I
was tuned in to blues guitarist Coco Montoya
earlier in his recording career, but for some reason
I haven't been listening to him in recent years.
That's a big mistake on my part judging from how
much I dig his newest release, Hard Truth
(Alligator). It's a solid disc from start to finish.
Montoya comes out of
the gate strong with "Before The Bullets Fly," with
powerful vocals and stinging guitar work from our
leader and excellent keyboard accompaniment from
Mike Finnigan, the latter who is outstanding
throughout the entire album.
Next up is a
re-working of a Ronnie Earl and the Broadcasters
number, "I want To Shout About It." It's an
uplifting song on which Coco proclaims how wonderful
his woman is and that he wants the whole world to
know. It's hard to match Darrell Nulisch's vocals
from the original version of this song, but Montoya
comes pretty close as well as throwing down a killer
guitar solo. "I Want To Shout About It" is my
favorite here, probably because of my affinity for
the original.
The hard-driving
"Lost In The Bottle" can best be labeled as a guitar
extravaganza, with Lee Roy Parnell joining in on
slide. This one really rocks, so it's good that
Montoya gives the listener a chance to come down
from that high with the slower tempo of "Old Habits
Are Hard To Break," a Marshall Chapman / John Hiatt
composition.
Montoya uses
demanding vocals to convince his woman to stop
running around and stay home with him on "I'll Find
Someone Who Will," and then follows with the
plodding, dirge-like "Devil Don't Sleep," with a
stinging guitar solo from Montoya, strong slide
guitar work from Johnny Lee Schell, and fine
keyboard work from Finnigan.
Reminding us that he
worked with Albert Collins and was heavily
influenced by the Master of the Telecaster, Montoya
pays tribute to his mentor with an excellent cover
of the mid-tempo blues "The Moon Is Full," going
deep into his soul for one of the better guitar
solos. "Hard As Hell" slams right into the
listener's face ---- like, big time ----- singing
about how his woman never made it easy for him.
Finnigan contributes good B-3 accompaniment here.
We finally get a
good, slow blues from Montoya on "Where Can A Man Go
From Here?," with his rich vocals handling it well
and the requisite guitar licks needed for this kind
of song. Good keyboard work, too, making "Where Can
A Man Go From Here?" one of the highlights of the
disc.
The closing number,
"Truth Be Told," has a bit of a funky beat behind it
as Montoya gives his woman still another ultimatum.
A nice way to close out a very fine album.
With the Elvin Bishop
CD reviewed elsewhere in this issue and next month's
Selwyn Birchwood disc, Alligator is on quite a roll
this year. They've been around as long as anyone
else in the blues business and show no sign of
slowing down. The same goes for Coco Montoya, so be
sure to add Hard Truth to your CD shopping
list.
---
Bill Mitchell
Scott
Ramminger may not be the biggest name in the
blues business, but the East Coast-based sax player
sure knows how to surround himself with top-notch
talent when he heads into the studio. Do What
Your Heart Says To (Arbor Lane Music) includes
backing musicians like the world's great bass player
in George Porter, noted New Orleans keyboardist
David Torkanowsky, and guest vocalists Tommy Malone,
Bekka Bramlett, FRancine Reed, The McCrary Sisters,
Janiva Magness and Roddie Romero.
Do What Your Heart
Says To was recorded and mixed mostly in New
Orleans, so not surprisingly the opening cut,
"Living Fast," sounds like it's right off the
streets of the Crescent City. Doug Belote provides
the appropriate drum beat while Torkanowsky comes in
on piano. Ramminger isn't a great vocalist, but his
voice fits the material well and blends nicely with
the superb instrumentation. The horn section also
plays a big role in the wall-to-wall sound on this
cut.
All of the songs here
are original Ramminger compositions, with "Someone
New To Disappoint" perhaps a little
autobiographical. When he's not singing, our leader
jumps in with a solid baritone sax solo and Ms.
Bramlett contributes her pleasant vocals to the mix.
Becca also shares harmony vocals with Remminger on
the slow, gospel-ish number "Hoping That The Sun
Won't Shine," a plea for Scott's woman to return
home to brighten up his life. Again, Ramminger shows
off his instrumental talents on both tenor and
baritone sax.
The always-popular
singer Francine Reed shares vocals on the title cut,
adding a gospel sound to his number with a heavy New
Orleans beat, and Torkanowsky comes in with good
honky tonk piano. The McCrary Sisters make this
disc's first appearance on the funky "Give A Pencil
To A Fish," which is now in the running for one of
the more unique song titles of the year. And then
there's the line " ..... Give a flashlight to a
jackass, and you'll still be in the dark ...." ---
one of many scenarios that are as impossible as
giving his love to this particular woman. Another
funky tune, "Get Back Up," featuring the McCrary
Sisters also includes a hot trumpet solo from Eric
Lucero.
I'm a sucker for a
good slow blues, with guitarist Shane Theriot taking
the lead on "Winter Is Always Worse." Yeah, this one
scratches my itch. I'm not familiar with the past
work of Mr. Theriot, but I need to learn more about
him. Ramminger's ethereal tenor sax solo is lovely
here.
Janiva Magness joins
the party on the blues shuffle "It's Hard To Be Me,"
another attempt at self-deprecating humor by
Ramminger, although Janiva's vocals are pretty much
way in the background until late in the song. The
background vocals on the New Orleans second line
number, "Mystery To Me," is credited to Tommy Malone
and a cast of thousands. I'm not sure about whether
there are THAT many singers behind him, but it sure
sounds like a good party as Ramminger describes how
that woman totally befuddles him. Lucero really
shines on trumpet.
The horn intro to the
slow, soulful "My Girl For Life" sounds just a
little bit like the accompaniment at the beginning
of "People Get Ready" until Ramminger turns it into
a love song for the woman that he wants for the rest
of his life. The horn accompaniment is spot on
throughout this number along with Torkanowsky's
subtle but tasteful electric piano.
And now for something
completely different. The album closes with a Cajun
stomper, "Stubborn Man," aided by Robbie Romero's
accordion playing, Torkanowsky's hot tickling of the
ivories, and Ramminger's Lee Allen-style baritone
sax solo. This one just plain rocks, bringing to a
close this very fine set of 14 diverse songs.
"Stubborn Man" is my fave, and I'll be hitting
the replay button quite frequently when this one's
one.
Scott Ramminger may
not be a household name, but he sure can blow a mean
sax, write creative songs and put together killer
bands. What more can you ask for?Put Do What Your
Heart Says To on your list of CDs to track down.
---
Bill Mitchell
Few carry the torch
for traditional Chicago blues better than John
Primer does. He has a kindred spirit in Bob
Corritore and when they two of them manage to
get together, the result is usually something
special. Such is the case on their new disc for
Delta Groove, Ain’t Nothing You Can Do. With
a little help from their friends: piano legends
Henry Gray and Barrelhouse Chuck; Big Jon Atkinson
and Chris James on guitars, Patrick Rynn sharing
bass duties with Troy Sandow, and Brian Fahey on the
drum kit, Primer and Corritore create their own
flavor of Chicago’s best traditional blues.
John counts the band
in and we’re off with the first track, “Poor Man
Blues,” and here we find him down on his fortune and
luck. “Well, I’m a poor man…live the best way I
can…yes, I need me some money…so I can lend a
helping hand.” John’s motives here are pure, if he
had some extra money in his pockets, he would do
what he could to ease the lives of his friends and
family. Bob and Chris James trade licks and I love
the ease at which these old friends play of each
other in the tune.
Barrelhouse Chuck is
on the keyboards as they tackle the next track,
“Elevate Me Mama.” Here John is looking for Mama to
elevate him and you can figure out the double
entendre from there, “Everybody tells me…must be the
elevatingest woman in town.” Chuck’s piano run is
beautiful and I’m reminded of the fact that we’ve
lost another great Chicago bluesman too soon. Big
Jon picks the intro for “Hold Me in Your Arms,” and
here John is definitely looking for love. “I want
you to hold me…want you to hold me, baby…hold me in
your arms.” Henry Gray kicks in with a keyboard solo
here and the synchronicity of the band is just a
delight to listen to.
