Kati Ingino (pronounced Kaa-tea) is an
energetic presence on the southwest music scene,
coming from Marbach near Stuttgart in the ‘90s to,
of all things, “become a blues bassist.” Over the
years she played bass in the bands of Midnite Blues,
Hacksaw’s Blues, and Big Pete Pearson. She has
always been a fashion trendsetter onstage, which
lent itself well when she co-founded, played bass,
and sang with Phoenix’s critically acclaimed all
female band Sistah Blue. This last group enjoyed
phenomenal success, popularity and awards, with a
repertoire of tight, slick and almost theatrical,
blues/funk/soul.
Through it all Kati’s bass style has been
groove-based, whether laid-back Jimmy Reed or funky
Bootsy Collins. But musical progress and evolution
are important to Kati. So if you’re looking for a
blues purist disc, you won’t find it here. This is
Kati’s songwriting debut.
Break Out (Choice Productions) has her doing
just that. The CD features many of her dearest
friends, which is where she finds such good
musicians, and in some cases co-writers. It’s music
with commercial potential, but also strong on its
own. It’s a statement of what she’s been doing in
the 2000’s, since the Sistahs.
The first thing evident on this disc is Kati’s vocal
style. When singing with other bands her voice only
gets heard sporadically. But here she’s out front
every time, leaving the bass duties mostly to the
awesome Roger Dryer (a funk master). This allows
Kati’s vocal glissandos and timbre edges a
deliberate focus, revealing (for lack of a better
term) a rather unpolished Gwen Stefani edge. It is
certainly in that range.
The rest of the cast is Rich Reed on drums, Anthony
Kinchion on guitar, and Ted Belledin on keyboards
and saxophone. Guest appearances include Arthur
“Buddy Strong” Jr. and Steve Kostakes on keys,
former “Sistahs” Dejah and Nancy Dalessandro , Ervan
Pugh and Ronnie Whitehead playing guitar (the latter
instead of vocal)!
Next we witness Ms. Ingino’s personal musical
philosophy. Disc sequencing starts strong, then the
whole program slowly unwinds. The title track is
first, and it’s funky (first released on a 2004
Sistah Blue EP). It contains too much synthesizer
for my personal taste, but after that the music
retains high production values proportionate to its
style.
Background vocals are on-target, often including
Kati’s overdubs. On the second track tension is
released with the somewhat bluesy ballad “Only Glad
You’re Gone” (primary mix). This title was once
recorded by Sistah Blue with Lila Sherman’s vocal on
5 Pieces o' Sweet in ‘01. This newer version
features a former Sistah Blue lead vocalist Dejah,
plus Ted Belledin on saxophone.
Fairly early on, a folk feel takes over with “I Like
You, Like You, Like You” and “She Hides Her Heart,”
albeit mostly electric. This segues nicely into “Why
Did You Tempt Me,” feeling like free-form rock radio
of the ‘70s, or perhaps neo-soul. “Louise” is in a
deep funk, anchored by blues chords and spread with
almost rap phrasing. “Fragment in your Dreams” seems
to borrow from Beatles chords, except the biting
lead guitar is more out of ’80s or ’90s.
Next is “Love Doesn't Talk,” a minor medium rock,
then a solid funk “Need Nobody” with swirling urban
electric sax. The folk feel continues (every time
Kati plays guitar) with “Would You Miss Me.” Tempo
is maintained toward the end, overlaid with
double-time brush drumming on “A Little More Time.”
Effective is concluding the album with an alternate
mix of “Only Glad You’re Gone” with Dejah remaining
on backing vocals, then guitar and keyboard rather
than sax.
Lyrics are not controversial or political, instead
they deal with many moods and modes of life.
Centered around various stages of relationships and
emotions, verses lie well over good use of hooks and
repetition, all simple secrets to grab listener
attention. If a two-sided single were to be culled
from the album, it would surely have to be “Break
Out” backed by “Only Glad You’re Gone.” And three or
four more could also become favorites.
