Some may think that Anni Piper is easy on the
eyes, but after listening to her new album, More
Guitars Than Friends, listeners will discover
that the Australian singer/bassist is easy on the
ears as well. Piper’s sixth release is her first on
her own record label, Sugar Daddy Records, and it’s
a captivating mix of blues, rock and soul that
features her deep and sultry vocals and her
formidable skills on the bass guitar.
Piper and her bandmates (guitarist Dave Kury,
drummer Frank Hetzler, and guest saxphonist Charlie
deChant of Hall & Oates fame) collaborated on seven
of the ten tracks. They include the clever jump
blues opener, “Wonder Woman,” which allows Piper the
chance to lay down some nasty bass, the rollicking
“Buckle Bunny,” the shimmering slow blues title
track, the soul sender “Paper Bag,” the
tropical-styled “Shotgun Wedding” (complete with
Piper’s husband, Jabba Ehley, guesting on shotgun),
the rock & roller “Eugene,” and the countrified
“Blackberry Brandy.”
Piper chooses well on the three covers, too. First
up is a unique reading of the Rosco Gordon classic
“Just A Little Bit” that burns with energy and
intensity. Piper has performed Saffire – The Uppity
Blues Women’s “Cold Pizza and Warm Beer” live for
many years and decided to include a hard rocking
version on this album. Another longtime crowd
pleaser was Memphis Slim’s “I’m Lost Without You,”
which swings easily on this version.
Additional musicians include Sam Zambito (trumpet)
and Mike Franklin (keyboards). Tim Franklin, Kury,
and Hetzler also provide backing vocals. If you’re
not familiar with Anni Piper or her recordings,
More Guitars Than Friends is a great place to
start, putting Piper’s considerable musical talents
and smart songwriting on full display.
--- Graham Clarke
Music lovers should drop what they’re doing
immediately to run out and purchase Luther
Dickinson’s new CD, Blues & Ballads: A
Folksinger’s Songbook: Volume I & II (New West
Records). You can thank me later. Dickinson’s new CD
gathers 21 original songs songs, which are either
songs he’s written over the years with his band, the
North Mississippi Allstars, tunes influenced by
songs he’s learned over his lifetime via friends
and/or family, or based on songs passed down from
his musical heroes or mentors.
Growing up, Dickinson collected, and continues to
collect old hymnals and songbooks. He would spend
hours trying to figure out the music, and would
actually memorize them. It is the songbook concept,
a tradition that is dying out in the electronic age,
which serves as the concept of this album. Over the
years, Dickinson has kept his own notebooks with his
lyrics, ideas, drawings, and anything else that come
to mind (some of those notes are recreated in the
liner notes of the CD). The vinyl edition of this
recording includes a limited edition songbook, with
transcriptions for each song.
Though the primary focus on these songs are
Dickinson’s vocals and guitar (he also plays
mandolin, piano, and coffee can-diddley bow), there
are also other instruments and musicians present on
most of the tracks, including Shardé Thomas, whose
sweet vocals, drums, and blues fife are prominent on
several tracks, Amy LaVere (upright bass, vocals),
Memphis soul legend Charles Hodges (B3, piano),
Little Mae Rische (fiddle, vocals), Paul Taylor (tub
bass), and Jimmy Crostwait (washboard, cardboard
box, maracas).
Other musicians who make appearances on the album
include Mavis Staples and JJ Grey (vocals), Jason
Isbell (slide guitar), Will Sexton (drums, acoustic
guitar), Dominic Davis (upright bass), Boo Mitchell
(conga), Alvin Youngblood Hart (guitar, vocals), and
Jimbo Mathus (banjo, vocals). Sharisse and Shontelle
Norman also provide backing vocals.
The
highlights are plentiful --- the duet with Ms.
Staples on “Ain’t No Grave” has received a lot of
attention, and deservedly so. Dickinson wrote the
tune shortly after his father’s
(producer/singer/songwriter Jim Dickinson) death for
the NMAS album Keys To The Kingdom in 2011.
Beautifully recreated, with Dickinson’s lead vocal
and guitar, Staples’ gently reassuring background
vocal, and Thomas’ simple backbeat, it’s a powerful
moment.
The
opener is another standout. “Hurry Up Sunrise” was
originally written by Thomas’ grandfather, Otha
Turner. It’s a light and bouncy tune with Dickinson
and Thomas’ vocals blending perfectly. “Mean Ol’
Wind Died Down” features the pair in vocal unison
again with Thomas’ fife also figuring prominently (I
hope that Ms. Thomas blesses us with an album of her
own in the near future). Other songs like “Bang Bang
Lulu” and “Mojo, Mojo” feature Rische’s fiddle, and
“Let It Roll” heads to the church, courtesy of the
somber vocals, Dickinson’s stinging lead and slide
guitar, and Hodges swirling B3.
Grey and Dickinson join forces on the spare “Up Over
Yonder,” another gospel-flavored tune. “Blow Out” is
a short, but sharp punchy rocking blues, and “Shake
(Yo’ Mama)” mixes the ominous Delta boogie of John
Lee Hooker with the swampy blues of Slim Harpo, and
Dickinson is joined by Hart on guitar and Mathus on
banjo for this rollicking and loose-limbed effort.
Blues & Ballads is a perfect capsule of American
music, where it was years ago and how it became what
it is today. It’s also a career summary of sorts for
Luther Dickinson’s music career --- not a “Greatest
Hits” collection, but more of a tracing of his
musical journey. Currently, Dickinson and his
bandmates are among the best at taking the
traditional music of the past and recreating and
reprocessing it for the future, making it accessible
for the new generation, but still keeping the soul,
grit and spirit that made it so compelling in the
beginning. This album is living proof.