“Big Leg Woman” finds
John extolling the virtues of loving such a woman
while Bob’s harp fills in the details in the
background. “Roll your belly…like you roll your
dough…people there are crying…they want some more.”
And according to John, she shares her goods, “and if
you don’t believe me…ask everybody in the
neighborhood.” We go from loving to gambling as John
explains his woes in “Gambling Blues.” “I done pawn
my watch…even pawned my diamond ring…I went looking
for my baby…I didn’t have a god darn thing.” John’s
never going to get back to anywhere close to even so
the gambling has got to go. Brian hits the intro to
“Harmonica Boogaloo” and Bob’s got his opportunity
to shine on this instrumental with the band. The
intricacy of Chuck’s work on the keyboards is a
welcomed voice in my ear and the band really nails
this track on the disc.
Persistency is the
game for the day as John explains his passion for
the woman he loves in “Ain’t Nothing You Can Do.”
“There ain’t nothing you can do little girl…to stop
me from loving you…ain’t nothing you can say little
girl…to drive me away.” No matter what tact she
takes to try to get rid of John, he’s always going
to wind his way back around and stay in her life.
Our theme of love continues with “For the Love of a
Woman,” and again we find John telling a universal
truth. “For the love of a woman…man would do most
anything…turn his back on his best buddy…make him
spend his last dime.” It’s the natural order of
things and John’s human like the rest of us.
“May I Have a Talk
with You” finds John continuing to explore the
mysteries of love in his life. “Tell me baby…may I
have a talk with you…for it won’t be too long…and
our true love will be through.” Communication is the
key to any successful relationship and John would
like to save the one he’s in if she’ll just take a
minute and listen to what he has to say. All we can
do is wish him the best and hope it works out here.
The last cut on the
disc, “When I Leave Home,” finds John comforting the
woman he loves before he has to leave the house.
“Don’t cry, pretty baby…when I leave home…I’ll be
right back…honey, hope it won’t take too long.”
John’s woman is an inquisitive sort and she misses
her man when he’s gone. Hopefully, John’s comforting
words will quell her fears until he returns. Bob’s
blowing a mean harp fill here and I’m again
impressed by the ease and familiarity that all of
the members of the band play with. It’s a testament
to their history as friends and performers of
traditional Chicago blues that has stood the test of
time.
Ain’t Nothing You
Can Do is another classic record from John
Primer and Bob Corritore in true Chicago style.
Surrounded by friends and performers they’ve played
with for years, the duo captures the true essence of
their musical vision with relative ease. Kudos to
Delta Groove for bringing another great disc to
fruition. Probably the easiest place to grab a copy
is on their website at
deltagroovemusic.com. Well done, John and Bob,
well done indeed.
---
Kyle Deibler
I have a lot of
respect for my friend, Tas Cru. A fellow KBA
recipient, Tas spends a considerable amount of time
each year sharing the Blues through his innovative
Blues in the Schools programs, and he’s always ready
to lend a hand on behalf of Blues Foundation’s key
initiatives like Generation Blues and the Hart Fund.
Where he finds time to write and record is at times
a mystery to me. From that perspective, his latest
disc, Simmered & Stewed, reflects a soup best
served hot. Let’s give it a spin and check it out.
Tas opens with a tune
called “Dat Maybe,” and that’s the exact thing he
doesn’t want to hear from the woman he’s interested
in. “Don’t say you will…if you think you won’t…don’t
say you do when you know you don’t…don’t give me
that hey…don’t give me dat maybe…when your heart
says no.” Tas just wants it straight up and he can
take it if he has to move on. Chip Lamson’s stellar
piano intro leads us to “Grizzle N’ Bone,” and here
Tas is bemoaning his fate that his luck with the
ladies is changing from the way it used to be. “Used
to be biscuits and gravy…all I get is grizzle n’
bone.” I’m not really sure of the reason for the
change in Tas’s fortunes but I do wish my friend
“more biscuits and gravy.”
Some intricate
fretwork from Tas provides the intro to “Feel I’m
Falling” and I like the spiritual feel of this tune.
“Lord…hear me calling…Lord, come help me please…I
feel I’m falling…to a life full of misery.”
Hopefully, Tas’s prayers will be answered and he’ll
be back on the road to redemption soon. “Time and
Time” is the first ballad of the disc and we find
Tas reflecting on passion he feels for the woman he
loves. “So, I tilt my head…and close my eyes…try to
hold you in my mind…where I keep you…always
waiting…time and time”. Dick Earl Ericksen lends
some wonderful harp fills to this tune and it’s a
beautiful thing. Definitely my favorite song on the
record, for sure.
Tas moves on to “Road
to My Obsession,” and here he covers his desire to
play the blues, anytime and anywhere. “Down the
road…that’s my obsession…takes me just about
everywhere.” Our next track, “Biscuit,” finds Tas
lamenting the loss of the Delta woman he loves.
“Baby, won’t you please come home…and baby; pass the
biscuit til I can’t no more.”
Sonny Rock is on the
pots and pans for the next track, “Cover My Love,”
and Tas is ready to end the relationship he’s in and
move on. “I’m going cover my love…and slide on out
the door…I’m gone…gone…gone…won’t be stuck on you no
more.” We don’t really know the reasons for Tas
wanting to leave, but he’s “grown” as they say in
the South and he can do what he pleases. Tas’s slide
guitar paves the way, along with Dick’s harp, on the
next track, “Woman Won’t You Love Me,” and here Tas
is trying to salvage the relationship he’s in before
he decides to move on. “Woman, won’t you love me…I
know a gal, she says she will…been holding out so
long…I need a reason to believe…you give me what I
want…you give me what I need…woman won’t you love
me…I know a gal, she says she will.” The ball’s in
her court now and Tas is prepared to leave her to
get the love he needs.
“Just Let It Happen”
is our next cut and I love the upright bass from
Mike Lawrence in the background. Tas is under the
weather and it seems his relationship is the cause
of what ails him. The Doctor’s advice makes sense to
me, “says you worry too much…just got to let things
be…let it happen…set your worries free…just let it
happen…you can’t change a thing…it don’t much matter
what you’re dealing with…just let life happen…cus it
is what it is…just got to let things be.” And who
said country medicine was dead? Sound advice and
some I hope Tas intends to follows.Tas’s tone
changes as he and the band tackle “Tired of Bluesmen
Cryin’.” “I’m tired of bluesmen crying…just because
some woman who left them cold…I’m tired about all of
that crying…losing everything they own.” Of course,
Tas’s perspective is different, “I’ve got nine or
ten more women…lined up to take her place.” It’s
easy to be cynical when the Gods are smiling on your
own fortunes I guess.
Tas closes with
another ballad, “Higher and Higher,” and it’s the
perfect song to go out on. “You know your love…keeps
lifting me higher…than I’ve ever been lifted
before.” This is the one cover on Tas’s record and
his version of this classic tune is just beautiful.
Simmered & Stewed
is Tas’s first record on the Vizztone label and
kudos to them for supporting the efforts of this
bluesman from New York. You won’t find an artist
with a kinder heart or greater desire to serve this
blues community that we’re all a part of. Tas’s
touring schedule can be found on his website at
tascru.com, and check out his unique Blues in
the Schools program while you’re there. The Blues
Music Awards are coming up soon and I’m sure Tas
will be in Memphis supporting the cause with the
rest of us. In the meantime, show him some love on
the road and appreciate his ability to bend a note
and tell a story.
---
Kyle Deibler
Life is full of
challenges for us all. Dramatic life events, the
loss of a job, a home, a significant other, etc. ---
all have the ability to throw us for a loop. How we
respond to life’s challenges is a measure of our
resiliency and our ability to go on. In Bobby
Messano’s case, he channeled all of the emotions
he was feeling into an intense writing session with
one of Nashville’s most gifted lyricists, Jon Tiven.
Steve Weiss lent his writing talents to two of the
songs, Steve Kalinich another and Brian May of Queen
offered Bobby a tune he had co-written with Jon. All
in all there are 15 tracks on his new disc. Bad
Movie features Bobby’s most heartfelt songs to
date. If there’s such a thing as a classic Bobby
Messano record, Bad Movie is it.