The best thing about this appealing disc: the music
stays in your head. For more info, check Kati's
Myspace page.
--- Tom Coulson
Radio broadcaster/musician
mailto:tcoulson@ktar.com
This Swamp Coolers disc was purposely
reviewed while driving in southern California. A
previous Swamp Coolers album was reviewed in the
December 2006 edition of
Blues Bytes.
The group’s latest disc, Califaction (Tiki
Records), pictures the atom bomb on the cover, and
inside contains groove and rebellion. The production
is quite good and musical topics sound and feel
urban: buildings, cars, Beatles and outdoors. The
lead guitar is good, lead vocals purposely crude and
untrained, mostly bassist Mike Kunes, but also
keyboardist Nonie Bernard.
Background harmony balances well (Candi Hofmann’s
voice is up front at one point) and additional audio
sweetening is effective. There’s varied syncopation
in the tempos and rhythms, for example “I Got You”
is both poppy and catchy. Word on street before
review was the disc’s version of “Route 66” is
killer, and the word is right. Especially in a surf
sense.
Manhattan Transfer voicings inspire “Big Wave” and
the CD concludes nicely with a half-time
instrumental blues variation. Above all the group
creates, and has, fun.
Heard live and steady around their home base of
Phoenix, the Swamp Coolers go way beyond surf,
whether “Ain’t Gonna Study War” or “Moondance” or
John Lee Hooker’s “Boom Boom Boom.” Often they
gravitate to blues and pop patterns. On record they
continue to evolve and grow, and are somehow retro
and a little forward at once.
---Tom Coulson
Radio broadcaster/musician
mailto:tcoulson@ktar.com
Even though Johnny Moeller lists influences as
diverse as Albert Collins, Lightnin’ Hopkins, and
Stevie Ray and Jimmie Vaughan, he actually doesn’t
sound like any of them. Instead, the Austin
guitarist incorporates them into what he plays,
which is a conglomeration of rock n’ roll, jazz,
funk, and soul, with blues as the glue that holds
things together. That sound is summed up perfectly
by Moeller’s latest release, BlooGaLoo (Severn
Records).
BlooGaLoo was recorded over a four-year span,
perfectly understandable given Moeller’s busy
schedule. In addition to fronting his own band, he’s
also served as Severn’s house guitarist for several
years and toured with several of the label’s other
artists (Darrell Nulisch, Lou Pride, and Tad
Robinson), but his best-known gig may be as
guitarist for the Fabulous Thunderbirds.
T-Bird front man Kim Wilson contributes vocals and
harmonica on two tracks (Jesse Anderson’s blues
rocker “Got A Feelin’” and a fiery version of
Frankie Lee Sims’ “Well Goodbye Baby”). Another
Austin mainstay, Lou Ann Barton, adds her sassy
vocals to Earl King’s “Everybody’s Got To Cry
Sometimes,” and does a playful duet with Moeller on
Slim Hill’s “I’m Stuck On You,” and Shawn Pittman
sings the Moeller original, “I’m Movin’ On Up.”
Moeller actually takes a few lead vocals himself on
BlooGaLoo and acquits himself very well, especially
on an absolutely fierce version of Earl King’s
“Trick Bag” and Earl Hooker’s “Tease Me Baby.” Fans
of his guitar work will have plenty to shout about,
too, with several strong instrumentals, including
the soulful title cut featuring Moeller and keyboard
wizard Matt Farrell, who features prominently on
several tracks, and the funky “Theme From The
One-Armed Swordsman.” Moeller’s fretwork work is
excellent. There’s never a note out of place, but
what he does play gets your attention and keeps it.
BlooGaLoo is Johnny Moeller’s best disc yet and will
prove difficult to remove from your stereo.
--- Graham Clarke
Phil Gates has been around music all his life,
coming from a musical family in Chicago and playing
violin, clarinet, and drums by the time he was eight
years old. He picked up the guitar at age 12 and
never looked back, taking in the music of Buddy Guy,
Albert King, Carlos Santana, and Jimi Hendrix. He
played music on the side while working in the
aerospace industry, producing and doing session
work. His latest release is Addicted To The Blues (Setag
Music), a powerful set of modern blues that should
garner some attention.