--- Graham Clarke
The Brothers Brown are fronted by a pair of
musicians, both named Paul Brown. One is a two-time
Grammy winning L.A.-based
singer/guitarist/songwriter and the other is a
Nashville-based producer/keyboardist/songwriter
who’s been nominated for a Grammy. Backed by a tight
rhythm section (David Santos – bass/ guitars, Pete
Young – drums), also based in Nashville, the
Brothers Brown recently issued Dusty Road
(Funky Joint Records), a collection of timeless
blues and R&B originals that will certainly thrill
fans of classic tunes from artists like Boz Scaggs,
Little Feat, and Creedence Clearwater Revival.
The
opening track, “Cup of Tea,” percolates right along
with a greasy rhythm that would have fit in
perfectly with Dixie Chicken-era Little Feat. “Love
Sake” has a jazzy feel with keyboardist Paul Brown’s
cushy B3 and guitarist Paul Brown’s fluid guitar.
“Sweet Cadillac” is down with the funk, New
Orleans-style, and “When All Is Said And Done” has
catchy lyrics and solid interplay between the Browns
on guitar and keys. Speaking of catchy, try to make
it through the charming “Can’t Outrun The Blues”
without chanting the refrain.
“The River” is a splendid track that sounds a lot
like an outtake from The Band’s classic days, and
the sultry “Hurricane” features the slide guitar of
Little Feat’s Paul Barrere. “Nothin’ But Love” is a
funk-infused rocker with some standout work from
Santos and Young. “This Old Heart” is a loping blues
track about a relationship on the rocks, and
“California” is a moody soul/blues. The melancholy
“Drink You Off My Mind” is a soulful romp.
The
title track closes the disc and it’s one of those
classic “driving” songs with superlative interplay
between the Browns (on guitar and B3) and the
rock-solid rhythm section. Listen to this one and be
amazed at the fact that the four of them were NEVER
in the same room during the recording of this album.
Listening to Dusty Road, it’s obvious that
this wasn’t a factor because despite the distance
between them, Brothers Brown all have roots in the
same musical soil, encompassing blues, jazz, rock,
and soul. If you’re into any of these genres, you
should have this disc.
--- Graham Clarke
It’s a mystery to me why Dennis Jones isn’t
more acclaimed than he is. Since 2003, the
L.A.-based blues rocker has released one powerhouse
album after another, each loaded to the brim with
stunning guitar work (he counts the Kings, Hendrix,
and Page as influences .... an impressive line-up),
profound songwriting, and propulsive rhythm section
backing that’s second-to-none (Dale Black – bass,
Raymond Johnson – drums).
Through the years, he has served as an opening act
for the likes of Buddy Guy, Johnny Winter, John
Mayall, and Dick Dale, but Both Sides of the
Track, Jones’ fifth recording for Blue Rock
Records, should propel him to the headliner list if
there’s any justice in the world. Jones wrote all 13
tracks and produced the disc himself. He has guitar
chops to burn, but it never seems like he beats you
over the head with solo after solo, in part because
of the creative way he mixes blues with rock, funk,
and soul. His solos are always crisp, concise, and
they cut like a knife.
I
was going to list standout tunes, but they’re all
standouts. The dazzling opener, “Enjoy The Ride,” is
a fun ride that adds Jimmy “Z” Zavala’s saxophone to
the mix. Jones states his case as the better man on
the amusing “Better Than Him,” and channels Hendrix
on the topical “The Machine,” discusses relationship
issues on “You’re Nobody’s Slave,” and racial issues
on “Skin and Bone.” “What” is another entertaining
tune, a toe tapper with acoustic guitar, Jimmy Z’s
harmonica and a creative rhythm.
“Mr. Right” is a splendid slow blues with some
fierce string-bending from Jones, and so is “When
You’re Not Around,” but the latter has more of a
modernized urban touch. “Number Two” is a sharp
rocking shuffle, and “I Can’t Stop” is a rip-roaring
rocker as well. I can pretty much guarantee that
you’ve never heard anything like the closer, “Lonely
Joint.” This unique tune is an acoustic tune told
from the subject’s perspective.
Dennis Jones has all the qualities that blues fans
look for in their favorite artists --- he’s a killer
guitarist and vocalist with a knack for writing
memorable songs, and he’s backed by a powerhouse
band. With any luck at all, Both Sides of the
Track should open a few eyes and ears to his
talents.
--- Graham Clarke
I
thoroughly enjoyed the Balkun Brothers’ debut
release, ReDrova, last spring. The
Connecticut-based band, brothers Steve
(guitar/vocals) and Nick (drums/vocals) Balkun have
a sound that’s equal parts Delta and Hill Country
blues, funk, and Hendrix/Zeppelin-like rock and
they’ve just issued their second, self-titled
release on Dixiefrog Records. The new album finds
the duo teaming with NYC blues phenom Popa Chubby,
who serves as producer and engineer, on 11 originals
and one cover.
There’s plenty of fire and swagger on these tunes,
with Steve Balkun’s amazing guitar skills and
rawhide vocals and Nick’s propulsive percussion
charging through the relentless boogie rhythm of
“Been Drivin’,” the hypnotic Hill Country drone of
“I Know What Ya Did,” the churning electric blues of
“She Got It All,” and the swampy, Hendrixian “Cold
Heart.” The boys aren’t afraid to funk things up
either --- just check out “Pawn Shop,” with its
fiery slide guitar break, and “Bapadubap,” which
should have heads bobbing and butts shaking.
The
album’s lone cover, Johnny Winter’s “Mean Town
Blues,” is six and half minute of relentless boogie
and “The Painkillers” is a searing rocker. “Jail
Bird” is a moody, atmospheric tune with some tasty
slide guitar throughout. “Storm for The Devil”
follows suit with a sweaty, modernized Delta
ambience. The album closer, “Rainy Day Front Porch
Blues,” finds the brothers going unplugged and
traditional, with Steve’s dobro backed by a steamy
Mississippi rainstorm.
I
can’t imagine any blues rock fans not liking Balkun
Brothers, but this one should also appeal to those
who prefer the standard, traditional variety of
blues as well. The brothers have an uncanny knack of
blending both styles in a manner that should appeal
to either group. Expect to hear much more from them
in the future.
