The Rock House Sessions (Jolani Music
Group) is the debut LP from Nashville-based
singer Nalani Rothrock. To say that this
nine-song collection is decent is a vast
understatement. It's astonishingly good, from
one of the best new singers I've heard in a long
while. The release date appears to have been at
the very tail end of 2022, and I can say that if
these songs had come my way before the end of
the year, The Rock House Sessions would
have ranked very highly on my Top Ten list for
the year.
The
album was produced by Kevin McKendree, who also
contributed keyboards to the session. Ms.
Rothrock is backed by her co-writer and partner
Joshua Lamkin who plays some mean guitar
throughout. All songs were written by Rothrock
and Lamkin, with McKendree getting co-writer
credit on the opening song.
What's unique about this music is that every
song has elements of blues, jazz, soul, country,
and pop, all seamlessly blending together.
There's no song that could be identified as
strictly blues or soul or jazz, but it's all
mixed together to make a delightful pot of
musical gumbo.
The
opener, "Every Time I Close My Eyes," has a
touch more blues mixed in, also ending with a
big heap of gospel feeling while Lamkin turns in
some hot blues licks on guitar. Rothrock sings
about the memories of that missing love, with
her voice soaring as the song progresses. "Fool
For You" is a slower, jazzy number that is one
of two cuts that I could imagine being on an Amy
Winehouse album 15 years ago. It starts with
limited instrumentation, mainly acoustic guitar,
before the tempo picks up when Andrew Carney
comes in with tasty muted trumpet.
"Just Before I Go" ups the tempo on a rocker
that also gets into a soul anthem vibe,
especially as Rothrock's voice soars through the
octaves. The other song that could have come
from the Amy Winehouse songbook is the slow,
jazzy soul tune, "Hold On," with the star of the
show sending a message to that man who strayed
from her.
McKendree opens "How Long," playing effective
electric piano with a bit of honky tonk. It's a
little bit of country mixed with a blues sound,
befpre leading into "Midnight," one the better
cuts in the album. Rothrock sings about the
feeling she gets every night around midnight
when she starts missing the man she used to
have. It's one of the singles from the album,
and gives me both a country and soul feel, while
Lamkin's various guitar work makes me think I'm
sitting at an outdoor bar somewhere on a
tropical island.
:Goodbye" starts out slow with a country sound
that morphs into a soul ballad as the energy
increases. Rothrock's voice really begins to
soar as she laments that she just can't say
goodbye to this failed relationship, meanwhile
McKendree infuses a small piece of gospel with
his piano accompaniment.
Lamkin opens the mid-tempo "Try" with bluesy
slide guitar chords and McKendree lays down the
bedrock on organ, with Rothrock encouraging her
mate to try to make something of their
relationship, singing, "... I don't care if the
mountain's too high, baby, don't you want to
try? ..."
"Hey
Little Bird" begins with actual bird chirping
before Lamkin lays down subtle slide guitar to
go with Rothrock's restrained, haunting vocals.
It's a nice ending to a wonderful album.
The Rock House Sessions is a solid
introduction to a fantastic singer with a
promising career ahead of her. With only nine
cuts, all very good, it will leave you wanting
more. But I've listened to it over and over
multiple times, and it sounds better each time
through. Looking forward to more from Nalani
Rothrock, but for now I'll be happy with this
album.
--- Bill Mitchell
Ally
Venable's latest album, her fifth since she
broke out on the Texas blues scene at the age of
16, shows an artist who is spreading her wings
and again branching into a variety of forms of
blues to go with the blues/rock sound that has
been her hallmark. Real Gone! (Ruf)
consists of a dozen solid blues and blues/rock
cuts, showcasing Venable's guitar pyrotechnics
and her sweet and sassy voice to match. She also
gets a bit retrospective throughout the album,
singing about where she's from, the effect that
blues has had on her life, and the music that
has influenced her.
Venable takes us back to the early part of her
career at 16 on the up-tempo blues rocker, "Real
Gone," laden with plenty of funky guitar
effects. She goes back even further on the slow,
gentle intro to "Going Home," on which she sings
about her childhood home. The restrained
beginning to the song soon turns into heavy
blues/rock guitar before ending in a brief
ethereal moment.