Bobby opens with the
title track, “Bad Movie,” and we’re off and running.
An upbeat rocker, “Bad Movie” finds Bobby looking
for answers to the pain he’s feeling. “Is this a bad
movie…I’ve seen it before…things didn’t turn out so
groovy.” Bobby’s feeling heat for a situation he
didn’t cause and he’s at a loss as to how to
respond, “If this was a short, it wouldn’t be so
bad…but it’s an epic of major proportions…it’s a bad
movie.” We move on to “Come to Your Senses,” and
here Bobby’s hoping the woman he loves will
appreciate the love he has for her. “Let me hear
you, baby…say you love me…one more time…cause when
the chips are down…you’ve got to come to your
senses…you gotta be mine.” There’s no guarantee
she’s going to see things Bobby’s way, but he’s very
clear about the love he feels for her. Bobby’s
fretwork is amazing and it’s some of the most
passionate guitar playing I’ve ever heard from him.
At some point, enough
is enough and you know a love has died. Bobby
reaches that point and shares it with us in our next
track, “Why Water a Dead Rose.” “Call me optimistic,
I suppose…I had to see it…right in front of my
nose…that endless place where nothing grows…why
water a dead rose?” Being the invested person in a
one-sided relationship is never easy and Bobby’s
facing that stark truth here by baring his heart to
the world. “Road to Oblivion” has a Hill Country
feel to it and Bobby’s traded his Delaney axe in for
a Dobro as he picks this tune. “I’m going down the
road to oblivion…have you been this way before…I’m
going down the road to oblivion…it has fields I
can’t ignore…game over and no overtime, so I can’t
make that one last score.” Bobby’s right in one
regard, we don’t know how he’s feeling until we live
it. Hopefully, this mood will pass and Bobby will
head back on the road to the living.
Sonic tones are in
full force as we move on to “Unconventional Wisdom,”
and Bobby’s fed up with the world as he knows it.
“Manipulation…stimulation…all I want is an
explanation…give me unconventional wisdom…if you’re
not too busy keeping score.” Definitely a political
statement about the country as Jon and Bobby see it,
hopefully things will turn around and it will all
start to make sense. There’s a funky beat to our
next track, “Too Good to be True,” and here Bobby
realizes he might have known the truth a little bit
sooner if he’d bothered to look beneath the surface.
“If something’s too good to be true…time to wake up
to reality…but I really liked the way you lied to
me.” Bobby bought the stories and lies of the woman
he loved and he might have woken up to reality a lot
sooner if he’d honestly bothered to look a little
deeper.
I like the hard
driving tempo of our next track, “If the Phone Ain’t
Ringin, It’s Me Not Callin’.” There are times in
life where you just have to cut your ties with the
one you loved and move on. “Not that I don’t care
about what you’re doing…being around you would be my
ruin…I could care less who you’re balling…if your
phone ain’t ringin…it’s me not calling.” Bobby’s
fretwork is front and center as the band hits the
intro to the next cut, “Never Too Late to Break a
Bad Habit”. “I should have known better…she couldn’t
hide her user side…the way she took them for a
ride…I just never thought she’d do that to me….dagnabbit…it’s
never too late…to break a bad habit.” It sounds like
Bobby found himself being taken for a ride and
fortunately he was able to end things quickly before
they got out of hand…it’s never too late…to break a
bad habit.
Our tempo slows down
a bit when Alecia Elliott joins Bobby for the first
of two duets on “Water Under the Bridge.” Alecia has
a beautiful voice and this tune is both hopeful and
sad, all at the same time. Bobby breaks out the
acoustic guitar for this tune as they sing, “you
suddenly have to face…the finish line for the human
race…are you willing to believe…that God has
something up his sleeve…but that’s water under the
bridge…that’s all that time will allow…that’s water
under the bridge….and the bridge is under the water
now.” Things are definitely tough now but hopefully
the water will recede and the bridge to a better
world will reappear.
“You Left Me No
Choice” is another tune with a funky beat and
Alecia’s back at the mic with Bobby for this tune as
well. Bobby’s still dealing with the aftermath of
his failed relationship and the difficulties he’s
facing in ensuring it ends completely. “Didn’t want
to set…the Sherriff on you…you didn’t leave me
options…what else could I do…if living with me was
your personal hell…tell, me…how’s the room service
in your 6 x 6 cell…I’m sorry, Babe...you left me no
choice.” Despite all the pain his ex-lover cost him,
Bobby still laments her departure and he shares his
lingering feelings for her with us in “The Girl that
Got Away.” “Now the closet’s half empty…so I got
myself more room…but damn, it’s full of my favorite
perfume…no way to chase it out…the lingering
bouquet…of the girl that got away.” Bobby’s
passionate fretwork echoes the love that he once had
and now all he has left is the memories of another
time and place, a much happier day.
“I Thought We Had
This” finds Bobby continuing to reflect on his
relationship and his confidence that they could work
through their difficulties and keep their love
intact. “I thought we had this…but I was wrong.”
That pretty much sums it all up in a nutshell. “We
Need a Blessing” finds Bobby reflecting on the
current state of affairs in our country and the need
for unity across all races, creeds and colors. “We
are Americans…and we love living here…we have lost
our way…and need a blessing to appear…we are
Americans…we need a blessing to appear…to open up a
way we know is clear.” It’s no secret that our
country is currently on a path of troubled times and
Bobby is definitely right…we need a blessing to
appear.
Messano continues
this thought process as he segues into “Is It Too
Much to Hope For a Miracle.” “Is it too much to hope
for a miracle…to pull us through…is it too much to
hope for a miracle…don’t know what else to do.”
Bobby’s a spiritual person by nature and the turmoil
he knows the country is going through weighs heavily
on his mind. It’s a point of reflection that we’re
all going through at this point in our nation’s
history. We need to stand strong for our rights and
ensure the future for our children, their children
and all of those who come after us. It’s definitely
not too much of a stretch to hope for a miracle to
show us the way.
Bobby closes with
“American Spring” and a note of optimism for the
future. “This old boy’s going to stick around and
sing…of the American spring.” Whatever the future
brings, Bobby’s going to stand tall with the rest of
us as we face the future together.
It’s an interesting
juxtaposition to me --- the way Bad Movie
combines the personal tragedy of a love gone wrong
and the world facing the challenges it does today.
Bobby’s emotions in dealing with the various
challenges of a relationship ending are poignant and
deeply personal. His concern for our country and the
turmoil many are experiencing is equally as
personal, but in a different way. Knowing Bobby the
way I do, I’m sure he’s hoping to wake up in the
morning with a new take on life and the optimism to
tackle the personal and national challenges head on.
And in a way, I would wish that for everyone.
Bobby’s just
beginning to ramp up his touring schedule and his
performance dates, as well as the opportunity to
grab a copy of Bad Movie, can be found on his
website at
www.bobbymessano.com. This is by far Bobby’s
most personal record to date and I appreciate the
self-reflection he went through to write such
intensely elegant tunes. I said it at the beginning
and I’ll repeat it here, Bad Movie is a
classic Bobby Messano record, right out of the gate.
---
Kyle Deibler
I like the sense of
urgency in the voice of Thorbjorn Risager,
and his band, the Black Tornado, is a stellar group
of musicians who’ve worked with Thorbjorn for a
number of years, performing some of the most stellar
blues you can find overseas. This Copenhagen-based
band is the real deal and their new record,
Change My Game, is just the latest of their
releases on Ruf Records to show how really talented
the group is. I’m more than happy to throw it in my
CD player and give it another listen. Hang on for
the ride; it’s coming your way.
Thorbjorn opens with
a sentimental look at a woman he loved in, “I Used
to Love You.” The relationship ended and Thorbjorn
is heartbroken over the loss of his woman. “I used
to love you…I used to give you everything…all of my
love…all of my pride…I used to love you…now your
love’s gone.” A mournful guitar solo accentuates the
pain that Thorbjorn is feeling and hopefully it will
go away in time. “Dreamland” is the next cut, and
it’s definitely more of a rocker than our first
track. Thorbjorn finds himself in the van, hitting
the road and questioning his reasons for doing so.