--- Graham Clarke
Guitarist Van Wilks has been a part of the
Austin blues scene since the ’70s, when he was
rocking the town with his band, Fools. He signed
with Mercury Records in 1979 and subsequently
released six solo albums and one live album for
various labels. He’s toured with ZZ Top (appearing
on the band’s Live at Montreux Jazz Festival
DVD), Heart, Van Halen, Journey, Aerosmith, and
others. He’s won multiple Austin Music Awards, been
voted best electric and acoustic guitarist in the
Austin Chronicle’s Reader’s Poll, and is a
member of the Texas Music Hall of Fame.
21st Century Blues (Texas ’51 Records) is Wilks’
first studio release in 10 years and, boy, is he
making up for lost time. This is a powerhouse set of
12 Texas-styled blues rock in the tradition of acts
like ZZ Top, which is no mere coincidence ….. Wilks
and ZZ Top’s own Billy F. Gibbons are longtime
friends and musical associates, Wilks’ vocals bear a
strong resemblance to Gibbons, who also co-wrote
“Drive By Lover” with Wilks (which previously
appeared on ZZ Top’s La Futura album).
There’s another notable pair of guest musicians ---
Grammy-winner Christopher Cross and soul/blues/rock
vocalist Malford Milligan both appear on the
scorching Cross composition “She Makes Me Crazy,”
Cross playing guitar (he also sings on “Drive By
Lover”) and Milligan sharing vocals with Wilks, who
is also backed by drummers Tommy Taylor, Charlie
Fountain, Nico Leophonte, and Scott Lanningham,
bassists Reggie Witty, Dave Ray, Mark Epstein, Chris
Maresh, and Andy Salmon, keyboardist Billy Mason and
Stefano Intelisano, and vocalists Lisa Tingle and
Maria Estela Raffone.
While the primary focus is on hard-driving Texas
blues rockers like “Strange Girl,” “Golddigger,”
“Who’s Foolin’ Who,” and the acoustic-to-electric
rocking hurricane “There’s A Sin In There
Somewhere,” Wilks also acquits himself well on a
pair of ballads, the bluesy “Just Walk Away” and “If
I Were A Rich Man.” The pop rocker title track is
also a standout, and “Can’t Stop Thinkin’” and
“Livin’ on Borrowed Time” lean more toward straight
rock as well. The closer, “Midnight Crossing,” is a
largely instrumental track, just Wilks and his
guitar, and Raffone’s ghostly whispered vocals.
21st Century Blues may come charging out of your
speakers just like the locomotive pictured on the
cover. This is an excellent set of blues rock done
Texas-style. This is a relentless set of Texas blues
rock that deserves to be heard by not just blues and
blues rock fans. Hopefully, Van Wilks will make his
way back in the studio much sooner next time around.
--- Graham Clarke
New
Orleans singer/guitarist Keith Stone began
performing in the Crescent City while in his teens,
and played for five years with Willie Lockett & the
Blues Krewe, where the legendary Wayne Bennett
became a friend and musical mentor. In the mid ’90s,
Stone kicked a drug addiction, left New Orleans, and
became an ordained Christian music pastor for a
church in South Carolina. He returned to his
hometown in the wake of Katrina, beginning a
non-profit organization that raised millions for
victims of the hurricane.
Stone returns to his musical roots with his latest
album, The Prodigal Returns (Keith Stone
Music), which also feature guest appearances from
some of the Pelican State’s finest musicians --- Dr.
John, zydeco star Bruce “Sunpie” Barnes, keyboardist
Joe Krown, singer Elaine Foster, bassist/producer
David Hyde, and Louisiana Music Hall of Famer Nelson
Blanchard.
The
prelude is a gentle minute and a half instrumental
reading of the gospel classic, “Just a Closer Walk
with Thee" (featuring Dr. John on piano), that sets
the stage perfectly for what lies ahead. Stone
wastes no time, jumping right into “Better Things To
Do,” a R&B raver, punctuated by a tough horn section
(Lacy Blackledge – trumpet, Mike Broussard –
tenor/baritone sax), who will come into play more
than once on the album, like on the soulful slow
blues “First Love” that follows.
"Cindy Leigh” is a zydeco-fueled rocker with Barnes
adding accordion, and that great horn sections
(augmented by Bobby Henderson on alto sax). “Take Me
Home” is a laidback tribute to Stone’s home state,
and “New Orleans Moonlight” is a splendid swampy
ballad. “Time To Move On” has a funky Crescent City
vibe, and “Make Me Feel Alright” is an up-tempo
country rocker.
Stone jazzes things up a bit with the groovy
instrumental “Buster’s Place,” and breaks out the
wah wah guitar on the greasy title track before
closing with a wonderful eight and a half minute
revisit to “Just a Closer Walk with Thee.” Dr. John
and the horn section (Kevin Clark – trumpet, Tim
Stambaugh – sousaphone, David Phy – trombone, Cale
Pellick – alto sax) return for this one, which also
includes Stone’s soulful vocal, backed by Foster’s
sweet harmony vocals, and Krown on organ.
The Prodigal Returns is an entertaining disc
that should really please fans of New Orleans blues
and R&B. There are definitely hints of both genres
in these 11 tunes, with a dash of gospel thrown in
for good measure. It’s always good to hear somebody
revisit the classic sounds of New Orleans.
--- Graham Clarke
Stowaways (Radiation Records), the latest
release from Paul Mark & the Van Dorens, is
quite a change of pace from their previous fare,
which usually consists of a wild mix of blues rock,
R&B, and thought-provoking lyrics, combined with the
road-tested and ready vocals of front man Mark.
Actually, the first two characteristics listed above
are largely absent this time around, but Mark’s
always innovative lyrics remain.
The
musical vibe is more after-hours this time around,
focusing on smoky ballads that blend blues, jazz,
and cabaret. Backed by a string section, and drummer
Paul Vezelis on one track, Mark and the Van Dorens
are one and the same on this album …. he plays all
the other instruments (piano, guitar, acoustic bass,
organ, drums, harmonium, melodica, xylophone, and
percussion).
