Tad Robinson recorded his latest album,
Real
Street (Severn Records), in Memphis, surrounding
himself with some of the Bluff City’s most
talented veterans of the city’s soul and blues
scene including the legendary Hi Rhythm Section
(drummer Howard Grimes, bassist Leroy Hodges,
and organist Charles Hodges), guitarist Joe Restivo, saxophonist Kirk Smothers and trumpeter
Marc Franklin. The ten-song set is a superb mix
of originals and covers that put the spotlight
firmly on Robinson’s supremely soulful vocals.
It’s
hard to imagine a better opening cut than “Changes.” The horns kick off
the track and the Hi Rhythm Section locks in
almost immediately, with Robinson taking it from
there. The soul burner “Full Grown Woman”
percolates nicely and Robinson’s vocal makes you
wish you knew the lady. The singer presents a
masterful version of George Jackson’s “Search
Your Heart” with an understated read of a
long-lost classic that still brims with passion,
and his warm vocal (and accompanying background
voices) gives the nostalgic “Love In The
Neighborhood” a gospel/soul feel.
“Wishing Well Blues” is a tasty soul/blues
number that features a nice guitar break from Restivo, and Roy Orbison’s swan song, “You Got
It,” is completely transformed by Robinson into a
gentle soul ballad with his soaring vocal and
first-rate instrumental backing. The exuberant
“You Are My Dream” is a fine slice of Southern
soul, and “Make It With You,” a pop hit for
Bread in the early ’70s, gets a shimmering
Memphis soul makeover.
The album closes strongly with the optimistic
title track, a mid-tempo shuffle, and a
reworking of “Long Way Home,” first heard on
Robinson’s 2007 Severn release, A New Point Of
View. The new version is more stripped-down
than the original, with a little extra grit packed
but just as hard-hitting.
Real Street is as real as soul albums get in
any era. Trust me when I say that Tad Robinson
is one of the finest blues and soul vocalist on
the planet, and to these ears, this is his best
release to date.
--- Graham Clarke
The Tennessee-based nine-piece band
HeavyDrunk just unleashed an album, Holywater
(4142 Music), that needs to be on any fan of
either genre’s must-hear list. Fronted by Rob
Robinson, who also happens to own Puckett’s
Grocery and Restaurant in Leiper’s Fork, Tennessee,
just south of Nashville, the band, which
features six vocalists, horns, B3, three
guitarists, and an excellent rhythm section,
churns out music rooted in the blues and soul.
However, the mix also entangles gospel and jazz,
as well as a dash of Louisiana swamp and Memphis
grease, in as snug a fit as anything that Little
Feat might have done in their heyday.
The album kicks off with “If I Loved You Hard
Enough,” a tale of the dysfunctional love affair
to end all dysfunctional love affairs that
builds in intensity with growling guitars,
sultry backing vocals, and pulsating horns. The
combination may require listeners to take a
breather before checking out the slippery funk
of “Walking To The Mission In The Rain,” and the
title track, a somber, soulful ballad inspired
by the passing of Robinson’s grandmother.
“One Dancing Fool” is a horn-driven rave-up
that’s sure to get folks on the dance floor (it
only takes one to get it started), and the
fascinating “I Can’t Be Satisfied” is the tale
of a campground romance between Robinson and a
girl who drove a food truck with chicken coops
hanging on the sides. “Keeping Up With The
Kid” is a swinging blues rocker with searing
guitar from Will Beeman, and the jazzy soul
ballad “High On Love” reflects on filling that
hole in your heart.
“Memphis” paints a vivid image of the city,
deftly capturing its spirit with the band’s
performance and the gospel-like backing vocals.
“Somebody’s Got To Take Them Panties Off” is a
smooth R&B track with a chorus that probably
inspires ensemble singing at the band’s shows,
and “Pick You Up Along The Way” combines rock,
soul, and funk seamlessly. The album closer,
“Shine On,” is a deep soul ballad reflecting on
a long-lost love.