“Get Around To Me,” a song about a man who can’t get
his lady to pay him any attention, opens the disc on
a funky note. “Sexy Little Cool” is a highlight and
showcases Gates’ slide guitar playing. “Evening
Train” delves into different territory with its
driving country beat. “My Babe” has a neat little
groove and some great guitar work from Gates, while
“Everyday” lays the funk down heavy amid its
inspirational message. The title cut is a fun track,
with Gates using the vernacular of an addict to
describe his burning desire to play the blues.
“You Should’ve Listened” is a slow blues about an
ailment that hounds many people, male and female,
and “I Never Knew” is a swinging tune with an
original look at an ending relationship. “Used Me
Up” features more slide guitar in an R&B vein. “Road
Shufflin’” is an instrumental that grooves hard and
features some first-rate guitar, and “End of Time”
is a fiery Texas shuffle. The disc closes with “The
Wisdom,” which blends a New Orleans Second Line beat
with gospelly backing vocals, where Gates pays
tribute to his family and friends who have passed on.
Addicted To The Blues is a masterful slice of modern
blues by an artist who has the total package. Phil
Gates is an excellent songwriter who views
traditional themes in a modern manner. His guitar
work is outstanding (he also plays bass, keyboards,
and drums), as is his singing. You are strongly
encouraged to check out this release at CDBaby and
visit his website.
--- Graham Clarke
Shakura S’aida was born in Brooklyn, raised in
Switzerland, and now lives in Canada. She speaks
three languages. She has acted on stage and screen,
and has even sung backup for Patti LaBelle. In 2008,
she gave a mesmerizing performance at the
International Blues Challenge in Memphis which
resulted in a Second Place finish. Since that
performance, she has toured Europe seven times, with
two more to come this year. Oh, yeah……she just
released an impressive CD for Ruf Records, called
Brown Sugar, which should increase her profile even
more.
Brown Sugar is produced by Jim Gaines (Luther
Allison, Stevie Ray Vaughan, Steve Miller, Carlos
Santana). Ten of the 12 tracks were written by S’aida and guitarist Donna Grantis. The songs range
from traditional blues themes (“Mr. Right,” “Gonna
Tell My Baby”, “Outskirts of Memphis”) to sassy soul
(“Walk Out That Door” and “This Is Not A Love Song”)
to pop-oriented tracks like “Angels On High,” “(Did
It) Break Your Heart,” and the title track. The
covers are the upbeat “Sweet Spot” and the funky
“Anti Love Song,” which was written by Betty Mabry
(singer and former wife of Miles Davis).
Vocally, S’aida can handle anything she’s given with
room to spare. Truly, she’s one of the more
versatile blues vocalists on the scene right now.
With her on-the-money guitar work, Grantis is truly
S’aida’s soul mate, tough where she needs to be and
tender when needed. She’s the X-factor on Brown
Sugar. The excellent band supporting them consists
of organist Lance Anderson, Rick Steff on keyboards,
drummer Steve Potts, and Dave Smith on bass.
Brown Sugar will doubtless make some noise on the
blues charts. It’s a taut mix of blues and soul,
with a little pop mixed in. It’s sure to satisfy
fans of all three genres. Visit Shakura S’aida’s
website and download her song, “Angels On High.”
It’s a worthy cause, with all proceeds going to
Haitian relief funds.
--- Graham Clarke
Peter Parcek goes back to the 1960s, where his
bands were influenced by that era’s blues/rockers
like Eric Clapton, Peter Green, Jeff Beck, the
Rolling Stones, and Pink Floyd. He previously served
as sideman for bluesmen like Hubert Sumlin and
Pinetop Perkins and the rock group The Singhs,
before striking off on his own with the Peter Parcek
Band and a duo project called Forty-Four. His latest
release, The Mathematics Of Love (Redstar
Entertainment/Vizztone), mixes the blues with rock,
surf, country, jazz, and roots music. The result is
an original and diverse set that will please guitar
fans of any ilk.