Mark wrote nine of the ten songs on Stowaways.
They include the dreamy title track, the clever and
cynical “How Do The Blind Become So Famous,” “Once
Upon a Weekend” (a reflective, romantic ballad with
Tess Primack), and the playful “Bridge To Nowhere.”
“Jamestown Ferry (Wendy)” is a brief melancholy
ballad that shows Mark’s sentimental side, while the
upbeat “Resurrection Tango,” shows his clever sense
of humor. “Degraw Avenue” is full of vivid imagery
and characters.
The
lone cover on the album is “Mack The Knife,” and not
the sanitized version that most music fans are
familiar with via Bobby Darin or Louis Armstrong.
Mark’s version is the Manheim/Willett version from
their mid-’70s production of Threepenny Opera, and
is much darker than what listeners heard in the ’50s
and ’60s on the radio.
Stowaways comes in a slipcase, with attractive
hardcover linen binding and a booklet containing
song information and lyrics. While it represents a
change of pace that may take Paul Mark’s longtime
fans by surprise a bit, it’s a very rewarding
listen, as all of Paul Mark’s releases always are.
His lyrics and vocals are always worth the price of
admission and he sounds as good as he ever has in
this context.
--- Graham Clarke
One
good thing about Kelly Richey, certainly not
the only good thing, is that she rarely stays in the
same place musically for very long. For her 16th and
latest release, Shakedown Soul (Sweet Lucy
Records), the singer/guitarist retains her usual
exemplary guitar, songwriting, and vocal talents,
but her usual mix of blues and rock n’ roll is
enhanced with the addition of horns, DJ scratching
and drum loops, and strings and synthesizers.
While Richey adds the extra bells and whistles to
this new album, she doesn’t lean on it, like so many
artists did years ago. Instead, it amplifies and
broadens her sound to powerful effect on several
tracks, like the feisty “You Wanna Rock,” “Only
Going Up,” and “I Want To Run,” or the funky
workouts “Lies” and “Love.” Richey’s songwriting
skills are front and center on a trio of strong
tunes, “The Artist In Me,” “Afraid To Die,” and
“Just Like A River.”
Reportedly, Richey told producer Tobe “Tobiotus”
Donohoe and bass player Rikk Manning, “You make me
cool and you make me relevant and I’ll make you
rock!” Donohoe, who played drums, synths, and did
all of the sequencing, and Manning, who plays some
monster bass on the album, more than hold up their
end of the deal. As for Richey, the lady can’t help
but rock …… she’s been doing it for 35 years now and
is as cool and relevant as she’s ever been.
Shakedown Soul ranks as Kelly Richey’s best work
to date. If you’re not familiar with her talents,
this is a fine place to get started.
--- Graham Clarke
Buffalo guitarist Tommy Z returns with
Blizzard of Blues (South Blossom Records),
another irresistible set of powerhouse tunes that
mix traditional blues, jazz, pop, and even a touch
of gospel with electrifying blues rock. The
nine-song set features eight original tunes written
by Tommy Z and one inspired cover. He’s backed by
Damone Jackson (drums, percussion), Kevin Urso
(organ), Jeremy Keyes (harmonica), and Jerry
Livingston, Stanley Swampski, or Walter Riggo
(bass).
The
opener, “Lovergirl,” is a funky shuffle which
includes Keyes on harmonica, giving it a Windy City
feel. The fierce rocker “Going To A Party” is
destined to be a crowd pleaser, since it will remind
listeners of Stevie Ray Vaughan’s “The House Is
Rockin’,” with a fiery guitar break from Tommy Z to
kick things up a notch. “Memory Of Love” “Memory of
Love” is a slow burner with pile driving metallic
fretwork and complementary keyboards from Urso,
while “Blues For KP” is also a slow blues, but with
more of a blues/jazz approach that is highly
effective.
The
impressive “Bags of Cool” is a definite nod to the
“cool” guitar sounds of Albert Collins (down to the
title) with a thumping walking bass line from
Livingston and great work on the keys from Urso. The
title track is a smoldering blues rocker that belies
its title, and “Miracle” is an inspirational track
about returning from the brink. The closer, “Al’s
Groove,” is an exquisite jazz/blues instrumental
which, at nearly nine minutes long, allows each band
member ample room to stretch out. The album’s lone
cover is a funky reworking of the Muddy Waters
classic “My Eyes Keep Me In Trouble.”
Blizzard of Blues will certainly appeal to blues
rock fans, but there’s enough diversity in these
nine tracks to appeal to fans of traditional blues
and jazz guitar as well. Tommy Z is building up a
nice catalog of recordings and this one is his best
to date.
--- Graham Clarke
The Dave Muskett Acoustic Blues Band is the
latest project undertaken by the singer/guitarist,
who made it to the 2014 IBC semi-finals, the 2015
finals (as part of the duo Muskett & Carnes), and
the 2016 finals (as a solo artist). Harmonica player
Carnes joins him on this latest endeavor, along with
bassist Jay Arnold and drummer Charlie Bushor.
Muskett’s approach to guitar playing is influenced
by the Piedmont finger-style blues guitar, which is
a style not ordinarily heard in a full band format,
but that’s definitely not an issue on the group’s
new release, Recorded Live At The Slippery Noodle
Inn (Muskett Music Media), which captures a
performance at the famous Indianapolis club this
past November.
The
whole performance has a comfortable feel, like a
bunch of guys gathering on the front porch with
their friends playing music. All 12 tunes are
originals and they touch on both Piedmont and Delta
styles. Standout tracks include the lively opener,
“That Kind of Walk” and “She Can’t Give Me The
Blues,” both of which have a nice, mellow flow, the
lively “Ain’t My Good Girl Now,” the Delta-flavored
“Handyman Blues,” a pair of tunes (“Rain Song” and
“Sweet Mary Jane”) which feature Muskett on dobro,
the salacious “Pet That Thing,” and the rousing
closer “You Gotta Know.”