“Going to keep my eyes wide open…and my hands on the
wheel…roll down the windows and let the sunshine
in…I’ve got my eyes fixed…on the dreamland up
ahead.” Whatever it is that Thorbjorn is looking
for; hopefully time on the road will bring it to his
door.
Moving on to the
title track, “Change My Game,” this is a tune with a
very funky beat and the musicianship of the Black
Tornado shines throughout this tune. “Yes, I’ve been
burning my candle at the both ends…I’ve never had
nobody slow me down…well, I had my fun and be moving
on…somebody help me get my feet back on the
ground…I’ve got to change my game.” Hard living
catches up to all of us eventually, and at least
Thorbjorn is aware of its impact on his life and his
need to change his ways.
Slide guitar comes
into the play as the band segues to our next track,
“Holler N Moan,” and we’re transported back to a
simpler time and place. Thorbjorn assumes the role
of a traveling vagabond, earning his keep, one venue
at a time. “Hear me…holler n moan…trying to talk
like a rolling stone…help me to unwind…going to go
out on the night…it’s all right.” Our next cut,
“Hard Time”, finds Thorbjorn anxious to get back
home to the woman he loves. “But there ain’t nothing
in the world…going to make me give up on our
love…somehow we found the strength to carry on…in
your loving arms…I disappear…I can’t hold back…hold
back these tears…and you throw me a line…and pull me
in…I regain my strength…by the touch of your
skin…long, hard time coming.” No matter what the
world throws at him, Thorbjorn knows that time spent
in the arms of the one he loves will see him
through.
Keyboards, along with
a heavy bass line, provide the intro to our next
cut, “Long Gone.” We find Thorbjorn contemplating
the fact that it’s time to hit the road again to
find what life has in store for him, “I’ll be long
gone when the wolves start howling at the moon.”
Leaving saddens him, but the time has come and he
must move on. A busy guitar solo leads us into “Hold
My Lover Tight,” with Thorbjorn aware of the love he
needs to see him through the tough times. “And when
I’m weary…when the blues come crawling in…that’s
when I’m going to hold my lover tight.” The song has
an interesting Euro-blues vibe for lack of a better
way to say it, and it’s obvious this Danish bluesman
is at the top of his game. “Fifteen years of
trouble…fifteen years of dark...once there was a
fire...and now’s there’s only smoke...but down below
the ashes…there’s a spark that burns in my
soul…maybe it’s alright….maybe if we hold on…save a
little bit of my loving stuff.”
I love this verse
from Thorbjorn’s next track, “Maybe It’s Alright,”
and it’s very cool to hear that the first still
burns deep within his soul, encouraging him to
persevere and share his talents with the world. He
segues to a simpler track, “Train,” and I appreciate
the change to an acoustic-based intro from Thorbjorn.
“In the morning….rain keeps falling…I’ve got 100
miles left to go…my restless soul keeps
searching…hear that lonesome whistle blow…down the
same old track I’ve been riding…this old train’s
going to bring me back.” Whether he makes it to the
promised land or not, Thorbjorn is hoping he’s on
his way home. Horns blow a mournful intro to
our next track, “Lay My Burden Down,” and the intro
is very solemn and proper. “Pour me a drink…let my
dreamboat sink…my love…an illusion…just a broken old
dream…so, let me down easy…find me a shelter…where I
can lay my burden down.” Thorbjorn’s lost a love
that meant the world to him and he needs to let it
go and relieve himself of the guilt he’s carried for
far too long.
“City of Love” is the
closing track on this album from Thorbjorn and the
Black Tornado, and it finds Thorbjorn ready to leave
this earth and go home for good. “I’m going to lay
down my worries…in a city of love…I’ve been holding
on…but I can’t hold on too long…there’s a better
place…in the city of love.”
Thorbjorn Risager &
the Black Tornado have been together for over 14
years and it shows in every aspect of their new
disc, Change My Game. Thorbjorn has one of
the strongest singing voices I’ve ever heard
(reminiscent of William Topley), and to have an
arsenal of talent behind him, with everything from
keys to saxophones, to horns, is just a dream
combination. I’d love to see Thorbjorn and the band
here in the States at some point, but Change My
Game will have to hold me in check until then.
The band’s website is
www.risager.info, and I highly encourage you to
grab a copy of Change My Game when you visit
the site. Thorbjorn Risager is easily one of the
finest contemporary blues artists we have in the
world today, and his record will prove that beyond a
shadow of a doubt.
---
Kyle Deibler
You’ve got to admire
the enthusiastic way that Elvin Bishop
embraces life. Noodling around in his home studio
one day with Bob Welsh, guitarist/pianist
extraordinaire from his band, and
vocalist/percussionist Willy Jordan on the cajon,
they developed a full band sound with the trio that
appealed to everyone involved. Next thing you know,
they’re recording Elvin Bishop’s Big Fun Trio
for Alligator Records, and it’s just a delightful
disc to throw in the CD player.
The trio opens with
“Keep on Rollin’” and Elvin’s got it down here.
“People…we got a problem…it’s the politics…not
enough Richards…and too many Dicks…you know damn
well…the system isn’t working…when you can’t tell
the difference…between your Congress…and a
circus…don’t let the bastards get you down…keep on
rollin’.” There’s absolutely nothing that I can add
to Elvin’s logic here…he’s summed up the situation
better than I ever will be able to. They move on to
“Honey Babe” and Elvin and Willy are sharing the
vocals here. “Honey, babe…what can I do for
you…well, I’ll do anything that you want me to.” The
object of Elvin’s affection has definitely caught
his eye and he’s amicable to most anything she might
suggest to win her affection.
Welsh’s piano
provides the intro for “It’s You, Baby” and Kim
Wilson adds harp to the mix as Willy proclaims his
love for the woman in question. “Yes, it’s
you…caused me to leave my happy home…honey, you know
I love you baby…but I’m going to go and let you head
on.” Willy had a change of heart and it was best to
just walk away and let her go. “Ace in the Hole” is
our next track and Elvin is espousing the wisdom of
hanging on to a good woman. “You drank up the
groceries…now you’re working on the rent…going to go
home and try…to tell her about that money you spent…ee,
oh…now don’t it make you wish you held on to that
ace in the hole.” Keeping your woman happy and in
your corner is a much preferred alternative to
facing her wrath and getting kicked out the door for
misbehaving.
“Let’s Go” finds
Elvin and the boys out in the club, admiring all of
the female beauty in the room. “Boys checking out
the girls…girls checking out the boys….let’s go get
us a drink and make some noise.” Elvin also offers
this pearl of advice to his compatriots, “Picking
chicks is kind of tricky…yeah, when it gets around
closing time…you won’t be so picky.” There’s more
truth in the comment than any of them care to admit
but they’re old enough to live with the choices they
make. Rick Estrin lends his harp to the trio’s next
tune, “Delta Lowdown,” and I love the old school
feel of this tune. It’s a contagious instrumental
and I’m enjoying the brief respite from all of the
debauchery that has ensued so far.
Up next is a cover of
the Bobby Womack classic, “It’s All Over Now,” and
Willy is back at the mic. “She put me out...is was a
pity how I cried…now I used to love her…but it’s all
over now.” Charlie Musselwhite is the third guest on
the record and he lends both harp & vocals to the
mix on a tune he and Elvin wrote, “100 Years of
Blues”. “We’ve been playing this music a long
time…and I’ll tell you folks the truth…between the
two of us…you’re looking at 100 years of Blues.”
Elvin’s right, he & Charlie have 100 years of the
Blues between them and despite all the hard living
in the early days; they’re still here to share their
songs and talents with us. “Let the Four Winds Blow”
is our next track and Elvin plays some killer slide
on this cut as Willy sings, “Yea, you pretty little
girl…you’re rocking my world…you’re so fine baby…I
wish you were mine, baby…don’t you be afraid,
baby…listen to what I say…let the four winds
blow…let them blow… them blow…from the east to the
west…I love you best.” Willy is definitely more
lover than fighter with a bit of silver tongue to
boot.