The album features two covers, which appear
back-to-back. The Rolling Stones’ “Slave” is an
interesting choice, a rather obscure track from
the Stones’ Tattoo You album way back in 1981.
In HeavyDrunk’s hands, it’s a nasty cool funk
workout (with an additional verse added by
Robinson). The other cover is the Tedeschi
Trucks Band’s “Midnight In Harlem,” which the
band plays pretty closely to the original
though Beeman’s stellar guitar work gives
Trucks’ original performance a run for its
money.
Holywater is an exciting set of southern rock,
blues, and soul. Bands have been making this
kind of music for years, but HeavyDrunk’s
approach makes it seem like it’s all brand new.
This set is highly recommended to fans of
southern music in general.
--- Graham Clarke
Jeff Jensen and Brandon Santini have turned in
over 1,000 concerts on Beale Street, about 400
together, touring in the early 2010s as Brandon Santini & His Band. Bassist Bill Ruffino joined
the band in 2012, and the Santini Band released
This Time Another Year, which earned a BMA
nomination for Contemporary Album of the Year.
In 2013, Santini and Jensen went their separate
ways musically and both earned big success with
their subsequent solo releases.
In 2017, Jensen and Santini reunited briefly to
hit the festival circuit as The Santini-Jensen
Project, along with Ruffino, Jensen’s drummer
David Green, and Santini’s guitarist Timo Arthur.
That reunion served as a predecessor for this
self-titled project, Tennessee Redemption
(Endless Blues Records). The set consists of
eight originals, written or co-written by Santini and Jensen, and two well-chosen covers.
“Glad To Be,” the mid-tempo shuffle that opens
the disc, finds the duo reflecting fondly on
their earliest days on Beale Street, and “We Got
A Thing Going On” has a greasy Memphis R&B/soul
feel. Meanwhile, “Souls In The Water” has an
easygoing, almost gospel/soul feel, and “Back To
Tennessee” starts off mellow but quickly
transforms into a tough Southern rocker, while
“Leave My Body” is a moody blues with an unusual
twist.
“See About Me” is an upbeat rocker with a slight
pop feel that provides a light moment. Next is a
relaxed read of Tom Waits’ “Come On Up To The
House,” one of the album’s two terrific covers.
The other follows the funky “You Don’t Love Me,”
when Santini gets a chance to strut his
harmonica chops on a raw, ragged version of
Little Walter’s “Watch Yourself.” The closer is
“I’m Going To Mexico,” a jaunty acoustic track
that wraps things up perfectly.
Tennessee Redemption is not so much a
“supergroup” effort as it is a “super group”
effort. These guys are just doing what they do
best, crafting a most excellent set of modern
blues and roots music. Fans of either genre are
strongly encouraged to check out this disc, then
backtrack and listen to Brandon Santini and Jeff
Jensen’s solo releases if you’re not familiar
with their work.
--- Graham Clarke
Al Basile returns with another exemplary
collection of original tunes, once again joining
forces with guitarist/producer Duke Robillard
and his band (drummer Mark Teixeira, bassist
Brad Hallen, keyboardist Bruce Bears,
saxophonist Doug James, and trumpeter Jeff “Doc”
Chanonhouse). B’s Hot House (Sweetspot Records)
is a fabulous set of originals from the
singer/songwriter/cornetist that touch on blues
and R&B in equal measure, based on real life
situations and issues to which any listener can
easily relate.
The opener, “”So-Called Storyteller,” is a slow
burner that sings the praises of a story told
well. Basile’s work on cornet is a standout on
this track and others. “Five Roads” has a
loping, swampy feel, and the Memphis-styled
“Razor Wire” (courtesy of Bears’ Booker T-ish
keyboards) bemoans the effects of harsh words.
Robillard’s stinging guitar and Basile’s muted
cornet complement each other beautifully.
“Try
One” is a soulful look at habits --- the addictive
kind --- and the upbeat “Don’t Fool With The Truth”
is a jaunty bit of political commentary, while
“Give Me That Look” is a smooth romantic ballad.
