
Kelly’s bass is setting
the tone for our next cut, “The Tenessee Kid,” a
dark tale involving the kid, the devil and the
crossroads. The tune is classic Steve Earle, and the
kid is regretting the deal he made with the devil.
“And the Tennessee Kid cast an eye…on the list where
his mark was clearly inscribed…and he fell to his
knees…but it was too late to pray…and with his very
last breath he did say…hey…hey…hey…the balance comes
due someday.” Better off to not make the deal with
the Devil – there’ll be hell to pay. “The Tennessee
Kid” is definitely one of my favorite tunes on
Terraplane.
“Ain’t Nobody’s Daddy Now” has more of a country
blues feel to it and Eleanor’s fiddle is front and
center here. Steve’s footloose and fancy free and
celebrating his independence. “I’m free…can’t nobody
tie me down…nothin’ ever worries me…ain’t nobody’s
Daddy now.” Steve’s sense of independence continues
as he laments the end of a relationship in “Better
Off Alone.” “I taught you everything you know…I
learned a thing or two myself, and so…I’m gonna miss
you when you’re gone…but I’m better off alone.” At
least Steve’s clear that he won’t let her back in,
“Cause I just can’t go through that again.” Steve’s
mood picks up as we segue into “The Usual Time.”
“Honey, I just saw your light…here I come baby…it’s
the usual time of the night.” The back porch light
is Steve’s cue that she wants him and all she has to
do is turn it on and “Here I come baby…at the usual
time of the night.”
I don’t honestly think I’ve heard a blues song
written about go-go boots before, but leave it to
Steve to cover the topic in our next tune, “Go Go
Boots are Back.” Steve’s not shy about telling
his woman, “But you’ll know where I’m going…and
where you been alright…and go-go boots are back …and
I think it’s outasite!” Life on the road isn’t
everyone’s cup of tea but it suits Steve alright and
he tells us about it in “Acquainted with the Wind”.
I hear Steve’s mandolin in the background as he
begins to tell us, “I’m a ramblin’ kind…not matter
where I roll…Everybody stands aside…let me rumble
down the road…I’m acquainted with the wind…and we’re
travelin’ along.”
Eleanor Whitmore joins Steve on
vocals and they trade barbs on “Baby’s Just as Mean
as Me.” “And say that love is blind…especially the
passionate kind…I don’t have to apologize…my baby’s
just as mean as me.” Equal opportunity meanness ends
up as a passionate compromise, classic Steve Earle.
Gambling is a typical Blues topic and Steve makes
sure to cover it here with “Gamblin’ Blues.” “But a
gambler ain’t got no friends…whenever his luck is
down…but when he’s ridin high…they all hang around.” Ain’t that the truth.
A dark, somber guitar tone
sets the mood for our final cut on Terraplane, “King
of the Blues.” “I’m the King of the Blues…13th
of the line…the first of my name…and the last of my
kind…I’m the high priest of heartache…and the King
of the Blues”. A fitting end to Steve Earle’s record
and he was right, “It’s about f**king time.”
Steve Earle’s a classic songwriter and we all know
that. I’m sure that Terraplane won’t be his last
foray into the Blues, and for that we can all be
thankful. I’d love to see Steve & the Dukes perform
this album live, but for now I’ll have to be
satisfied just giving Terraplane another
spin. It’s well worth the listen.
---
Kyle Deibler
I’d have to say my friend
Tas Cru is one
well-rounded Bluesman, a Bluesman’s Bluesman if you
will. Tas received a KBA last year for his work with
children’s Blues in the School’s programs and has
become a fixture on Beale Street during the IBC and
BMA weeks in recent years. His new record, You
Keep the Money, is a good one.
Tas and the band open up with the title track, “You
Keep the Money,” and here we find the boy prefers
love to money. “I’ll take the chances…you bet your
sure thing…you don’t believe in a better
tomorrow…I’ll wait and see what it brings…show me
love…you keep the money.” Sounds like a plan to me,
and Tas is sincere in his desire to just let life
come to him and bring what it will. Dave Olson bangs
out a quick drum intro before Tas’s fretwork takes
over to set the mood for our next cut, “A Month of
Somedays.” “Someday…someday…you’ll be coming on home
to stay…but it’s been a month of somedays…since
you’ve been gone away.” Tas thought his woman loved
him but his resolve is weakening by the
moment…”you’ve been a month of somedays gone…I
believe you lost your way.” I’m not thinking she’s
coming back and my friend is going to have to move
on.