I
really like the interplay between Muskett’s dazzling
guitar work and Carnes’ sterling harmonica play …..
I can see how they rated so highly at the IBC. The
rock solid rhythm section also does an excellent
job. Muskett’s warm vocals are a plus as well. This
sounds like it was a fun set to witness in person
and acoustic blues fans will have a ball listening
to this one at home.
--- Graham Clarke
The Waydown Wailers call their music “Outlaw Jam
Rock.” It’s a heady mix of blues, Southern rock,
country, jam and Americana. If you’re a fan of the
great ’60s group The Band, you’ll have an idea of
what I’m talking about. Led by the Parker brothers
(Dave Parker – guitar/lead vocals, and Christian
Parker – lead guitar) and anchored by a strong
rhythm section (Michael Scriminger –
drums/percussion, Connor Pelkey – bass/backing
vocals), the New York-based quartet enlisted the
services of longtime Band associate Professor Louie
(producer/keyboards, backing vocals) and his cohort,
Miss Marie (backing vocals) for their sophomore
effort, Empty Promises (Woodstock Records).
Irresistible melodies and catchy lyrics are the norm
for this group, who offer up nine originals tunes
that touch on everyday experiences and observations,
including the jaunty opener, “Don’t Let Life Pass
You By,” the topical rocker “Jealousy,” and the edgy
title track. I really like the upbeat tempo of
“Waydown Blue,” which almost gives it a pop sheen.
“No Time To Waste” is a message song with a
distinctive melody, and “She’s Gonna Run” has an
old-school quality thanks to Professor Louie’s
keyboards and Christian Parker’s twangy guitar
break.
“St. Vraine” and “Still Water” are both rife with
vivid imagery, the latter taking on a haunting Cajun
flavor with the Professor adding accordion to the
mix, and “Whiskey & Cornbread” is a fun closer. If
the last couple of tracks remind you of the swampy
sounds of Creedance Clearwater Revival, then the
band’s sizzling cover of “Suzie Q” will seal the
deal for you.
I
really like Dave Parker’s earthy, weathered vocals.
He reminds me at times of Russell Smith of Amazing
Rhythm Aces fame. His brother is top notch on guitar
and the rhythm section is rock steady. If you’re a
blues fan, or you dig classic rock & roll, circa the
late ’60s Band/CCR era, then you’ll find that
Empty Promises is an enjoyable and entertaining
journey into American music that is sure to please.
--- Graham Clarke
I
recently received three music books from the
renowned Hal Leonard series for review at
Blues Bytes. A small disclaimer before starting …. I
am most definitely NOT a musician. I have no musical
skills whatsoever …… none at all. On a good day,
when the skies are clear, I might be able to play a
radio, but that’s about it. I once attempted to play
harmonica, but failed miserably, receiving multiple
noise complaints from family, neighbors, and pets.
However, I am surrounded by musical talent in my
family. My daughters have both played piano, drums,
and flute between them, my brother makes cigar box
guitars (check his site
here) and also plays bass, guitar, and
saxophone. Backed by that support group, I am making
an effort to review these three volumes --- Blues
Keyboard Method, by longtime Buddy Guy
keyboardist Marty Sammon, 100 Authentic Blues
Harmonica Licks, from harmonica ace Steve Cohen,
and Chicago Blues Rhythm Guitar, a
collaborative effort from Bob Margolin and Dave
Rubin.
Let’s begin with Blues Keyboard Method.
Sammon was playing the blues in his native Chicago
by the age of 15, backing L.V. Banks before joining
Phil Guy’s band, then later working with Otis Rush.
For the past decade, he has served as Buddy Guy’s
keyboard player. An amazing talent, Sammon also is a
very good, down-to-earth instructor. He encourages
would-be students to learn by listening and to
develop their own sound over time.
One
good thing about music books in the 21st century is
that they often come with audio samples. In this
case, the owner of the book has access to a code
that will allow them access to a website loaded with
audio samples of solo and ensemble piano examples
played by Sammon himself (with Giles Corey on
guitar, Marvin Little on bass, and Rick King on
drums). He covers all the bases, including a helpful
vocabulary page, which was very helpful to a novice
like me ….. I now have the sounds to go with the
descriptions of various piano styles.
Sammon covers solo and ensemble playing, intros,
turnarounds, endings, licks, and solos, on both
piano and organ. He also includes a list of his own
essential blues recordings for budding piano players
which, while not a definitive list, is very
wide-ranging and serves as a nice start for new
listeners. My oldest daughter is studying music in
college and in what spare time she has, she found
Blues Keyboard Method to be interesting and
challenging, but enjoyed trying to work through it
even though she's not a blues fanatic like her old
man.
As
I stated above, I once tried to play harmonica with
no success, so I decided to give 100 Authentic
Blues Harmonica Licks a try myself. I
immediately realized that I didn’t have enough (any)
harmonica skills to do very much with this book.
That was fine, because there are other books out
there for beginners. It would more than likely be
better to have some already-established abilities
before trying this book. That being said, I will
continue to see what I can do with it myself.
Cohen is a Milwaukee resident who has performed and
recorded since 1970, and is also a singer and
guitarist. For this book, he incorporates licks that
will be familiar to fans of Jimmy Reed, Sonny Boy
Williamson (Rice Miller Edition), Little Walter,
James Cotton, Junior Wells, Charlie Musselwhite, and
Howlin’ Wolf. Like Sammon in the keyboard book,
Cohen also provides some vocabulary information and
descriptions that are very helpful to budding
musicians and music lovers.
Instead of a website, this book comes with a CD that
contains demo and play-along tracks, which include
backing riffs and solo licks. This would be a very
handy guide for an intermediate player who’s looking
to advance his skills.