The trio generates an
interesting sound with Bob Welsh playing bass on his
guitar and Willy’s cajon opening up all kinds of
possibilities. “That’s What I’m Talkin’ About” finds
them on the road; exploring all of the culinary
delights available to them depending on the town
they’re in. “Well, we could go over to Miss Helen’s
restaurant…soul food’s good and that ain’t all…they
got an autographed picture of B.B. King…up on the
wall…Willy takes over the mic to tell us what Miss
Helen serves…let me tell you what they got…ox
tails…smoked steak…candied yams and greens…short
ribs and cornbread…and a side of black-eyed peas…oooh
wee.” Something tells me these three have a favorite
restaurant in every town they happen to have a gig
in.
Willy’s soulful voice
fills my ears as he tackles the vocal on the next
track, “Can’t Take No More.” “You know…I took enough
from you to make a dog cry…can’t take no more…so
baby, bye bye.” Willy loved this woman, but she
treated him wrong and she has to go. “Southside
Slide” is the last track on the disc and, of course,
Elvin’s guitar is front and center. It’s another
great instrumental and a fitting way to end this
disc.
At a time when most
artists stop learning and growing, Elvin Bishop
manages to retain that endless wonderment of his
youth and teach the old dog that he is some new
tricks. Bob Welsh and Willy Jordan contribute their
unique talents to the mix, and the way they manage
to create a full band sound as a trio is a delight
that has to be heard to be believed. Elvin
Bishop’s Big Fun Trio reflects the unique mix of
abilities and personalities that kept me entertained
throughout. The disc is available on Elvin’s website
at
elvinbishopmusic.com, and the trio will be
touring behind the record this summer. Wherever
they’ll be playing this summer, one thing’s for sure
--- it will be a party and we’re all invited.
---
Kyle Deibler
For many years,
John Mayall has been regarded as the Godfather
of British Blues. His band has served as a launching
pad for a Hall of Fame list of musicians, beginning
with guitarists Eric Clapton, Peter Green, Walter
Trout, Harvey Mandel, Coco Montoya, and Mick Taylor
and continuing with musical legends John McVie, Mick
Fleetwood, and Jack Bruce, just to name a few.
Having recently turned 83, Mayall maintains a
recording and touring schedule that would exhaust a
man 30 years younger.
Talk About That
(Forty Below Records) is Mayall’s third new album in
four years, and in addition to his regular
four-piece band (Mayall – vocals, keyboards,
harmonica, guitar, Greg Rzab – bass, Jay Davenport –
drums, Rocky Athas – guitar), the iconic blues man
also incorporates a three-piece horn section (Ron
Dziubla – tenor/baritone saxes, Mark Pender –
trumpet, Nick Lane – trombone), plus another Hall of
Famer, guitarist Joe Walsh.
Walsh provides his
usually stellar guitar work on two tracks, both
penned by Mayall: the topical “The Devil Must Be
Laughing” and the sizzling “Cards On The Table.”
Mayall wrote eight of the 11 tracks and they’re a
particularly strong set, with the feisty title track
serving as opening cut, the Crescent City-flavored
“Give Me Some Of That Gumbo,” one of several tracks
to feature horns, the moody and soulful “I Didn’t
Mean To Hurt You,” and the spirited romp “Across The
County Line.”
Other originals
include the funky “Blue Midnight” and the low-key
and reflective “You Never Know,” the jazzy
piano-driven number that closes the disc. Mayall
also offers up three tasty covers, a faithful
reading of Jimmy Rogers’ “Goin’ Away Baby,” Bettye
Crutcher’s sage “It’s Hard Going Up,” and a
rollicking take on Jerry L. Williams’ “Don’t Deny
Me.”
Talk About That
marks the last recordings with Mayall and his
quartet (Rocky Athas has decided to pursue his solo
career), and Mayall is currently touring with Rzab
and Davenport as a trio. Believe it or not, this is
John Mayall’s 66th album release in a 50+year
career, and this new release shows that the
venerable blues man still has plenty to say and
plenty left in the tank.
---
Graham Clarke
Since 1984, the Blues
Foundation has hosted the International Blues
Challenge in Memphis, an opportunity for new or
up-and-coming blues acts around the world to put
their talents on display. Since its inception, it
has become the world’s largest annual gathering of
blues musicians and blues fans all united in their
love and support of this great music.
Many winners have
gone on to have success in the industry: Larry
Garner (1988), John Weston (1989), Richard Johnston
(2001), Delta Moon (2003), Zac Harmon (2004), Diunna
Greenleaf (2005), Trampled Under Foot (2008), Grady
Champion (2010), Mr. Sipp (2015), and Eddie Cotton
(2015) have all taken home the top award in the Band
Division, while winners in the Solo/Duo category
have included Little Toby Walker (2002), Fiona Boyes
(2003), Eden Brent (2006), Little G Weevil (2013),
Tim Williams (2014), and Ben Hunter & Joe Seamons
(2016).
In 2016, the IBC
featured a whopping 257 acts, with The Delgado
Brothers taking home the Band award and Hunter &
Seamons winning the Solo/Duo honors. Recently, The
Blues Foundation, in conjunction with Frank Roszak
Productions, has issued a collection,
International Blues Challenge #32, that captures
the talents of nine of the acts featured. This is a
fantastic opportunity for blues fans to check out
some of the new talent that’s emerged on the blues
scene in recent years.
The Paul Deslauriers
Band finished second in the Band Division in 2016,
and their rough and ready “I’m Your Man” kicks off
this sampler. Innervision placed second in the
Solo/Duo competition and their rocker “Hound Dog” is
a sweet little rock n’ roller, while Sonny Moorman’s
“You Make All My Blues Come True” is a solo acoustic
track with some fine Delta-based slide guitar work.
The Norman Jackson
Band’s “Norman’s Blues” mixes blues with funk and
features a sizzling sax break. Trey Johnson & Jason
Willmon offer “When The Money Runs Out,” an amusing
acoustic guitar/harp romp, and the Hector Anchondo
Band presents “Tall Glass of Whiskey” a steady
rolling blues rocker. Next up is Bing Futch, the
winner of the Best Solo Guitar award in 2016, whose
offering, the splendid slow blues “Drinkin’ and
Drivin’ Blues” puts his talents on full display.
Dave Muskett advanced
to the finals in the Solo/Duo category in 2016, but
he’s represented by the smoking-hot band track,
“Can’t Move On,” which features superlative guitar.
The album closes with the 2016 Solo/Duo winners, Ben
Hunter & Joe Seamons, performing their marvelous
“Black Sheep Moan.”
The nine acts
featured offer a pretty far-reaching and diverse set
of blues. Whatever brand of blues you prefer, you’ll
get a taste of it here. Hopefully, this compilation
is just the beginning and blues fans can expect to
see one of these volumes on an annual basis. It’s a
great opportunity to hear a wide variety of future
stars in the blues world.
---
Graham Clarke
Marie Trout, PhD
is the wife of blues rock guitarist Walter Trout.
She’s lived the blues through and through, not only
serving as Trout’s manager for many years, but also
watching her husband narrowly escape death from
liver failure by receiving a liver transplant at
nearly the last possible minute. During her
husband’s illness and recovery, Dr. Trout began a
research project to try and gain an understanding
about the role of blues music to its current
audience, how it shapes their lives, and how it
manages to construct such a strong and loyal
community of fans.
Those findings have
been collected in her book The Blues – Why It
Still Hurts So Good. As part of her research,
Dr. Trout surveyed over 1,000 blues fans and
interviewed fans, musicians, and industry
professionals. Their recollections, thoughts, and
experiences are combined with Dr. Trout’s own
experiences and research. As she and her husband
struggled to deal with his illness, they both became
profoundly aware of the blues community --- the
network of fans, fellow artists, and industry people
who offered their support, their prayers, their love
and their compassion.