“Looking for a Cookie” has a cool
’50s New Orleans R&B vibe, and one can tell
Basile and the band had a blast with this track.
He delivers his most yearning, heartfelt vocal
and a fine cornet solo, sans mute, on the
wistful “Can’t Keep Me From Dreaming.”
On “I See You
There” Basile plays the jilted lover who spots
his former amour with her new love and can’t
look away. Meanwhile, “I Ain’t Changing”
reflects on the current political divide without
taking sides himself, and the poignant “You
Don’t Know Lonesome” is the epitome of a blues
ballad.
The amusing “What Dogs Wanna Do” reflects on
canine nature and how we all possess a bit of
it in our makeup as well. Basile ponders the
underrated merits of a good conversation in
“Talking in a Room,” then closing the album with
“Time Has Made a Fool of Me,” a bittersweet look
at aging.
Al Basile’s recordings always make for pleasant
listening. He’s one of the best blues and R&B
lyricists currently practicing, and his cornet
playing is peerless. With always superlative
backing from Robillard and band, listeners know
that they are in for a wonderful experience with
each Basile album. B’s Hot House easily ranks
with his best.
--- Graham Clarke
2019 was a huge year for
Steve Strongman. The
Canadian singer/songwriter/guitarist took home
the Best Guitarist award at the International
Blues Challenge in
January, and later in the year he released his
best album to date, Tired of Talkin’, a
powerhouse session recorded in Nashville and
Ontario. Produced by Dave King, who also played
drums on both sessions, Strongman joins up with
keyboardists Pat Sansone and Jesse O’Brien,
gutiarist Audley Freed, and bassists James
Haggerty and Colin Lapsley on this ten-song set,
nine of which are originals penned by Strongman
and his bandmates.
The upbeat title track opens the disc with a
catchy groove, “Paid My Dues” being a sturdy
mid-tempo blues. “Still Crazy About You” is
a smooth, soulful blues, while “Just Ain’t
Right” adds a taste of funk to the mix. “Can’t
Have It All” is a breakneck blues rocker with
Strongman blasting away on harp (in addition to
playing a tasty guitar solo), and “Tell Me Like
It Is” is a smoldering slow blues. Meanwhile,
“Living The Dream” has a bit of a contemporary
heartland rocker feel.
Strongman shows his songwriting chops to great
effect on “That Kind of Fight,” an acoustic
ballad with heartfelt lyrics and vocals. “Hard
Place and a Rock” is a tough, driving rocking
blues, and “Highwayman” is an intense, menacing
blues with dobro and acoustic guitar. “Bring You
Down” is a fine blues ballad featuring an excellent
vocal from Strongman, who then closes the disc with a
cool take on the soul classic, “Let’s Stay
Together,” the album’s lone cover.
Strongman has plenty of opportunities to put his
guitar skills on display throughout Tired of Talkin’, but he’s also a talented vocalist and
gifted songwriter with an ear for blues, soul,
and rock tunes. There’s plenty of rewarding
music here for fans of all three genres.
--- Graham Clarke
Ben Racine Band has been one of Montreal’s
most popular blues acts for a decade. Racine’s a
real talent on vocals and took home the Albert
King Award at the 2017 I.B.C., where the band
backed Dawn Tyler Watson, who took home Band of
the Year honors that year. The band has backed
Watson on her last couple of albums as well.
Racine and band (Kaven Jalbert – tenor sax,
Mathieu Moose Mousseau – baritone sax, Charles
Trudel – organ/piano, François Dubé – bass,
Nicky Estor – drums) pack a punch with their
rock solid rhythm section, punchy horns, and
Racine’s soulful vocals.
The band decided to celebrate their 10th
anniversary by releasing a live album, Live À
Montréal, 15 songs recorded at two separate
venues, the first 13 tracks from Maison de la
Culture Montreal-Nord and two from the
Upstairs Bar & Grill. The show clocks in at just
over an hour with a set list that includes nine
songs from their two studio efforts (2013’s One
of a Kind and 2015’s A Grand New Brew), two
brand new originals, and four dynamite covers.