The authors of Chicago Blues Rhythm Guitar: The
Complete Definitive Guide certainly have their
credentials in order. Bob Margolin served as rhythm
guitarist for Muddy Waters throughout most of the
’70s and has enjoyed a successful solo career. He
also contributes as a columnist for Blues Music
Magazine. Dave Rubin is a blues music historian
and author whose name you’ve seen on numerous other
music books. The information in this book is very
complete and clearly presented and the authors also
mix in some very good stories and anecdotes between
the lessons, but not too much as to distract
potential players. Regardless, it’s pretty obvious
that these guys are both familiar with the subject
at hand and they do an excellent job providing
what’s needed for new, intermediate, and experienced
players.
This book goes a step beyond the other two as far as
learning material goes.The book comes with a DVD by
Margolin, who actually plays the lessons described
in the book, so the student can see the guitar work
being put into action. There’s also access to the
same videos online for downloading or streaming. The
lessons are pretty easy to follow, according to my
brother, but the videos are even more helpful for
those who need to see what’s being done.
From an information perspective on learning to play
these instruments in a blues setting, you would be
hard pressed to find better learning guides than
these three books. They’re almost as good as having
the musicians in the room with you.
--- Graham Clarke
Based in Erie, Pennsylvania, The Riff Riders
play a tough brand of blue collar blues and rock,
with a dash of greasy soul mixed in for good
measure, courtesy of the potent vocals of Amy
“Shally” Shallenberger, who’s backed by Sean Seth
(lead/cigar box guitars), Otis James (harmonica),
Tony LaPaglia (bass), and Joe Caprara (drums). The
group recently released their debut album, Hit
The Road (Power Waggin’ Records), an impressive
set of 12 original tunes.
The
freewheeling title track opens the disc on an upbeat
note and sets the bar pretty high. Fortunately, the
band is more than up to the task with the rocker
“Bounce Back,” which showcases Seth’s fretwork to
fine effect, the groovy rockabilly raver “Back Door
Kenny,” and the defiant slow blues “Cut Me Down
(12.5 Bar Blues).” The midtempo “Rumors” and the
funky “Open Door” are also standouts, and “Trouble”
is a pleasing slow burner.
The
old school rock & roller “My ’65” should be a
favorite, kicking off with a motorcycle engine.
Next, the band heads down to the Delta with the
slide-drenched (courtesy of Seth’s four-string cigar
box guitar) “Rollin’,” which also showcases
Shallenberger’s vocal versatility. “Leave Me Alone”
has a catchy rhythm and guitar riff that will get
next to you. The somber “Rich Song” was penned by
Seth, paying tribute to a friend who recently passed
away. The closer is an upbeat rocking blues “Stuck
On You,” which wraps up the package nicely.
The
combination of Shallenberger’s vocals, Seth’s
fretwork and the tight rhythm section make Hit
The Road a high energy set of blues rockers that
will satisfy even the most discriminating of blues
fans. Be sure and catch The Riff Riders live if they
make it to your town.
--- Graham Clarke
The Riff Riders are a hard working band out of
Erie, Pennsylvania consisting of Amy Shallenberger
on vocals, Sean Seth on guitars, Otis James on harp,
Terry LaPaglia on bass and Joe Caprara holding down
the back end on the pots and pans. True to their
vintage sound, the band has put together a disc of
all original tunes, Hit the Road, that
reflects their blues-rock driven preferences. It’s a
very good effort for a debut disc.
Sean’s fretwork provides the intro for the title
tune, “Hit the Road,” as Amy tells us she’s ready to
roll. Otis’s harp fills in the background as Amy
takes off with her man, “Going to hit that
highway…far away with you…east bound…west
bound…anywhere but this town.” If he’s good to go
then Amy’s ready to get and it’s time to “hit the
road.” The band segues on to our next cut, “Bounce
Back,” and Terry’s bass is holding down the rhythm
on the back end. Amy’s about had enough of the man
in her life and it’s time for him to go, and then
she finds her way back. “You’ll go for days…with
nothing to say…that’s just your way…Oh no…I can’t
take it…one more alone in the night spent…oh, my
resolve weakens…so, here I go again…I bounce back…to
you!” Amy’s tired of being treated badly but she
doesn’t want to be set free either. It’s a hard
call, but one she’s going to have to make one of
these days.
Our
next cut, “Back Door Kenny,” tells the story of Amy
gambling her man’s money away while waiting for her
lover to appear. “I spent your last penny…waiting
for back door, Kenny.” Losing his woman and his
money? That’s got to hurt. This tune has a great
rockabilly feel to it and Sean’s fretwork is off the
charts on his extended solo. “Cut Me Down” makes an
appearance as the first ballad on the disc, and here
we find Amy a woman scorned. “Damn you…for making me
feel this way again…stranded on the
sidelines…watching you live your life just
fine…taking my ride out of town…no more of you…to
cut me down.” Amy’s had enough this time and she’s
ready to go. The confrontation won’t be pretty but
it has to happen. Otis chimes in with a very
sorrowful harp fill and we can feel the pain this
man has caused Amy in her time with him.
So
of course, “Rumors,” is our next tune and there’s
more conflicting stories in the air. “Oh, when the
fire needs gasoline…everyone’s got to watch the
scene…some call it wrong…some call it right…some
just like to start a fight…and watch it
burn…everywhere they turn…I can’t shake those
rumors.” We move on to hear Terry and Joe laying
down an extremely bass heavy back end as Amy hits
the vocal for “Open Door.” Here we find Amy engaged
in a game of cat and mouse with the man who has her
attention. “Can you see me…I see you…tell me what
you’re going to do.” Amy’s ready for whatever game
he wants to play, he just has to make a move.
Amy
is a woman who just seems to attract attention and
we hear more about it in the band’s next tune,
“Trouble.” “Trouble…oh trouble…stays after me…and
there’s no way…it will let me be…cause trouble,
keeps calling me!” Sean launches a sonic guitar solo
and there’s no doubt that Amy’s a woman who trouble
seems to find easily. Next up is “My 65,” and we’re
treated to the sounds of a motorcycle firing up to
provide the introduction to the tune. An ode to a
'65 Harley Davidson Panhead, the tune is full of
harp fills and its clear Amy loves her bike. “Blue
and white…makes it feel alright…she’s 65…fully
dressed…that rides the best…that 65.”