We move on to “Half the Time,” and Dick Earl
Erickson is blowing a little harp to bring the tune
into focus and I hear Guy Nirelli on the organ as
well. Here we find Tas under the spell of the woman
in his life, “with kisses like cherry wine…feels
like I’m drunk half the time.” Keep drinking my
friend, keep drinking.
Bob Holz is behind the kit for our next tune, “La
Belle Poutine,” showcasing a light touch on the
snare as Tas’ guitar expresses the emotion of this
piece. It’s a great instrumental and a nice
interlude at this point in the record. The band
picks it back up with “Heart Trouble,” and here we
find Tas in the midst of a love that’s almost too
much for him to handle. “I feel all kind of
dizzy…like I’m about to faint…somebody please, call
the doctor…before it’s too late…I’ve got me some
kind of heart trouble.” Tas is generally a healthy
guy and it’s curious that he starts to experience
some heart trouble whenever she comes around.
Somehow, I think Tas will survive this.
We
segue into our next tune, “A Little More Time.” Some
light fretwork and a hint of chimes provides the
intro for this ballad from Tas. “Time…don’t know no
other way…not a choice I made…singing, cradle to the
grave…don’t know no other way…if you ever get to be
my age…you might understand…why a bluesman…runs out
of time.” We all have only the time on this earth
that the good Lord gave us, and Tas will be one who
maximizes his time on this planet, for sure.
The subject of habits arises next, and Tas is going
to tell us about his in “One Bad Habit.” “And when
it comes to bad habits…I only got one…when I was
younger…used to run around…had me a pretty girl…in
about every town…that time has come and gone…I only
got the one bad habit…and you’re the last bad habit
I need to break.” Seems there’s one woman who’s
definitely gotten under Tas’s skin and she’s not an
easy one to get rid of.
Tas takes a turn at his
acoustic guitar and picks a beautiful intro to our
next tune, “Take Me Back to Tulsa.” The band kicks
in after the intro and Tas proceeds to tell us more
about his beloved Tulsa. “I headed out of my
backdoor…threw my guitar in my trusty Ford…for
tonight…we’re south to the Tennessee line…oh, I kept
it under 65…to that Bristol Motors Speedway
sign…then, it’s a pedal to the metal…got to get me
to that Tulsa town.” Tas is definitely enamored with
Tulsa and if the picture of his girl there is enough
to get him out of a speeding ticket, then more power
to him.
I like Tas’ guitar work on the intro to
“Count on Me,” and the Moneymakers are definitely
proving to be a tight band of musicians behind him.
“Count on me…baby, you can count on me…well, you can
can’t on me…you don’t want nobody else. Count on
Me.” Tas is a trustworthy sort and his woman would
do right to keep him by her side.
“Holding on to You” is the next cut on our disc, and Tas continues to show his romantic side here. “A
soft wind blows…a whisper to my ear…or is it you,
softly breathing…as I reach to pull you near…oh,
it’s true….feels like I’m holding on to you.” This
particular ballad is my favorite tune on what is
definitely a disc full of great songs.
We move on to
“Bringing Out the Beast,” and Tas’s darker side
makes an appearance here. “I’m a hound dog,
baby…barking at your back door…I’m going to keep a-yipping
and a-yapping…'til I get what I came barking
for.” Tas’ intent is pretty clear here so we’ll
move on to the last tune on this disc, “Thinking How
to Tell Me Goodbye.” More acoustic picking fills my
ears and Tas in contemplating his present situation.
“There’s ways to see the future…and how the tea
leaves fall…but I don’t need no one to read….writing
on the wall…I don’t need no one to tell me…show me
what’s going on…your eyes reveal all I need to
see….they tell me our love is gone.” Tas knew this
woman would ultimately break his heart but he loved
her anyway.
You Keep the Money
has been a treat for my ears. Tas’ band, the
Moneymakers, include Mary Ann Casale and Alice
“Honeybea Ericksen on backing vocals, Ron Keck on
percussion, Chip Lamson on piano, and Bob Purdy on
bass, in addition to the musicians mentioned during
this review. The band is tight and they’d follow Tas
anywhere. All of the tunes are originals from Tas
and they do the whole record justice.
I’m looking forward
to hearing my friend play soon on Beale Street at
the Blues Music Awards, and I know I’m in for a
treat. All of Tas’ information can be found on his
website at
tascru.com and check him out. This is definitely
one bluesman worth knowing.
--- Kyle Deibler