The
first cover, Duke Robillard’s “Addiction,” opens
the set with a dark, slinky blues rocker. The
swinging “Too Busy Being Pretty,” from the
band’s debut, is next, followed by “Contagious,”
a new track with a Latin flavor, and the
horn-driven “Modus Operandi,” featuring a
fine guitar solo from Racine. Next are a cool
pair of rarely-heard covers, Billy “The Kid”
Emerson’s mid-tempo R&B “The Pleasure’s All
Mine” and Johnny “Guitar” Watson’s “Cuttin’ In,”
a smooth after-hours ballad.
“One of a Kind,” the title track of the band’s
debut, really packs a punch, and “Southbound
Girl” is an energetic shuffle that really
swings, while James Hunter’s “No Smoke Without
Fire” is funky retro R&B. “Grand New Brew” keeps
the funky beat going and “Bootprint” has an
interesting driving rhythm, while the upbeat
“Mighty Good Time” probably had the audience
dancing. The second new original, “Move On,” a
greasy Memphis-styled tune about the end of a
relationship, is a keeper as well.
Live À Montréal captures the Ben Racine Band at
the top of their game, playing some of their
best material on their home turf in front of a
familiar audience. Their heady mix of blues and
R&B with a touch of jazz is first rate and sure
to satisfy.
--- Graham Clarke
The Paul DesLauriers Band waited a bit following
the success of their award-winning 2016 release,
Relentless, but the Canadian blues rockers (DesLauriers
– vocals/guitars, Alec McElcheran – bass, Sam
Harrisson – drums) made the wait worthwhile with
the powerful follow-up, Bounce (VizzTone/Bros
Records), with a dozen tunes (11 originals,
plus a masterful cover of Duster Bennett’s
“Jumpin’ At Shadows”), including a guest
appearance from J.P. Soars on one track.
After the 30-second musical segue, “Here We Go,”
the band jumps into the rocker “It’s All On
You,” which features DesLauriers’ feral growl
and scorching guitar. “Let Me Go Down In Flames”
is a slinky rocker about bad love, with DesLauriers on a slide guitar, and the intense
“Take Me To The Brink” continues the bad love
theme. Next is “Happy Wasting Time With You,” a
mid-tempo shuffle with a southern rock feel, and
the wildly funky “Driving Me Insane.”
After the Bennett cover, featuring one of
DesLauriers’ most soulful vocals, the band
shifts into driving rock ‘n’ roll mode with the
tasty “Working My Way Back Home,” before teaming
with Soars on the rip roaring guitar fest
“Picked A Bad Day,” and settling back for a
spell with the jaunty back porch blues “When The
Darkness Comes.” The old-school rockabilly
shuffle, “Feeling All Kinds Of Good,” will put a
hop in your step, and the instrumental “Loosy
Goosy Jam #769” is six and a half minutes well
spent.
The closing ballad, “Waiting On You,” runs
almost 11 minutes, but the lyrics stop after
about four minutes when DesLaurers lets his
guitar do the talking for the remainder of the
track with some phenomenal fretwork.
I’m willing to wait three years between releases
if each subsequent album by DesLauriers and
associates packs as powerful a punch as Bounce.
He’s a true triple threat as a canny songwriter,
potent vocalist, and dynamic guitarist, and his
rhythm section is as good as it gets. Keep your
eyes and ears open for these guys.
--- Graham Clarke
It is significant that Green Note in Camden,
near to where Sean Taylor resides should provide
the setting for a Live In London album (Sean
Taylor Songs) which represents the pinnacle of
his musical achievements after two decades as a
road warrior. The intimacy of this iconic venue,
which is Taylor’s spiritual home, and the
presence of family, friends and fans who packed
the place to the rafters, makes it a special
night.