“Rollin” is our next cut and Sean’s slide work on a
cigar box guitar is front and center, giving the
tune a serious Delta feel. Evil forces are at work
here and Amy finds herself in the eye of the storm.
“I’m standing on this ground…till it swallows my
soul…I see you coming….way down that road….no
there’s hiding…your only cause is your own…greedy &
heavy…you must have forgotten…oh no…I’ll never
go…I’m planted…nothing will ever break my own.”
There’s isn’t any temptation that’s going to move
Amy from earth that grounds her soul.
I
find “Leave Me Alone” has its own bit of sass and
Amy’s sticking to her guns once again. “You said I
party too much…that I got no drive…there are things
you don’t know…that keep me alive…oh, babe…you don’t
understand…but the words, it hit home…leave me
alone.” If this man is going to keep Amy in his
life…he’s going to have to learn to understand her
and appreciate her. Our next tune, “Rich Song,” was
written by Sean in honor of a friend of his that had
just passed away. “What’s the answer…I don’t know
why…he had to die.” Sean’s fretwork echoes the pain
he feels at the loss of his friend and we never know
why we’re called when we are.
The
band closes out the album with a party tune, “Stuck
on You.” “You can kiss me here…you can touch me
there…tell me all your problems…I might even
care…but that don’t mean…I’m stuck on you.” Amy’s a
woman of many moods and while she’s open to almost
everything, it doesn’t mean she’s going to care or
that she’s going to stay.
I
admire the Riff Riders attention to the details on
their first CD and kudos to them for releasing a
disc of all original material. The band’s musical
abilities are highlighted here to the max and I
appreciate their affinity for a vintage sound.
Hit the Road is the first of what I would hope
are many discs to come as the band continues to
evolve and write more original music for their fans
to enjoy. You can find out more about this band from
Pennsylvania at
theriffriders.com and follow their musical
journey there as it unfolds.
--- Kyle Deibler
Tim
“Too Slim” Langford took some time off from the road
to address a health issue and it’s readily apparent
the rest did him some good. He’s back with the
latest effort from Too Slim & the Taildraggers,
Blood Moon, and it features some of Tim’s
tastiest guitar fretwork to date. It’s a high energy
tour de force that assaulted my senses from the get
go, let’s give it a spin.
A
heavy bass intro from Robert Kearns leads us to
“Evil Minds,” and here Tim is telling us about a
woman with evil intentions. “You smile in your
face…while you’re planning a disgrace...take a look
behind you at the damage you have done…you have an
evil mind.” Tim’s fretwork is blazing hot in this
first tune and the bar is set very high for the rest
of the disc. The title track, “Blood Moon,” is next
and it has a more sinister feel to it. Where “Evil
Minds” was straight up bad to the bone, the band
takes a little more time to develop the story behind
“Blood Moon.” “There’s a blood moon rising…now your
light is going to shine…leave it all behind
you…don’t you ever look back.” Time to leave
whatever’s in the past right there where it belongs,
and look to the future with an open heart and mind.
Tim’s intricate fretwork accentuates the rise of the
Blood Moon and the back end with Robert and Jeff
Fowlkes on drums completes the intensity of the
tune.
We
move on to “Twisted Rails” and Tim looks to the
promise of the future. “Miles of calculations…trials
and tribulations…but never giving up the
fight…trying to ride these twisted rails...holding
on with love and faith.” Tim’s still got a lot to
accomplish with his music and he’s looking forward
to the journey, wherever it may take him. Tim’s
guitar intro leads us to our next tune, “Get Your
Going Out On,” and here Tim is happy to be going out
with the love of his life … if she’d every be ready
to go. “Well, I wanna throw a fit…but she wouldn’t
care a bit…you never rush a woman…because she knows
you’re just her bitch…but she’s going to turn some
heads…in those Armani threads…Come on…giddy up…get
your going out on.”
“Gypsy” finds Tim in love with a woman he can’t
escape from. “I fell for the gypsy….it wasn’t hard
to tell…that the gypsy had me in her spell.” I like
the slower tempo of this tune and Tim’s quiet sense
of desperation even though he knows he’ll never
escape the spell of the gypsy. Tim and the band move
on to “My Body,” and here Tim contemplates what the
end will look like and the need to set his spirit
free. “Don’t want no wood box…wrapped around my
bones…sweet love of mine...I will wait for
you…search for me and I will search for you.” Tim’s
fretwork here is especially emotive and I’m
appreciating the finality of him knowing that he
will wander through time and space in search of the
woman he loves in the next world, the woman he
leaves behind.
Our
next tune, “Dream,” continues this sense of life
ending before it’s time as Tim sings of the grim
reaper coming for him. “Just can’t believe…that
you’re coming for me…that you’re coming for me…I
ain’t ready for the reaper…so don’t come knocking on
my door…I got too much left to live for…ain’t going
down to your killing floor.” Fortunately the tone of
despair changes and Tim moves on to “Letter,” a
chance to thank everyone for their support of his
life and music. “I’m going to write me a little
letter to my friends…tell em’, thank you friends…for
thinking about me.” I like the exuberance in Tim’s
playing here and I know for a fact he’s grateful for
all of the support of his friends and fans.
This feeling continues with “Good Guys Win.” “I got
twisted fingers …an achin back…and I’ve played ten
thousand shows…don’t blame me when it don’t go
right…you know there’s gonna be a fight…it’s
alright…cause sometimes the good guys win.” Tim and
the band bring Blood Moon to a close with an
instrumental version of “Twisted Rails,” and I find
the instrumental a fitting way to end this disc
after the intensity it delivered.
Blood Moon is the 20th disc in Too Slim’s
illustrious discography, and it’s definitely an
indication that Tim Langford still has a lot to say
and bring to the Blues. A renewed sense of purpose
finds Tim and the band both eager to get back out
and share their music with the fans of Too Slim &
the Taildraggers. They will be out on the road in
full force this summer, so look for them at a venue
near you. Tim’s schedule and an opportunity to order
Blood Moon can be found at
tooslim.org.