One
of the highlights here is when Venable teams up
with blues legend Buddy Guy on "Texas
Louisiana," as they each take turns singing
about their respective home states and leading
into the differences in their age and
upbringing. Venable sings "... I'm just starting
now ..." while Guy counters with "...I am never
done ..." Of course, they both get the chance to
tear up the blues on guitar.
Venable goes in a completely different direction
with the wonderful "Blues Is My Best Friend,"
starting with fingerpicking acoustic guitar
before switching to electric, going from a
country blues to a straight blues shuffle. When
she sings, "... Blues is my best friend and my
worst enemy, too ...," it gives off the idea
that she's getting autobiographical again.
Vocals are strong here.
Fasten your seat belt for "Justifyin'," as this
one is a heavy blues/rock number, highlighted by
a strong guitar solo. The mood swings around 180
degrees on the slow, soulful blues number "Any
Fool Should Know," with Venable putting her
heart and soul into her voice. One of my
favorites. Returning to more of a sassy, hard
rockin' sound is "Kick Your Ass," as she gives
orders to that man who isn't treating her well.
To continually emphasize her point, Venable
repeatedly launches into blazing guitar solos.
The
pace and energy level slows considerably on
"Gone So Long," on which Venable uses her voice
to get her story across about her childhood and
how it now seems so long ago. A very subtle yet
pointed message about how she sometimes wishes
she had never left her backyard. A big horn
section joins the band on the mid-tempo head
bopper, "Don't Lose Me," with Venable's vocals
given a fuzzy echo effect. I like everything
about this number.
"Hold My Ground" is a slow, eerie blues, with
Venable singing that the subject of the song
can't make up for past mistakes, using the
words, "...I won't back down, I'm strong enough
to hold my ground ..." It's different than much
of the rest of the album, but very effective,
and the guitar solo supports her lyrics.
Following is another great slow song, "Next Time
I See You," which could be the sequel to the
previous number. Vocals are strong here as she
projects with power to get her point across.
Fuzzy guitar chords provide the introduction to
the closing number, "Two Wrongs," as she repeats
the lessons she learned from her mother. Mama's
correct, as usual .... two wrongs don't make it
right. It's a strong ending to an album that
accurately portrays the growth that we see and
hear from Ally Venable as she heads into her
mid-20s, already a blues star with even better
days ahead.
--- Bill Mitchell
We
can all be grateful that Phoenix blues
entrepreneur Bob Corritore has regularly
taken touring artists into the studio for
sessions when they're in town for a show at his
Rhythm Room club, and he's been periodically
digging into his treasury of recordings for a
series that he calls From The Vaults.
Corritore's latest foray through his collection
of recordings has resulted in a strong
compilation titled Women In Blues Showcase
(SWMAG/VizzTone), with 12 wonderful cuts
recorded in 11 different sessions between 2001
and 2022.
Some
of these cuts have been released on previous
Corritore collections, but that's okay because
they are worthy of being heard again. Corritore
plays harmonica on most cuts, and the rest of
the all-star backing musicians are too numerous
to list here. In other words, buy the actual CD
so that you get the complete list of who's
who.
We
get a pair of very fine numbers from Barbara
Lynn, "You're Gonna Be Sorry" and "You Don't
Have To Go." I especially appreciate the latter
cut, a cover of a Jimmy Reed classic.
I'm
also tickled that we get to hear three numbers
from Gulf Coast legend Carol Fran, a longtime
favorite of mine during her career. "I Needs To
Be Be'd With" was a regular part of her live
shows, a slow blues showing the power that this
remarkable woman had in her voice. Fran's other
contribution is a fun mid-tempo blues shuffle, "Walkin'
Slippin' And Slidin'," which I don't recall ever
hearing from her back in the day, and a slow
Louisiana tune, "I Just Need A Friend."
Houston-based Diunna Greenleaf shows up on two
numbers. Her own "Be For Me" is a pleasant, slow
shuffle, while she brings the house down with
Willie Dixon's "Don't Mess With The Messer."