Any true blues fan
can tell you about the network of blues fans
throughout the world and the kinship that they feel
with people of different races, from different
countries, from different cultures via their love
for this music. Many of them may not understand the
reasons why such a bond would exist, but Dr. Trout
goes a long way toward explaining the power of blues
music in this book.
Dr. Trout’s study is
divided into four parts.: The first part explores
the modern blues, and how it serves as
entertainment, an emotional release, and even a
spiritual potion for listeners today. Part two
explores why baby boomers (the largest portion of
blues fans today) are so drawn to this music. The
third and fourth parts examine the transformative
nature and healing powers of the blues and how the
music becomes such a vital part of blues fans’
existence.
As a fan of the blues
for over 30 years, I’ve marveled many times at the
bond between blues fans. At the beginning of my
admiration for the music, I only knew a handful of
people who also listened, but over the years, I’ve
been amazed at the number of people I’ve known and
the ones I’ve met who love the music as much, even
more, than I do. It made me wonder what it was about
the music that put such a wide variety of people
under its spell.
Many of the things
that I read in Dr. Trout’s book made me nod my head
in agreement, but there were others that had never
occurred to me, even considering the thought I had
put into it over time. I really enjoyed how she
combined the academic aspects of the study with the
personal reflections from fans, artists, and even
the Trouts’ own perspective. This is a very
interesting and revealing book that will be of
interest to any blues fan who has wondered why
they’re drawn to this music.
---
Graham Clarke
The inspiration for
Lisa Biales’ latest release, The Beat of
My Heart (Big Song Music), came from the
singer’s discovery of a 78 record that her late
mother, Alberta Roberts, had recorded back in 1947.
The song on the record was “Crying Over You,” and
Biales, who had no idea that her mother had embarked
on a short-lived recording career, knew that the
song had to be on her next project.
Biales has a
reputation as a gifted songwriter, but on this
latest release, she focuses on interpreting the
songs of several familiar composers, enlisting a
talented group of musicians (Tony Braunagel –
drums/producer, Johnny Lee Schell – guitar, Paul
Brown – guitar, Chuck Berghofer, Larry Taylor, and
Larry Fulcher – bass, Jim Pugh – keys, Joe Sublett –
sax, Darrell Leonard – trumpet) providing first-rate
backing.
Of course, “Crying
Over You” is the centerpiece of the album and Biales
used the original recording of her mother singing
the first verse and the resulting collaboration
between the two is simply marvelous. The remainder
of the album finds Biales capably handling a variety
of vocal styles, from a dazzling read of Mabel
Scott’s “Disgusted,” to a spirited version of Linda
Lyndell’s ’60s soul classic, “What A Man” to a funky
take on the Betty Harris hit, “I Don’t Wanna Hear
It” to Fats Waller’s slow burner “Messin’ Around
With The Blues.”
Biales also includes
a smoky cover of Nina Simone’s “Be My Husband,”
ventures toward the jazz side of the aisle with
Henry Glover’s “Wild Stage of Life,” Lil Green’s
“Romance In The Dark,” Brenda Burns’ “Brotherly
Love,” and a wonderful calming take on Eric Bibb’s
“Don’t Let Nobody Drag Your Spirit Down.” Carrie
Newcomer’s “I Should Have Known Better” blends jazz
and Americana, and Biales’ inspired “Said I Wasn’t
Gonna Tell Nobody” will light your fire even if your
wood is wet.
The Beat of My
Heart finds Lisa Biales working her vocal magic
with a variety of musical styles from blues to jazz
to gospel to pop. The results prove that she is one
of the finest vocalists currently practicing,
whatever the genre.
---
Graham Clarke
During his 2016
summer tour, the Reverend Freakchild had the
misfortune of getting all of his guitars and gear
stolen while in San Francisco. Undaunted, the tour
continued toward the Pacific Northwest, and good
fortune followed the bad fortune, as is usually the
case, when the Reverend was able to bring back a
collection of live-in-the-studio performances which
were taped at radio station KBOO in Portland,
Oregon.
Preachin’ Blues
(TreatedandReleasedRecords.com) captures eight
tunes, mostly covers of vintage spiritual blues
tunes, along with snippets of his sermonizing and
philosophizing mixed in-between. The set list will
be familiar to most fans of old timey gospel blues,
Blind Lemon Jefferson’s “See That My Grave Is Kept
Clean,” Son House’s “Preachin’ Blues,” Rev. Gary
Davis’ “It’s Gonna Be Alright,” and the traditionals
“In My Time of Dyin’” and “Wish I Was In Heaven
Sitting Down.”
Longtime listeners to
the Freakchild will not be surprised at the
inclusion of Prince’s “Kiss” to this set. The
Reverend has proven over time to be able to rework
classic tunes from other genres into his repertoire.
He also performs his own, “All I Got Is Now,” the
track that has served as his spiritual anthem over
his past few releases (and was a huge part of his
last release, Illogical Optimism). He opens
the set with a gently rolling instrumental,
“Breathing Blues,” that really sets the table well.
Between tracks, the
Reverend shares much of his philosophy and gives
advice on how to live life and his musings and
banter actually works well between the songs.
There’s also an accompanying pdf file on the disc,
an essay that expands on his philosophy called
“Transcendence through Music: Buddha and the Blues”
that actually reads better than the title would
indicate.
Closing the disc is
what you might call a bonus track, an enthusiastic a
cappella reading of Son House’s “Grinnin’ In Your
Face,” which was recorded during a Freakchild
performance at the Yorckschloessch Blues and Jazz
Club in Berlin in 2013.
I have to admit that
when I first heard Reverend Freakchild a few years
back, I wasn’t really sure what to make of him. Now,
when I see a new release from him, I can’t wait to
give it a spin. It’s always interesting,
occasionally amusing, and endlessly entertaining
fare --- every time out.
---
Graham Clarke
Keyboardist John
Ginty has a pretty impressive musical résumé,
having backed Jewel, the Dixie Chicks, Santana,
Citizen Cope, and Robert Randolph either on tour or
in the studio. He’s also released three solo albums,
with his last album, No Filter, earing RMR
Charts Top Blues Rock Album of the Year honors.
Recently, Ginty’s band was performing at Asbury
Park’s Wonder Bar. Opening that night was a local
singer named Aster Pheonyx, who was so impressive
that Ginty invited her to sing with the band,
subsequently asking her to join the band as lead
vocalist.
Ginty’s fourth disc,
Rockers (American Showplace Music), includes
ten songs co-written by Ginty and Pheonyx. The
vocalist does seem to share an amazing chemistry
with Ginty and the band, with her sultry,
blues-soaked vocals. “Lucky 13” is the first vocal
track out of the gate and she really tears it this
steamy blues rocker with an urgent, barely harnessed
power. The funky “Believe In Smoke” and “Target On
The Ground,” which has a gospel/soul feel are
keepers as well.
Speaking of soul, the
standout “Mountains Have My Name” is where the
pieces really fall into place. Pheonyx’s vocals are
at their best on this track and Ginty’s soaring
keyboards and piano lift this track to the next
level. “Mr. Blues” is a dynamic rocker and
“Priscilla” is a smoky story-ballad that proves
Pheonyx can be as tender as she is tough, as does
the seductive “Maybe If You Catch Me.”
The disc is bookended
by a pair of sharp organ-driven instrumentals (“The
Shark” and the title track) that showcase the band.
The mainstays are Ginty (Hammond B3/ piano/
keyboards, Justine Gardner (bass), Maurice “Moe”
Watson drums, background vocals), and Mike Buckman
(guitar), with guests Jimmy Bennett (guitar), Paul
Gerdts (background vocals), Josh Gannet (guitar,
percussion, backwoods), Paul Kuzik (bass), and
Reggie Noble (“DJ” on the skit “WKYA”).
Rockers is a
fantastic look at one of the most underrated bands
currently playing. In Aster Pheonyx, John Ginty has
found the perfect, final piece to the puzzle, and
hopefully, their musical partnership will continue
to produce excellent albums such as this one.
---
Graham Clarke
Denver-based blues
rocker Michael Hornbuckle has been been
entertaining Mile High City blues fans for over 20
years, beginning as a drummer in his father, the
late Denver blues legend Bobby Hornbuckle’s band.