Blood Moon rocks from beginning to end, and I
would expect nothing less from Tim and the
Taildraggers.
--- Kyle Deibler
Kudos to Toronzo Cannon for bringing true
Chicago bliss to my listening ears. His new disc on
Alligator Records, The Chicago Way, is just
that, Toronzo’s take on contemporary blues in the
Windy City. It features amazing storytelling through
Toronzo’s eyes, a killer band and blistering guitar
licks from the man himself.
Toronzo’s guitar kicks the journey off with an
intricate aural assault as he tells us about, “The
Pain Around Me.” His neighborhood is rough and
Toronzo’s just trying to share his universe with us.
“Don’t want to talk about the pain around me,
Lord…but this is what I see.” Evil and temptation is
everywhere in his neighborhood and it takes an
amazing amount of effort to stay true to their
calling for both Toronzo and his family. A crack
band consisting of Brother John Kattke on B3 and
keyboards, Pete Galanis on electric and acoustic
rhythm guitar, Larry Williams on bass, and Melvin
Carlisle on drums are behind Toronzo and lend their
considerable talents to his contemporary sound.
We
move on to “Bad Contract,” and here Toronzo is just
telling us about a bad deal he made when he decided
to get married. “Sign on the line…you only get half
back…I signed a bad contract.” She got 50 percent of
everything he owned, so it definitely didn’t work
out the way Toronzo hoped it would. Move on and move
up, Toronzo. Sometimes the only way to do that is to
“Walk It Off,” and Toronzo is telling us about that
now. “Now, I know my woman…is nice and kind…but now
we don’t know…if the baby is his or mine…now I’ve
got to walk it off.” Seems she shared her affections
with another man, and what Toronzo doesn’t know is
that is his girlfriend is that man’s wife. Take your
own advice, Toronzo, and walk it off.
The
world is full of temptations, but if Toronzo had it
his way he’d be sharing his affections with a “Fine
Seasoned Woman.” “She kept trying…but I said no…it’s
not her fault…cause she don’t know…I like a fine
seasoned woman, y’all.” There’s no substitute for
the wisdom and experience of an older woman and
that’s the way Toronzo likes it. Our tempo slows
down slightly to a funkier beat, and Toronzo tells
us all about a “Jealous Love.” “It used to be
cute…when you check on me…now I can’t stand your
insecurities…jealous love…never lasts….always
begin…about the past.” Her inability to accept
Toronzo for who he is and worries about the women
who came before her will doom this relationship to
fail, and Toronzo is clear on what will happen in
that case. Inevitably this will lead to other
problems and Toronzo moves on to discuss those
issues in “Midlife Crisis.” “I’m 50 acting like I’m
22…I’m having a midlife crisis.” We all get older, a
little grayer, a wrinkle here and there…how we
handle it will determine whether we’re having a
midlife crisis or not. “I’m going home…to my
wife…opened the door…she looked at me twice…holding
hands with a younger dude…I guess my wife has it,
too…we’re having a midlife crisis.” Toronzo’s
blistering fretwork only goes to accentuate the
confusion and pain caused by having a midlife
crisis.
Our
next tune, “Chickens Comin’ Home to Roost,” finds
Toronzo struggling with the responsibilities of life
and trying to avoid taking them on if he can. “My
chickens comin’ home to roost…for what I’ve done
y’all…now I’ve got blood on my hands y’all…I knew
this day would come.” Toronzo’s fretwork continues
to amaze me, but it’s clear here that he’d rather
shirk some of the responsibilities in his life than
take them on. He moves on to “Strength to Survive,”
and Toronzo is confronting the will it takes to
reach for the stars and achieve the dreams he’s set
forth for himself. “I’m trying to find the strength,
y’all…to survive…when I look in the mirror y’all…I
don’t like what I see…I see a broken man…staring
right back at me…I need a plan…and a little good
luck, y’all…to see me through when times get tough.”
Survival in a hectic world can be a struggle for all
of us, so I’m hoping Toronzo finds what he needs to
make it through.
Our
tempo slows way down and Toronzo is speaking
lovingly to the woman he cares about, a woman who
belongs to someone else, in “When Will You Tell Him
About Me?” “You said…you’ll leave him…and I believed
every lie…it’s been three long years…but I can’t say
goodbye…I’m tired of sneaking around…when will you
tell him about me?” Leaving her husband for Toronzo
implies more responsibility than she seems to think
Toronzo will handle and that fear will ultimately
cost her the relationship she has with him.
Toronzo’s intricate picking accentuates the
delicateness of this situation and its need for
resolution one way or the other.
“Mrs. From Mississippi” finds Toronzo is a better
mood and happy with the woman he loves. “That’s my
Mrs. from Mississippi…that’s my boo from
Mississippi…she’s as hot as the sun…she’s the only
one…that’s my Mrs. from Mississippi.” Toronzo’s
happy in every way and not shy about telling anyone
about his “Mrs. from Mississippi.”
Toronzo and the band close out The Chicago Way
with “I Am,” a tune about the good and bad Toronzo
brings to one woman’s life. “I don’t know why we act
this way…it happens every single day, Lord…the Devil
is laughing…walks up the street to you…so what are
you going to do?” Does the good in Toronzo outweigh
the bad? The question is never really answered and
all that we’re left with is the anguish the question
causes in the first place.
The Chicago Way is Toronzo’s first disc for
Alligator Records and it’s a good one. Toronzo’s
fretwork is outstanding, the band performs
flawlessly behind him and his songwriting is above
reproach. It’s easy to see why his headliner
performance at last year’s Chicago’s Blues Festival
was so warmly received given that Toronzo is
definitely a talent on the rise. You can find out
more about this Chicago Bluesman at
www.toronzocannon.com
and grab a copy of The Chicago Way
while you’re there; it’s one of the best
contemporary Blues albums you’ll hear all year.
--- Kyle Deibler