Street busker Valerie June does her version of
"Crawdad Hole," a simple acoustic number that
fits with the rest of the album. Koko Taylor
contributes "What Kind Of Man Is This," with
Corritore on harmonica and Bob Margolin on
guitar. Shy Perry's stompin' version of "Wang
Dang Doodle" showed up on a previous
compilation, but it's such a good number that
there's no reason for not including it here.
Rounding out the album is local Arizona icon
Francine Reed with "Why Am I Treated So Bad,"
one that she's recorded before, and 17-year-old
Aliya Primer, daughter of blues star John
Primer, with an up-tempo Slim Harpo cover, "Te
Ni Nee Ni Nu." Her dad plays guitar, with
Anthony Geraci pounding out the piano parts. It
looks like there may be another Primer hitting
the blues scene before long.
Every one of the Bob Corritore & Friends
compilations are worth having and listening to
many times. Women In Blues Showcase is a
welcome addition to the Corritore archives.
--- Bill Mitchell
Formerly of the International Blues Challenge
winning group Trampled Under Foot,
singer/guitarist Nick Schnebelen has
carved out an impressive solo career, recently
issuing his fourth album for the VizzTone label,
What Key Is Trouble In? Schnebelen wrote
or co-wrote the 13 tracks, and is backed by
drummer/co-writer Adam Hagerman and
bassist/co-writer Cliff Moore. Keyboardist Red
Young, saxophonist Buddy Leach, and organist
Aaron Mayfield guest on selected tracks.
Schnebelen and Chris Hardwick co-produced the
album, a worthy follow-up to 2019’s Crazy All
By Myself.
The
driving blues rocker “Ten Years After, Fifty
Years Later” is a storming tribute to the
incredible Ten Years After guitarist Alvin Lee.
The title track serves as a nice tribute to
Albert King as Schebelen brings the blues
legend’s muscular fretwork back to life. “Love
In My Heart” mixes blues with funk, and “Blues
Nights” is a soulful blues ballad, while “Hard
Driving Woman” and “Will I Stay” are sturdy
mid-tempo blues and upbeat blues rock,
respectively.
“Pain Aside” is a groovy toe-tapping shuffle
that really pops, thanks to Schnebelen’s guitar
and Moore’s bassline, and the gritty “Poor Side
of Town” has a definite Texas feel. “Jonny
Cheat” is a fierce boogie rocker that sizzles,
and “Big Mean Dog” is loaded with mood and
attitude, while “Over the Cliff” has a strong
southern rock vibe. “Throw Poor Me Out” borrows
from Mississippi Hill Country with its droning
rhythm, and the closer, “People Worry About Me,”
is a dark, moody rocker.
What Key Is Trouble In? is an impressive
addition to Nick Schnebelen’s catalog, each
subsequent album improving on its predecessor.
The singer/guitarist is also a talented
songwriter with a first rate rhythm section.
Blues rock fans will want to get their hands on
this one.
--- Graham Clarke
February marked ten years since Chicago Blues
legend Magic Slim passed away. He was such a
huge part of the blues scene for so long that
his absence is still felt today. He made
incredibly raw and powerful music for so long,
and for 13 years (1981-1993), John Primer worked
side by side with him. I always liked how Slim
gave Primer ample space on his albums and on the
stage to show audiences what he was capable of,
and Primer’s smooth, soulful and funky
contributions were a fine complement to Slim’s
rough and tumble approach.
On
November 26 of last year, Primer and The
Teardrops (Jon McDonald – guitar, Earl Howell –
drums, Danny O’Connor -bass, and Lenny Media –
drums), with Slim’s son, Shawn Holt, guesting on
two tracks, recorded an outstanding live set in
Chicago at Rosa’s Lounge paying tribute to the
much-missed bluesman.
Teardrops for Magic Slim (Blues House
Productions) includes a dozen tracks from Slim’s
vast repertoire that will be familiar to his
fans. Primer and company give a masterful
performance that surely had his former boss and
dear friend smiling from above.
Slim
fans will recognize all of these tunes, as “Talk
To Your Daughter,” “Luv Sumbody,” the slow blues
“Every Night, Every Day,” “Ain’t Doing Too Bad,”
and “Buddy Buddy Friend” kick off the set.