Though Parcek incorporates many genres into his
music, the blues is the source of it all. The
opening track, Peter Green’s “Showbiz Blues,” kicks
things off in fiery fashion. I like the clever
lyrics and vaporous feel of the title track, and the
lively instrumental, “Rollin’ With Zah” is just pure
fun. Next up is Jessie Mae Hemphill’s “Lord, Help
the Poor and Needy,” which is recreated with a
thoroughly modern sheen.
An incendiary instrumental version of Lucinda
Williams’ “Get Right With God” is next, followed by Parcek’s moody “Tears Like Diamonds.” I really like
his animated interpretation of Mississippi Fred
McDowell’s “Kokomo Me Baby,” which contrasts well
with the mellow Delta groove of the following track,
“New Year’s Eve” (with Ronnie Earl). Parcek pulls
out all the stops on the instrumental take of Ray
Charles’ “Busted,” which features Al Kooper on
organ. A sparkling acoustic version of Cousin Joe’s
“Evolution” closes things out.
Parcek gets great support from Steve Scully (drums),
Marc Hickox (bass), Jimmy Ryan (mandolin), Dan
Kellar (violin), Marty Ballou (upright bass), Earl,
and Kooper. Guitar fans will absolutely love The
Mathematics Of Love.
--- Graham Clarke
Trance Groove (Toulcat Records) is the latest
release from The Julien Kasper Band. Kasper, like
most guitarists of his generation, got into music
after listening to the Beatles and learning to play
solos from Eric Clapton, B. B. King, Duane Allman,
and Freddy King. He’s played with Pat Ramsey (in the
blues/rock band Crosscut Saw) as a teenager. Most
recently, he worked with keyboardist Bruce Katz,
with whom he appeared on two CDs and Mighty Sam
McClain. Currently, Kasper is a professor at the
Berklee College of Music, serving on the guitar
faculty. Trance Groove is his third release.
Teaming with bassist Jesse Williams and drummer Zac
Casher, Kasper has created a stunning and diverse
album that draws on elements of blues, jazz, and
rock in equal measures, similar to the guitar work
so prevalent in the late 1960s that eventually led
to the fusion movement of the ’70s.
Nowhere is the nod to fusion more obvious than on
the title track, which opens the disc. “Chupacabra”
leans more toward the rock side and benefits from
the groove laid out by T Lavitz’s Hammond B3. “The
Reverend” is the purest blues track here, a slow,
moody number.
Kasper offers studies at Berklee on the styles of
Jimi Hendrix and Jeff Beck, so it’s only fitting
that tracks like “Trash Day” and “Riff 53” have
Beck’s fingerprints on them. Other highlights are
the hard rocker, “Milk Truck,” the classical-edged
“Abyssinia,” and “Carolina Rosa.”
Trance Groove is an impressive mix of various guitar
styles, with something for any guitar fan to enjoy.
--- Graham Clarke
One of the better blues/rock discs of the year is
from the Jimmy Warren Band. Entitled No More
Promises (Electro Glide Records), it features twelve
tracks of blues/rock written and arranged by
guitarist Warren, who first picked up the guitar in
his mid-twenties. He has more than made up for lost
time, playing for a wide-ranging list of artists
including Buddy Miles, Lonnie Mack, Pat Travers,
Koko Taylor, Junior Wells, Sugar Blue, REO Speedwagon, and Chris Duarte. In the late
’90s, he
took an extended break from music to spend time with
his family, but has returned with a vengeance,
releasing a live disc in 2009 and this worthy
follow-up.
Standout tracks include the opening cut, “Watermelon
Money,” is a jazzy track with innovative lyrics,
“Mean Mistreater,” a slow blues shuffle teaming
Warren with guitarist Jimi Dill, “Darker Shade of
Grey,” an instrumental that allows Warren to put his
guitar chops on display. Bob Margolin adds some
sensational slide guitar to “It Ain’t Fair.”