After his father’s passing in 1996, the younger
Hornbuckle took over the band, and his father’s
guitar. Since then, he’s played with Vince Converse,
released several albums of his own, won two awards
at the 2015 Mile High Blues Society Awards, also
representing the society in the 2016 I.B.C.
Soul Repo
opens with “Sweat,” a slippery blues rocker that
kicks things off in fine fashion, Hornbuckle hits
home with the hypnotic and soulful “Baby Rock,” “Me
& Melody,” a sharp uptempo track that flirts with
pop, and the funky “One Night.” “Rising Sun” is a
lovely slow dance ballad, and the somber “Candle For
Mary” encourages those who have lost loved ones to
carry on.
“Hit Me Up” is a
delicious slice of country blues with guest Lionel
Young on fiddle, and “Wishing Well” similarly veers
toward the country side, although with more of a
southern rock feel. “Angel” is a deep soul burner
with a great Hornbuckle vocal and some splendid
guitar work. The hard driving title track is one of
two live tracks on the disc. the other being the
fine blues shuffle, “Backseat,” which closes the
disc.
Hornbuckle
(guitar/bass) gets able assistance from an excellent
assembly, including Young (fiddle), Andras (AC)
Csapo (harmonica/keys), Alexander Baker (keys),
Desmond Washington (drums/keys), brother Brian
Hornbuckle (bass), Jeff Andrews (bass), Dave Fox
(drums), Dusty Lee (lead guitar), and Sarah Snead
(backing vocals).
Soul Repo is a
standout set of blues, rock, and soul with memorable
songs and performances from Hornbuckle, who is an
artist that’s definitely deserving of more
attention.
---
Graham Clarke
Texas native Beth
Garner was a regular on the Austin music scene
for a few years before relocating to Tennessee about
ten years ago. She began playing guitar at various
locations in Nashville, mostly in country venues,
and developing a fan base. She returned to her first
love, the blues, in 2015, recording the seven songs
that make up her latest album, Snake Farm
(The Music of Nashville).
Garner is a
first-rate guitarist, whether on standard or slide
guitar, and a vocalist with a lot of soul. She wrote
or co-wrote six of the seven tracks (Ray Wylie
Hubbard’s title track is the lone cover) and gets
steady and solid support from her backing band (Rory
Hoffman – baritone sax/keys/rhythm guitar, Wes
Little – drums/percussion, Steve Forrest – bass,
Angela Primm and Gale Mayes – background vocals).
The opener, “Alright
By Me,” is a funky R&B-styled blues with a nice pair
of guitar runs from Garner. “Backroads Freddie” is a
catchy blues rocker that displays Garner’s Texas
blues roots, and the somber “Drop Down” is a
Delta-flavored gospel blues with fine backing
vocals. “Used To Be” is a slide-driven shuffle about
times and lovers gone by.
“Ramblin’ Man” mixes
R&B, funk, and southern rock and should get toes
tapping, and “Wish I Was” is a modern-day blues with
Chicago leanings with a really cool fast-paced
rhythm. I really like Garner’s swampy interpretation
of the title track, especially her slightly
uncomfortable vocal.
Snake Farm is
a very enjoyable and entertaining listen. The only
problem is that there’s not enough of it at only 26
minutes. However, it will leave you eagerly awaiting
Beth Garner’s next release.
---
Graham Clarke
Kathy & the
Kilowatts are another reason why Austin, Texas
is known as the Live Music Capital of the World. The
charismatic Kathy Murray fronts the band and has
been on the Austin music scene since the ’80s,
playing with SRV, the Fabulous Thunderbirds, W.C.
Clark, Doyle Bramhall, Sr., and others, taking her
place among the amazing list of Austin blues women
in the process.
Murray’s vocal style
(described by one critic as “the love child of Jimmy
Reed and Wanda Jackson”) combined with the
instrumental might of guitarist/husband Bill
“Monster” Jones and the Kilowatts, makes for a
powerful mix, as heard on the band’s latest release,
Let’s Do This Thing (Lectro Fine Records).
Loaded with 15
pulse-pounding tracks, Murray and the band run
through the gamut of Texas blues and roots music. If
you like any of the bands mentioned above, you will
love this CD. Murray’s distinctive vocal style
blends country and blues in a unique manner, and
she’s comfortable in whatever style the band plays.
The title track, “Talking Out My Head,” “Love Came
Knocking,” and “Spell It Out” will sit well with
T-Bird fans, thanks to some tasty fretwork from
Jones, and “Read ‘Em & Weep,” “Call Me Mrs. Blues,”
and “One Lie Leads To Another” lean more toward the
classic Texas blues sound.
Tracks like “Your
Barn Door’s Open,” “Loveaholic,” and “Exception To
The Rule” effortlessly mix country with old school
rock n’ roll, and “10 Most Wanted,” “Beautiful
Moments,” and “Each Kiss” lean toward the Gulf Coast
R&B side of the aisle. The quiet acoustic ballad, “I
Want To,” is a change of pace on the album, and
really allows Murray to show her vocal talents.
A powerful set of
blues, Let’s Do This Thing should find a spot
in any blues fan’s collection, especially those who
dig blues from the Lone Star State.
---
Graham Clarke
Based in the
mid-Atlantic area, Patty Reese has won 17
Washington Area Music Association awards over her
career (WAMMIES), including Album of the Year,
Artist of the Year, and Root Rock Vocalist. She has
a voice tailor-made for the blues, mixing power,
grit, and passion with a whole lot of steamy soul.
All of that is on full display on Reese’s newest
album, Let In The Sun (Azalea City
Recordings).
The new album
features nine originals, written or co-written by
Reese, plus two tasty covers of songs from Bob Dylan
and Steve Earle that the singer makes her own. The
songs run the gamut of blues and roots styles, and
Reese proves quickly that she’s comfortable in a
variety of settings. Backed by a rock-solid band
(Jonathan Sloane – guitar, Sonny Petrosky – bass,
Andy Hamburger – drums, Tommy Lepson – keys), Reese
really gets a chance to strut her stuff.
The opener, “Is It
Too Late For Me,” sets the pace with a swampy blues
groove and a nice turn on slide guitar from Sloane,
and “Your Love” settles into a mean Texas-style
shuffle. The funky “Soul Satisfier” lives up to its
title with a punchy horn section moving things
along, “I Won’t Let You Down” is a sultry torch song
that proves Reese can be tender as well as tough,
and the swinging gospel flavor of the title track is
guaranteed to put a hop in your step.
“Good Neighbor” is a
rocking blues shuffle with some crisp guitar work
from Sloane, and “Radio Song” has a retro feel to it
with slide guitar that will remind listeners of
Bonnie Raitt. The second line rhythms of “Awesome
Sauce” dare listeners to sit still, and “I Hear A
Lie” blends country with the blues effectively.
Coverwise, Reese goes the soulful route with Dylan’s
“Don’t Think Twice It’s Alright," one of the best
covers of this song I’ve heard, and a tender reading
of Earle’s “Goodbye” appropriately closes the disc.
A savvy and versatile vocalist, Patty Reese
certainly deserves to be heard, and Let In The
Sun is just the place to get started.
---
Graham Clarke
If you’re not
familiar with Dave Fields’ body of work, his
latest release, Unleashed, is as complete a
picture of this outstanding blues guitarist as
you’ll find. This 14-track set is evenly divided
between live and studio cuts, all designed to give
new listeners an idea of Fields’ talents and to give
his fans a great representative set of said talents.
For newcomers, Fields is the total package --- a
skilled songsmith, a fiery soulful singer, and a
guitarist with few peers.
The live cuts are all
impressive, beginning with the jazzy opening
instrumental, “Anticipating You,” which finds Fields
playing some stinging lead guitar over a smooth and
steady groove. The guitarist also acknowledges his
influences with an out-of-this-world interpretation
of Freddie King’s “Going Down,” and a tip of the hat
to Jimi Hendrix on the guitar legend’s “Hey Joe” and
“Star Spangled Banner.” “Better Be Good” is a
crunching rocker, and “Pocket Full of Dust” is a
fine slow burner with a nice turn on vocals and
guitar from Fields. The last live track is a
bluegrass-on-steroids instrumental romp, “L.E.S.