Primer’s guitar work certainly captures the
intensity and power that Slim’s did. It brought
back memories of hearing these songs over the
years, with goose bumps galore. The only Slim
original on the set, “Trouble Of My Own,” is
another splendid slow blues, with Primer and the
band at their best on this track.
Shawn Holt sits in on the next two tracks,
playing guitar and singing on the crowd favorite
“Let Me Love You Baby” and the somber “It Hurts
Me Too.” There’s also a rumbling version of
“Look Over Yonder Wall,” done in the distinctive
Magic Slim style. Guitar Slim’s standard, “The
Things I Used To Do,” features some stinging
fretwork from Primer.
The
set wraps up with another pair of fan favorites,
“Before You Accuse Me” and Little Milton’s “The
Blues Is Alright.”
Primer is in excellent form throughout. I
wondered how many times he actually has played
these songs over the years. He plays them with
an energy and intensity that you can feel
through the speakers. The Teardrops are razor
sharp, providing rock solid backing.
Teardrops for Magic Slim is about a fine a
tribute as a blues legend could ask for, and
belongs in every Chicago blues fans’ collection.
--- Graham Clarke
Shortly after British blues rock icons Savoy
Brown completed their 42nd album, Blues
All Around (Quarto Valley Records),
founder/guitarist/singer/songwriter Kim Simmonds
passed away just a week after turning 75.
Simmonds had been diagnosed with colon cancer in
September of 2021. He went public on Facebook
last August, stating he had to suspend his live
performances for the rest of the year due to the
difficulties he was experiencing playing guitar
(side effects of chemotherapy were causing
peripheral neuropathy in his hands and fingers).
The
new release leans more toward the blues side of
blues rock than previous efforts, and it
required some modifications to the band’s
approach in the studio due to Simmonds’
declining health. At the recommendation of
engineer/studio owner Ron Keck, drummer Garnet
Grimm and bassist Pat DeSalvo played their parts
after Simmonds laid down his guitar and vocal
tracks, eschewing the band’s usual “live in the
studio” format. Also, John Shelmet suggested
Simmonds play more slide guitar to offset the
effects of the neuropathy. None of the
difficulties involved are detectible in Simmonds’
guitar work or vocals (he also wrote all 12
tracks), sounding as inspired and passionate
about the music as ever.
After a snippet, “Falling Through,” which will
reappear in full form at the close of the album,
things begin in earnest with the straight-ahead
rocking shuffle “Black Heart,” moving into the
swampy “Going Down South,” which features
Simmonds’ terrific slide guitar and harmonica,
and the gritty “Gypsy Healer.”
The
title track follows, adding organ (by Simmonds)
to the mix, giving it a slightly different feel,
and Simmonds really ups the ante with some
stellar guitar work on this track. Meanwhile,
“Texas Love” is a tough blues rocker with a
grungy guitar rhythm driving things along, and
the marvelous slow blues “Winning Hand” offers
more superb slide guitar.
“Hurting Spell” is a tough blues with Simmonds
on slide and organ, and the mid-tempo Latin-feel
of “Can’t Go Back To My Hometown” allows ample
opportunity for Simmonds’ fretwork. “California
Days Gone By” is a slide-driven shuffle that
works really well, the sizzling “My Baby” rocks
hard with more slide guitar and DeSalvo’s
walking bass line, and the pensive closer,
“Falling Through The Cracks,” expands the brief
snippet that opened the disc with Simmonds
playing and singing unaccompanied.
Kim
Simmonds and Savoy Brown have been playing their
brand of blues rock since 1965. If you were on
board at the beginning, you’ll find that the
band’s sound was as vital now as it was at their
formation. Each release was as compelling as the
previous ones, which is no mean feat over a
57-year, 42-album run. That’s completely due to
the talent, drive and determination of Simmonds,
whose guitar work was as inspired at the
conclusion of his career as it was at the
beginning.
Blues All Around may close the book on Savoy
Brown, but what a book it was!