“Standing In My Shoes” is a topical blues about a
familiar theme --- unemployment during rough times.
“Love’s Gone Bad Again” is punctuated by some great
guitar work from Warren and a heartfelt vocal, and
“A Love That Hurts” is the purest rocker on the
disc. “A Matter of Time” has a great soul feel with
B3 organ played by Warren (who also plays drums,
bass, and keyboards on selected tracks). The closing
track, “Send Me On My Way,” may be the best track on
the disc, another working man blues track with a
tense vocal and piercing guitar leads from Warren.
No More Promises is a strong blues/rock disc
featuring great performances and a powerful set of
original tracks covering matters of the heart and
everyday tribulations that we all face on a daily
basis. Jimmy Warren made a wise choice returning to
music. He’s an artist who deserves to be heard.
--- Graham Clarke
There are several things you can count on any time
you listen to a release by The Mannish Boys: a
lineup of the best players on the current blues
scene, a track list consisting of familiar and
not-so-familiar blues tunes, excellent performances,
and a guaranteed good time from the band and
listeners alike. There is nothing to be found to
disprove that statement on their latest release from
Delta Groove, Shake For Me.
The present group consists of vocalists Finis Tasby
and Bobby Jones, guitarists Kirk Fletcher and Frank
Goldwasser, and harmonica player/producer Randy
Chortkoff. This time around, they are joined by a
new rhythm section (Jimi Bott –drums and Willie J.
Campbell – bass) and another all-star cast of “guest
stars,” including Rod Piazza, Johnny Dyer, Mitch
Kashmar, Arthur Adams, Mike Zito, Kid Ramos, Lynwood
Slim, and Nick Curran.
Of the 16 tracks, 12 are covers, ranging
from the familiar (“Too Tired,” “Reconsider Baby,”
“Last Night,” “Champagne & Reefer” and a Bo Diddley/Johnny
Otis medley of “Mona” and “Willie And The Hand
Jive,” with Bobby Jones and Mike Zito on vocals) to
the somewhat obscure (the Howlin’ Wolf tune, “You
Can’t Be Beat,” “Black Nights,” Ray Charles’ “Hey
Now, and “Way Down South,” which features Dutch
singer/harp man Pieter “Big Pete” van der Pluijm and
Kid Ramos).
The new tracks include a pair of songs by Chortkoff
(“Educated Ways,” featuring Goldwasser on slide
guitar, and "Those Worries,” with Lynwood Slim and Chortkoff
pairing up on harmonica), “The Bullet,” a scorching
instrumental guitar fest with Fletcher and Nick
Curran, and “Raunchy,” penned by Arthur Adams, who
also sings and plays guitar.
You can’t go wrong with The Mannish Boys. Shake For
Me is as good a time as you’ll have with any current
releases. Simply put, its good blues done right.
--- Graham Clarke
It’s been over five years since Kirk Fletcher
released his last solo disc, Shades of Blue, and a
lot has happened for the young man since that time.
He teamed up with the Fabulous Thunderbirds and
Charlie Musselwhite on stage and in studio during
that span, and has also played or recorded with The
Hollywood Blue Flames, Lynwood Slim, and The Mannish
Boys. He also started playing with guitarist Michael
Landau around Los Angeles. After leaving the T-Birds
recently, Fletcher decided to focus on producing his
own material again, and the result is My Turn, his
latest release for Eclecto Groove Records.
My Turn finds Fletcher playing with an impressive
group of musicians, including Landau, bass player
Travis Carlton (son of jazz guitarist Larry
Carlton), Bobby Tsukamoto (former bass player for
Jesse Ed Davis), and percussionist James Gadson (who
has worked previously with Marvin Gaye, Bobby
Womack, and Bill Withers, among others). It also
finds him incorporating other sounds into his blues,
such as jazz, soul, and funk.