With a guitar on his back and an old fedora hat,
the troubadour walks nonchalantly onto the stage
and launches straight into “Heaven,” with its
trademark fingerpicking, mesmeric strings’
accompaniment and hushed vocal tones. “Texas
Boogie” hits that groove instantly and is a
perfect tribute to blues greats Lightnin’
Hopkins and Stevie Ray Vaughan.
The slow, anthemic opening to “Little Donny” is the
prelude to a devastating critique of the
President of the United States, the crescendos
and changing pitch of vocals intensifying the
anger. Neither does the UK escape political
activist Taylor’s wrath with ‘”This Is England,”
a spoken word stream with evocative guitar
accompaniment exploring life today and English
identity in this broken generation. “... Write me a
jingle with a million hooks, WhatsApp me Mr.
Shakespeare ain’t no time for your books ...”
The blues-infused “Hold On” highlights the best
of the peace and justice campaigner’s song
writing acumen, nimble, finger picking,
percussive guitar work, and soft, mellow vocal
delivery. The intriguing mantra of the words
hold on creates a calming effect, the chorus
being as relevant in today’s viral stricken
world as we all seek to hold on in these
difficult times whatever happens. Every word
sung in this show is enunciated and heard
clearly thanks to the crystalline sound quality,
benefiting the gentle, balladic “Perfect
Candlelight” from the 2009 Walk With Me
album which is greeted with rapturous applause.
The response to the popular and atmospheric
“Calcutta Grove” is equally generous. Taylor
possesses the chameleon quality of switching
suddenly to gritty and powerful vocal delivery
as on the upbeat “Feel Alright.”
Sean’s blues hero Skip James is acknowledged
with an innovative interpretation of “Hard Time
Killing Floor Blues,” giving the audience their
first opportunity to sing along. “The Only Good
Addiction Is Love” is a beautiful slow ballad
based on a quote by former Uruguayan President
‘Pepe’ who gave his money to charity. The 2015
album of the same name was a game changer for
Taylor in that it confirmed his status as a
poet, all-round musical virtuoso, and Renaissance
man alongside his other musical credentials.
Sean intricately finger picks his way through
the Spanish influenced instrumental, “Lorca,”
before subtly moving on to “Heartbreak Hotel,”
the latter sounding nothing like Elvis as it is
given an intelligent makeover. Also unique is
the haunting, rapid pace of “Nightmares,” with
its spine-tingling repetition of ‘I know she’s
gone’ creating an eerie vibe. Sean’s previous
album The Path Into Blue was highly acclaimed
for its sincerity, passion and poignancy, none
more so than its title track dealing with mental
health issues which tonight is dedicated to
World Mental Health Day, the date of this
concert.
Another highlight, “So Fine’,” with its dazzling
guitar intro and funky rhythm is one of Taylor’s
finest compositions, the lyrics reminiscent of
Paul Simon at his peak. The aggression,
heartache and anger in “Stand Up,” with its
piercing harmonica and stomping backing are
reflected in the words, “... Wipe away the poverty,
wipe away the greed, I’d rather die on my feet
than live here on my knees ..." Dedicated to the
Extinction Rebellion movement, it is a reminder
that Taylor has a social conscience, strong
beliefs and genuinely cares so he will not sit
back in the face of austerity, global
environmental issues, injustices and corruption.
“Troubadour” is a personal story of life on the
road where Sean has spent most of the past 20
years. He's not allowed to leave until after
an encore, so he obliges with two instrumentals,
“Basho” and “Anji,” before ending with the aptly
named “Hit The Road Jack.”
Appropriately, at this stage in his career, Sean
Taylor has by definition delivered his best
album yet because it is just the man and his
guitar ‘at home” singing his best songs to the
people he loves. History will judge Sean one of
the most influential musicians of his
generation. He tackles contemporary issues
including austerity, climate change, depression
and disasters of Grenfell proportions with truth
and integrity whilst offering hope in the
pursuit of truth, peace and love. Listeners of
this album will hear the blues in many of the
challenging themes covered as they pierce the
heart and soul of humanity whilst demanding a
response.