--- Graham Clarke
Steve Hill has been known as a one-man band
for the last decade, but for his latest album,
Dear Illusion, he’s joined by drummer
Wayne Proctor and a big horn section, along with
a couple of other guest artists on selected
tracks. Granted, Hill still plays guitar, bass,
drums, pedal steel, piano, mandolin, and
harmonica throughout, and he wrote or co-wrote
all ten songs. Three years in the making, Hill
decided to make some revisions to the final
product during the pandemic that helped ensure
that the album would be an appropriate tribute
to his 25 years as a recording artist.
The
thunderous blues rocker “All About The Love”
gets things off to a rousing start and builds in
intensity, with the horns really kicking in
about a minute in. “Keep It Together” is an
upbeat blues with a country feel, compliments of
Hill’s harmonica, and “Everything You Got” leans
more toward the rock side of the aisle but with
the horns giving it extra punch and Hill’s
fretwork is most impressive. The bluesy title
track is a smoldering ballad with Hill’s
anguished vocal, soaring horns giving the track
a bit of a pop feel, while “Steal The Light From
You” is a retro rocker.
The
rootsy “Don’t Let The Truth Get In The Way (Of A
Good Story)” takes a hard look at the public’s
attraction to social media. It’s followed by
“Follow Your Heart,” a terrific mix of rock and
R&B that would have been a nice fit on a
’70s-era Stones album, and “So It Goes,” a deep,
emotional track with acoustic guitars about the
loss of a friend. “She Gives Lessons In Blues”
is a blues rocker with tons of soul, thanks to
great vocal and guitar from Hill, and the
closer, “Until The Next Time,” is a lovely
ballad that features some superb guitar work
from Hill.
Supporting musicians include the seven-time UK
Blues Awards Drummer of the Year Proctor, and
The Devil Horns (Jacques Kuba Seguin – trumpet,
Mario Allard – baritone sax, Edouard Touchette –
trombone), plus extra horns from Felicien
Bouchet (trumpet), Nacim Brahimi (tenor sax),
Gregory Julliard (trombone), and Benjamin
Deschamps (tenor sax). Also contributing are
Dimitri Lebel-Alexandre (pedal steel) and Rocky
Laroche (stand-up bass).
With
Dear Illusion, Steve Hill shows that he’s
more than capable of expanding beyond his
one-man-band concept with excellent results.
--- Graham Clarke
Kansas-based singer/guitarist Kurt Allen
and his band (Gregory Schaberg – drums/vocals,
Bill Morlan – bass/vocals) were out of action
during the pandemic, which was quite a change
given the band’s usual rigorous 150 – 200 shows
a year schedule. The band was able to return to
the live scene, and with a vengence, turning in
a powerful set at The Red Shed in Hutchinson,
Kansas in May of 2021. Fortunately, the set was
captured for posterity on Live From The Red
Shed, a stirring set of nine tracks, eight
written by Allen, that shows the band is once
again in great form after the imposed layoff.
The
opener, “Graveyard Blues,” is a driving blues
rocker that gets the set off to a rousing start.
The mid-tempo “Bad Love” is a new track that
Allen sings with a lot of soul, and “How Long”
is a smooth slow burner that gives the guitarist
ample room to strut his stuff. “Voodoo Queen”
has a funky, swampy feel and the rhythm section
really shines on this extended track before
shifting gears to the rough and tough rockers
“Watch Yo Step” and “When I Fall.”
“Whiskey, Women, & Trouble” was the title track
of Allen’s previous album in 2020 and this
rendition was a definite crowd pleaser. The only
cover on the set is an explosive version of Son
House’s “Death Letter,” that works extremely
well and provides a perfect lead-in for the
album closer, “Better Think Twice,” a
hard-rocking cautionary tale.
Live From The Red Shed shows that Kurt Allen
and his bandmates returned to live performances
with a vengeance. With plenty of searing guitar
work and a rhythm section deeply entrenched in
the pocket, this album is a great fit for anyone
who digs live blues rock in action.