Hoedown.”
On the studio tracks,
Fields wrote the poignant, but defiant “Child Of The
World” soon after the Paris terrorist attacks. The
humorous “My Mama’s Got The Blues” lightens things
up a bit, and “The Boy Wants To Play” mixes blues
with funk and rock. The two-part “Jagged Line”
offers blues lyrics (from Fields’ own background)
over a fierce rocking backdrop --- modern blues at
its finest. “How Am I Doing” is a straight rocker,
and “New York City Nights,” on which Fields plays
every instrument except for violin (ably handled by
Gary Oleyar), has a slick jazzy feel.
In addition to Oleyar,
Fields is backed by Kenny Soule (drums), Buddy Allen
(bass), Van Romaine (drums), Chris Tristrarn (bass),
Vladimir Barsky (keys), Lisa Sherman (vocals), Sam
Bryant (drums), Andy Huenerberg (bass), Juan Pertuz
(percussion), Eric Boyd (bass), Dave Moore (drums),
and J.T. Lauritsen (harmonica).
As stated,
Unleashed serves as an excellent summary of Dave
Fields’ musical vision and his talents as a
musician, singer, and composer. If Fields is not
already on your radar screen, this disc should put
him there.
---
Graham Clarke
Passion, Soul &
Fire is a meaty, rough and tumble blues rocker
from Argentinian-born blues guitarist David M’ore.
Rarely has an album title so appropriately fit the
material included within: eleven powerhouse tracks
that give M’ore and his band (Wade Olson – drums,
David De Silva – bass) plenty of opportunity to
acknowledge their musical influences, an impressive
lot which range from Richie Blackmore to Johnny
Winter to Jimi Hendrix to Albert King.
The opener, “The
Devil’s Land,” is a fiery Texas-styled blues rocker
that will remind listeners of SRV, at least on the
guitar. M’ore’s vocals, on the other hand, are a
gravelly, roof-rattling mix of Howlin’ Wolf and
Charley Patton. “Love Again” is a power ballad
(emphasis on “power”), and “Stronger Than I
Realized” is a moody rocker that’s on the
progressive side --- maybe a bit on the Robin Trower
side. Next up is “Johann Sebastian Blues,” a strong
instrumental that recalls classic late ’60s/early
’70s blues rock.
“You Said You Love
Me” is an exquisite 10-minute-plus slow blues with
M’ore laying down some of his finest fretwork on
this track, and his world weary vocal is a plus
here, too. “Sweet Little Baby” starts with a gentle
country blues acoustic run, but quickly transforms
into a driving rocker/guitar clinic. “The 12 Song”
is a sizzling shuffle and “Cold Blooded” is an
atmospheric Southern rocker. “Every Time I Think Of
You” finds M’ore pulling out all the stops, both
vocally and instrumentally.
“Funky It Up” is a
fierce instrumental that lives up to its name, and
“Liar” revisits the Texas shuffle style with more
splendid guitar work. The closer is the album’s lone
cover, and actually wasn’t intended intended for
release. M’ore and the band recorded Deep Purple’s
“Mistreated” live in the studio at the end of one of
their recording sessions and the performance matches
the album title so well that it had to be included
in the final product.
Passion, Soul &
Fire is definitely a release that blues rock
fans shouldn’t let slip between their fingers. David
M’ore’s guitar skills are out of this world and so
are his vocals.
---
Graham Clarke
John Latini
has won the Detroit Blues Challenge three times as a
solo act. He’s also an award-winning songwriter and
film music composer. A native of Queens, he has made
Michigan his home for many years and is highly
regarded as a powerful singer, versatile guitarist,
and talented songwriter, whether performing solo or
with his band, the Flying Latini Brothers.
The Blues Just
Makes Me Feel Good (Smokin’ Sleddog Record) is
his first full-length blues album, and all of the
aforementioned talents are on full display. Latini
has a rugged growl of a vocal style that has a warm
quality. His guitar playing is smooth and bluesy,
and he penned all but two of the 13 tracks, which
range from slick urban blues to rural blues to jazzy
blues and soul.
“Black Eyed Blues” is
a slow grooving rocker that will work its way into
your system and get your feet moving. “Lord Made Me
A Weak Man” has a soul/R&B flair with Neil Donato’s
B3 providing fine support, and “Three AM” has an
urban feel and gives Latini some space for a couple
of great slide guitar runs. The countrified
“Woodchuck Blues” follows, then the southern fried
“Pull Me Up,” and the swampy “Rutabaga Cheesecake,”
surely a contender for Song Title of the Year, will
remind listeners a bit of John Fogerty and Creedance
Clearwater Revival.
The title track is
autobiographical, as might be expected, and Latini
does a fine job with this one, backed by a tight
horn section and rhythmic backdrop that sounds a lot
like the Crescent City. “Broken Man” oozes soul and
the blues with its steady groove and Latini’s
gravelly vocal, and the rootsy “My Town’s Got A
River And A Train” is a tune about Latini’s adopted
hometown of Ypsilanti. “Gotta Have My Babies” is a
rocking blues shuffle and “Too Good To Be True” is a
jazzy after-hours tune.
The sturdy “Hard
Walkin’ Woman” has that Jimmy Reed beat going, with
the horns adding an extra level of enjoyment, and
the closer, “I Will Be Haunting You,” is a stripped
down country blues that showcases Latini’s guitar
and voice.
An excellent,
well-crafted release, The Blues Just Makes Me
Feel Good will definitely make blues fans feel
good. I have a feeling we will be hearing much more
from the talented Mr. Latini.
---
Graham Clarke
Tom Craig and Soul
Patch represented the Central Delaware Blues
Society in this year’s International Blues Challenge
in Memphis. Craig is a singer/songwriter/guitarist
originally influenced by jazz vocalists like Torme,
Sinatra, and Fitzgerald before moving to the classic
soul singers of the ’60s and ’70s and the blues of
Muddy Waters, SRV and the Three Kings (B.B., Albert,
and Freddie). Craig is backed by Soul Patch (John
O’Connell – drums, Rando Branning – bass, Eric
Johnson – organ, Vince Gleason – tenor sax, and
Skyler Hagner – baritone sax).
The band’s debut
release, Get Ready For Me, was released about
a month before this year’s IBC and it’s a solid set
of 12 original tunes, all written by Craig, who
proves to be a versatile vocalist whose savvy mix of
jazz, soul, and the blues is very effective, and a
guitarist with a firm grasp of traditional and
contemporary blues guitar. Soul Patch provides
potent backing, with additional musicians Mark
Gallagher (baritone sax), Dave Gross (bass/backing
vocals) and Mikey Jr. (harmonica/backing vocals)
contributing as well.
There’s a cool,
laidback vibe to these tracks, beginning with the
funky opener, “Louita,” to the horn-fueled soul
burner “How Did I Break The Rules” to the bluesy
title track. “Can’t Stop Thinking About You” has a
jazzy feel to it and “She Did It To Me (She’ll Do It
To You)” is a smoky after-hours cautionary tale.
“Ballroom Dancer” is a fun change of pace about a
brief romantic encounter told over a cha-cha beat,
and “Captain Funk” is, well, incredibly funky.
“Please Forgive Me
Baby” is a blues ballad that features Craig’s
soulful vocals and some of the best guitar work on
the disc (with nice backing from Johnson on organ),
and the up-tempo “Tornado” mixes rock and funk. The
swinging “I Can’t Help Myself” is a keeper, too, as
is “Nothing That A Man Can’t Do,” a high-speed R&B
stepper. The disc closes with “Every Woman,” a deep
soul ballad with another fine vocal turn from Craig.
Get Ready For Me
is a great set of sophisticated blues and R&B. I
really dig the interplay between Craig’s vocals and
guitar with the band. Everything meshes very well
together and should make for rewarding listening for
any blues fans who like their blues on the cool,
jazzy side.
---
Graham Clarke