This live compilation propels Taylor
further towards membership of that pantheon of
elite musicians, alongside Dylan, Cohen, Van
Zandt and Martyn.
--- Dave Scott
The title track
of Railroaded is an explosive,
hard-riffing, blues-rocking, bass-throbbing
introduction to a blockbuster of an album from a
seriously good, tightly knit, power trio of
excellent musicians called John Doe Trio. “Dust
Jesus” showcases front man Phil Woollett’s
powerful vocals in a parody of Tom Waits’
“Chocolate Jesus,” believed to be a social
analysis of America’s commoditized religious
establishment. Woollett’s songwriting acumen is
evident in this innovative musical critique
about people who are slaves to superstition.
The slow burning blues, “So Long,”
is a tale of lies, deceit and betrayal, the
vocals and staccato guitar work expressing the
intense anger and hurt reaching a crescendo of
seismic proportions. The bluegrass feel of
“Who’s John Doe?” features the unique sound of
Woollett’s homemade cigar box guitar which he plays
lap steel style to produce a much heavier vibe
than usual. He picks it really well with his
right hand and uses the slide on his left forefinger,
allowing him a lot of control with
his thumb and middle finger on either side.
“Make Me Fine” has an infectious Bo Diddley-esqe
rhythm which provides the perfect background for
Woollett’s conversational vocal delivery and
dazzling guitar solos. Another story of
disloyalty is provided by “So Bad To Me,”
followed by the quirky, intriguing “Mary Lou”
with its mesmeric backbeat. The instrumental
“Pickin’ My Chicken,” with its authentic chicken
sounds is pure poultry in motion, at a pace
unsustainable without the highly technical
abilities of bassist Craig Ferguson and drummer
Paul Townsend.
The slide introduction on “To Walk Alone” sets
the scene for a memorable blues ballad sung with
a passion and sincerity reminiscent of Chris
Farlowe. “Wasted Times” is equally impressive,
its searing guitar licks underpinned by
Townsend's
dynamic drumming and Ferguson’s pulsating bass
lines, a fitting climactic finale to a superb
original album.
The name John Doe is one widely used in America
to refer to anonymous persons, usually in
morgues and police departments. By contrast,
John Doe Trio are very much alive, making a name
for themselves and moving rapidly up the UK
blues charts and beyond to where they deserve to
be.
--- Dave Scott
New Jersey based Oria Aspen burst onto
the music scene just under a decade ago with her
sensational debut album, Yellow Paint, an
eclectic mixture of original pop and rock songs,
soul and jazz vibes and ballads. Her versatility
is evident in the sensational cover of the Louis
Armstrong classic, “What A Wonderful World,”
beautifully sung as a duet with soul man
Southside Johnny. The album received rave
reviews as critics applauded both the musical
qualities and the courage of a 17-year-old
prepared to share her intensely personal journey
on the hard road to adulthood. Despite periods
of ill health, Oria has continued performing,
mainly with her father --- renowned guitarist Glenn
Alexander, of Southside Johnny fame --- either as a
duo or as vocalist with his band Glenn Alexander
& Shadowland.
The
good news is that Oria is back on the scene as a
solo recording artist with "Wannabe" (Distrokid),
a blockbuster of a single reflecting the
maturity and confidence of a young woman who, in
the true blues tradition, has experienced bad
times but has the strength to come through them.
Such is the power of music. To paraphrase John
Lee Hooker, music is the healer when you are
down, “all over the world, it can heal me, it
can heal you.”
“Wannabe” starts with somber piano accompaniment
reflecting Oria’s poignant lyrics. "... As I sat
down my body turned to stone/ I’m lonely and I’m
broken, I’m a long way from home ....” The song
builds gradually to a breathtaking crescendo
created by the whole, perfectly balanced
ensemble, interspersed with glorious interludes
of light and shade rolling like waves. Soaring
above this beautifully arranged backing music
are Oria’s powerful and passionate vocals,
impeccably phrased and with a sense of drama, as
if she was singing from a Broadway stage.