--- Graham Clarke
Gayle Harrod began her singing career, at
least her public career, at age 42 back in 2011,
singing with the band Triple Shot. She also
performed with the blues/classic rock band Blues
Deluxe and the R&B band Shakedown before forming
The Gayle Harrod Band with guitarists Stan Turk
and and drummer Chuck Ferrell. Their debut
release, Temptation, features a dozen
tracks written by Harrod and the band. Other
contributors include guitarists Buddy Speir,
Jonathan Sloan, Sol Roots, and Bobby Thompson,
keyboardist Brian Simms, bassist Christopher
Brown, backing vocalists Mary Ann Redmond and
Dusty Rose, and harmonica player Rachelle Danto,
as well as the Beltway Horns and the Voices of
Faith.
The
mid-tempo funky shuffle, “Sweet Memphis Man,”
gets the album off to a rousing start, followed
by the anthemic “Come On People,” which calls
for peace and understanding during these
turbulent times. “Baby We’re Through” is a tough
blues ballad that finds Harrod showing her lover
the door, and the atmospheric title track finds
her in the ongoing struggle between good and
evil, the devil on one shoulder and the angel on
the other.
“In
The Deep Dark Night” tells the tale of a secret
love affair with a New Orleans second line
rhythm, and if the gospel flavored “Bring Me
Along” doesn’t light your fire, your wood must
be wet. The acoustic country blues “Waiting In
The Shadows” provides a perfect showcase for
Harrod’s powerful vocals.
The
soulful, horn-infused “Break” is a spirited
workout, and “You’re Gonna Miss Me” is a
hard-charging rocker, while “The In Between” is
country soul in the finest Muscle Shoals
tradition. The amusing “God Laughed” has a bit
of a Crescent City feel, and the lovely ballad
“Beautiful Friend,” which offers advice and
encouragement to a loved friend, closes the
disc.
Harrod has such a strong and versatile set of
pipes that it makes one wonder why it took her
so long to share them with the public. She’s
also a gifted songwriter in a variety of styles
that reach beyond the blues. Temptation
is a most promising debut release from The Gayle
Harrod Band and hopefully we will hear more from
them soon.
--- Graham Clarke
Joe
Augustin, a.k.a. Achilles Tenderloin,
plays a brand of blues that also incorporates
folk and Americana into the mix. His latest
release, Tincture for Trouble, features
ten memorable songs written by Augustin that are
both interesting and unique in their lyrical and
musical content, with a multitude of instruments
not normally associated with the blues that work
impressively well.
“Torch Song” opens the disc, a gently swinging
jazzy number with muted trumpet and Augustin’s
acoustic guitar and quiet vocal. The somber
“Blue Silhouettes” follows, with violins and
cello enhancing the moody track, and “Little
Girl Blue” is a fine showcase for acoustic
guitar and mandolin with haunting background
vocals. The ominous “Kiss The Ground” is a
striking, gritty blues with slide guitar and a
slow, driving rhythm, while “Don’t Be Long” is a
bit more upbeat, even jaunty with an old timey
flair.
The
intriguingly-titled “Never Trust A Barber” is an
eerie track that feels like a humid, moonless
night in the Mississippi Delta, and the swinging
“Falls Thistlethwaite” has a strong country feel
with Dave Hadley’s pedal steel, while the lively
but brief “Pipedream Blues” features more of
Augustin’s slide guitar.
The
title track is a lovely, pure Americana ballad,
and the closer, “Howlin’ At The Earth,” is a
somber blues that more or less brings together
everything that preceeded it.
A
powerful set of blues and roots music,
Tincture for Trouble is the best release yet
for Achilles Tenderloin. Compelling lyrics and
interesting musical arrangements and
performances make this one required listening.
--- Graham Clarke
Mike Zito and Albert Castiglia teamed up for
a very successful tour last spring and summer.
Dubbed the “Blood Brothers” shows, the tour will
continue in 2023. The pair also have released a
collaborative album on Zito’s Gulf Coast Records
label.
Blood Brothers was produced by another pair
of formidable guitarists, Joe Bonamassa and Josh
Smith, at Dockside Studios in Maurice, Louisiana
with a core band that includes Douglas Byrkit
(bass), Matthew Johnson and Ephraim Lowell
(drums/percussion), and Lewis Stephens (keys)
with a host of guest artists, including Smith
and Bonamassa sitting in on guitar.