Her voice has a slightly husky edge and country
feel, adding to Oria’s unique, intriguing sound
--- think Bonnie Raitt meets Janis Joplin. There is
hope expressed in the words, “... People can get you
down sometimes but in the end/ you’ve just gotta
stay true to you ...” The final climactic chorus
communicates her emotions and negative thoughts
when she was a teenager, the angst and despair
palpable and almost unbearable by the end of the
song. “... I wannabe be a pretty girl but I’m not
sure how to make it through/ I wannabe a skinny
girl, I wannabe like you ...”
“Wannabe” is a memorable and compelling song
which hooks the listener in and won’t let go,
the words and melody becoming embedded in the
psyche for a long time afterwards.
Oria explains: “This song has been in the works
for a long time. I wrote this song when I was 17
and in the middle of an eating disorder. I
noticed that society tended to care more about
the lives and problems of those who were thin
and good looking, and believed myself to be
unworthy of people caring because I was not what
society wanted. Now at age 25, I got the
opportunity to record this song after sitting on
it for quite some time. Every lyric in the song
still feels close to home, and I still deal with
the same body image issues that I addressed in
the song, just not to such an extreme extent any
more.”
Self-confessed wannabe Oria Aspen has the
talent, originality and that special ingredient
needed to be whatever she wants to be in the
world of music. It is important to support
artists who bare their souls with this degree of
sincerity so that others in similar
circumstances do not feel alone, but know that
there is a friend and kindred spirit out there
to help share the pain and to offer hope.
--- Dave Scott
I
was intrigued when I saw the names of the
musicians making up The Proven Ones on
their new album, You Ain't Done (Gulf
Coast Records), because it sounded like one of
those supergroups of well-known and talented
players. The Proven Ones are Jimi Bott (drums),
Willie J. Campbell (bass), Anthony Geraci
(piano, organ), Kid Ramos (guitar) and Brian
Templeton (lead vocals, harmonica). If you've
been following the blues scene for the last 25
or so years then you will recognize these names.
Just
be advised that these cats here are pumping out
more blues/rock then straight blues, so how much
you'll like it will depend on your individual
tastes. It took me getting deeper into the album
until I found something satisfying. I just
wasn't enthralled with the vocals of Templeton,
best known for his work as the lead singer of
The Radio Kings, nor was I into the more
rock-oriented material.
For
that reason the cut that appealed to me the most
was when Ruthie Foster joined in on vocals on
the Templeton / Charlie O'Neal composition,
"Whom My Soul Loves," on which the band changes
course completely and takes it to church.
Templeton shares the vocals with Ms. Foster,
sounding much better with that heavy dose of
soul pumped into his veins and vocal chords. We
also hear strong gospel keyboards from Geraci,
killer slide guitar from Ramos, and big horns
from Joe "Mack" McCarthy and Chris Mercer.
"Milinda"
is a soulful ballad with a softer edge, with
Ramos again showing off on slide guitar, while
"Nothing Left To Give" presents a Latin rhythm
mixed within the blues/rock format. Not bad. The
band moves back to a soulful sound, with much
better vocals from Templeton, on the Bott/Geraci-penned
"She'll Never Know." The horn players add that
special backing required for a soul number, with
Ramos coming in midway with a nice bluesy guitar
solo.
"I
Ain't Good For Nothin'" is something completely
different from the rest of the album, more of an
older, novelty blues sound, with Ramos taking
over the vocals as well as playing slide on an
acoustic guitar (perhaps a dobro) and the horns
coming in with more of a jazzy muted sound.
Templeton also contributes a nice harmonica solo
with Geraci excelling on honky tonk piano.
I've
only mentioned the songs that I found to be
listenable to my ears, but your results will
likely vary. The Proven Ones have gone in a lot
of different directions here, so you'll need to
determine whether there's enough here that meets
your tastes. Meanwhile, I'll keep it around to
occasionally listen to the more soul-oriented
tunes, especially Ruthie Foster's contribution.
--- Bill Mitchell
Backtrack
Blues Band has been around the Florida music
scene for 40 years, with Your Baby Has Left
(VizzTone) being their seventh album. Singer and
harmonica player Sonny Charles leads the band
through nine mostly basic blues cuts, eight
originals and one cover. While Charles' vocals
are somewhat limited in range, there's power to
his voice and the band provides solid backing
throughout.
Your Baby Has Left kicks off with one of the
more intriguing and entertaining cuts, "Best
Friend's Grave (Joy, Joy, Joy)," a mid-tempo
blues shuffle with plenty of gospel-ish
background vocals. The tempo picks up on the
next cut, "Your Baby Has Left," with Charles
getting the chance to show off his skills on the
harmonica and Kid Royal coming in with several
strong blues guitar leads. Another favorite is
"Dixie Grill," again affording Royal the chance
to really lay down some incendiary blues guitar
licks, before Charles treats the listener to
some heavy duty harp blowin' on "Killin' Time."
Bruce Katz contributes nice B-3 playing here.
For
my money, I prefer the songs on which Royal
handles the vocals, most notably the slow blues
"Times Is Hard," an extended number that closes
the album. Brad Guin jumps in with a really nice
sax solo during this number. Royal also steps to
the mic for the Jimmy Reed cover, "Natural Born
Lover," with Charles aptly handling the
necessary harmonica accompaniment, and the
up-tempo blues shuffle "She Might Get Mad."
Royal also wrote two of the three songs on which
he gets to handle the lead vocals.
Your Baby Has Left doesn't blaze any
revolutionary trails in the blues genre, but
it's just a fun album to pop into your CD
player. There's a reason these cats have been
playing the blues for so long.
--- Bill Mitchell
We've
run many Blues Bytes reviews in by the
uniquely-named Blind Lemon Pledge (aka
James Byfield), but his latest, Goin' Home
(Blind Raccoon), was my first time sampling
BLP's music. It's the eighth album by the San
Francisco-based multi-instrumentalist, and here
he strips down from his normal four- or
five-piece band to accompaniment from bassist
Peter Grenell.
Pledge is a very fine singer with good tone,
power and range, as well as being a strong
guitarist. He's put together a nice collection
of songs, mostly blues classics but with a
couple of original compositions mixed in. Before
I launch into the contents of the disc, here are
a couple of minor nits about the production of
the album. First, and this is a common complaint
that I have of other more recent acoustic
albums, is that the sound is just a bit too
clean. This type of blues was written to be
gritty and greasy, and I don't get that sound
here. Second, Grenell's bass is so far down in
the mix to be mostly indiscernible on most
songs. One needs to listen very carefully to
hear the bass line, especially when it's
supposed to be an integral part of the song.
But
enough griping, let's get to the good stuff.
Pledge opens with a Muddy Waters classic, "I
Feel Like Going Home," and, of course, most of
us can never get enough of Mr. Morganfield's
music. He honors the master with some very nice
slide guitar before jumping to a more jazzy
sound with a rendition of "Fever."
Another classic minor key blues tune with some
jazz elements, "Somebody Loan Me A Dime," is
nicely done here with Pledge emitting some of
his most emotional vocals as well as showing
very good guitar licks. The Tommy Johnson
classic, "Big Road Blues," is a pleasant blues
with plenty of oomph. The more famous Johnson
--- Robert --- also gets the nod with Pledge's
extremely emotional version of "Love In Vain."
This
album really picks up steam at the end with
Pledge and Grenell singing together on the
up-tempo traditional blues, "I Know You Rider,"
perhaps best known for the Hot Tuna version from
the 1960s, and an a capella classic. "Little
Black Train," with both of our participants
joining their voices in shouting out for the
Lord. It's a relatively short song but packs
quite the wallop.
Now
that I've finally gotten my introduction to
Blind Lemon Pledge, I'll need to delve back into
his discography. If, like me, you aren't
familiar with this man's music, Goin' Home
is not a bad place to start.
--- Bill Mitchell
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