The
11 tracks include five originals and six covers.
The album opener and first single is “Hey Sweet
Mama,” penned by Zito, which is an old school
Berryesque rock and roller with Castiglia and
Zito sharing vocal and guitar duties. Zito also
wrote the gripping “In My Soul,” written after
Zito’s wife Laura was diagnosed with cancer, and
Castiglia delivers on Tinsley Ellis’ “Tooth and
Nail,” a tough southern rocker written
especially for the duo. Next is a cover of Fred
James’ “Fool Never Learns,” a smooth soul burner
with a dazzling horn section driving things
along.
Bonamassa is featured on guitar on Castiglia’s
“A Thousand Heartaches,” a powerful tale of
unrequited love that also benefits from the
backing vocals contributed by Jade Macrae and
Dannielle DeAndrea. John Hiatt’s “My Business”
gets a gritty, swampy treatment with scorching
slide from Zito. “You’re Gonna Burn,” the second
Fred James tune on the disc (co-written with
Berry Hill), is a smoldering slow blues, while
the romping cover of Graham Wood Drout’s “Bag
Me, Tag Me, Take Me Away” revisits the retro
rock feel of the opening track.
Zito’s “No Good Woman” is a strong, mid-tempo
blues rocker, and the dynamite instrumental
“Hill Country Jam,” written by Zito and Smith,
is reminiscent of the Allman Brothers Band, with
the guitars playing in harmony and the rest of
the band locked in tight behind them.
The
album closes with “One Step Ahead of the Blues,”
written by Roger Tillison, but made popular by
J.J. Cale. This is a fun conclusion, with Zito
and Castiglia sharing vocals. It’s obvious
throughout this tune that the pair have
developed a powerful musical bond.
Hopefully, that musical bond will continue to
develop and these guys will continue to work
together. Be sure to keep an eye and ear out as
they continue their Blood Brothers Tour
throughout the U.S. this year and grab up the
fine Blood Brothers album while you’re
waiting for them.
--- Graham Clarke
For
Scott Ellison’s 14th, and latest release,
Zero-2-Sixty (Swordfish Records), the
singer/songwriter/guitarist decided to strip
down and produce a rock solid set of modern
blues that touch on Chicago as well as Texas and
his native Oklahoma. He wrote or co-wrote (with
Michael Price and/or Chris Campbell) 11 of the
12 tracks and plays keyboards, bass, and
percussion in addition to his guitar duties,
backed by Jon Parris, Ron Morgan or Matt Kohl
(bass), Robbie Armstrong or Matt Teagarden
(drums/percussion), Danny Timms or Hank Charles
(keyboards), and David Bernston (harmonica).
“She
Needs A While Lotta Lovin’” opens the disc, a
tough and tight shuffle that features Bernston’s
harmonica backing. “That’s How I Love My Woman”
follows, a superb slow blues with some signature
Ellison fretwork and Timms’ B3 in support. The
title track is a funky blues with a greasy
groove that leads into the album’s lone cover, a
tasty read of Bobby “Blue” Bland’s hit “I
Wouldn’t Treat A Dog.”
Ellison does a good job with his heartfelt vocal
and the guitar work here is first rate. “You
Can’t Blame A Guy For Tryin’” is a cool Windy
City-styled shuffle and “Before the Teardrops
Fell” is a soulful ballad. He breaks out the
slide for the fierce blues rocker “Hard Headed
Women,” and the country blues “Dig A Little
Deeper.” “Jenni Kat” is a Texas-flavored
shuffle.
“Ache In My Heart” is a gripping soul burner
dealing with heartbreak. The moody “Soul Harbor”
continues the soul vibe, with Ellison’s guitar
work adding the right touch of blues to the mix,
before the album wraps with “You Can’t Hurt Me
No Mo’,” another great shuffle punctuated by
Ellison’s piercing lead guitar.
Zero-2-Sixty is another fine addition to
Scott Ellison’s ever-increasing catalog, each
subsequent release improving on the previous
effort. If you’re not familiar with Ellison's
work, this is a fine place to get on board, but
you’ll want to dig deeper after listening.
--- Graham Clarke
|