A couple of songs are examples of the different
direction Fletcher is taking. The funky rhythms and
blistering sax on the title cut reminded me of those
old Tom Scott records my college roommate had even
before I read in the liner notes that this was the
sound Fletcher was going for on the song, mixing in
some Hendrixian guitar work for good measure. The
album closer, “Continent’s End” is also different
from his previous work, sort of resembling Hendrix
during his “Third Stone From the Sun” phase.
The opening track, “El Medio Stomp,” is a
free-wheeling instrumental that will probably remind
you of SRV. Fletcher also covers the Jesse Ed Davis
track, “Natural Anthem,” and “Way Back Home,” a
lovely number from the ’70s pop/jazz giants The
Crusaders (featuring Travis Carlton on bass, whose
father played guitar on the original version).
“Blues For Antone” is a power-packed Texas blues
instrumental in tribute of the late Clifford Antone.
Fletcher even steps behind the mic for the first
time on four tracks…..a pair of Chicago blues tracks
(the Jimmy Reed standard “Found Love” and Jimmy
Johnson’s “Ain’t No Way”), a smoking version of
“Congo Square,” and Sly Stone’s “Let Me Have It
All.”
My Turn shows that Kirk Fletcher continues to grow
and develop as a performer, stepping out into new
directions. The guitar work has always been there
and is better than ever. Now, the vocals are coming
around very well. This is his most satisfying disc
so far.
--- Graham Clarke
The He Said She Said scenario between Peter Karp and
Sue Foley has evolved from a series of letters
between the two, to a full blown relationship, to a
traveling literary event to the final Blind Pig
recording that it is now. All along the way Peter
and Sue share the intimate intricacies of a fragile
beginning to the relationship they now share, with
all of its twists and turns. It ends up being quite
the adventure, let’s give it a listen.
The opening cut, “Treat Me Right,” finds both
parties imploring the other to be respectful of each
other, to treat each other right. We find Sue
attracted to Peter, “He’s all man…not like those
other guys” and Peter’s response to Sue’s treatment
of him, “Honey, even a broke clock’s right twice a
day.” From these fragile beginnings we find Sue
admitting she’s fallen hard in our next cut, “So Far
So Fast.” “Out of sight…I’m so afraid I won’t be all
right…I pledged my soul to a thief in the night…I
fell in love.”
“Wait” finds Peter confessing some of
his faults as he comes to grip with the feelings he
has for Sue. “I’ve been in the water with a sail
full of fury ... I’ve been heart broke and happy with a
bellyful of worry…cause everything changed when you
left me here baby…everything followed you right out
the door…all I do is sit around this old house and
wait.” Peter’s fallen hard and he’s anxious for Sue
to return.
“Rules of Engagement” find Peter and Sue trying to
establish a framework for their relationship. “Rules
of engagement…what are they for?...there ain’t
nothing fair in love and war.” They’re experiencing
the growing pains that all new couples go through
and sometimes the struggles get the best of them.
Peter moves on to “Hold on Baby,” imploring Sue to
hang in there with him. “Yeah, you might be out on
the road…rolling free and rough…you might be walking
with a swagger…yeah, talking off the cuff…but baby
you know I know that your tender as your tough…so
hold on baby…hold on.” “Mm Hmmm” finds both Sue and
Peter lamenting their time on the road away from one
another and the dance they go through each time they
reconnect. “Wouldn’t it be nice to once or twice or
even thrice, pick up where we left off to
resume…throwing each other around the room.”
In our next cut, “Danger Lurks,” Sue’s worrying
about letting Peter into her heart and committing to
her feelings, “I ought’n be dreaming about your
kiss, your voice, your eyes and all of this…Danger
lurks in the dark…in the shadows of my hear…I know
if I let myself go…I’m doomed.” Peter’s answer to
Sue is to tell her that he’s “Ready for Your Love.”
“There’s a trail of tears behind each one of your
steps…of lost souls and broken men…oh my God…what I
am thinking of? Come on baby…I’m ready for your
love.” Sue’s still worried and she shares her fears
with us in “Scared.” “I don’t know where I stand…I
don’t know who I am…All I can do is say I love you
darling…and hope you understand…I’m scared.”
Finally, acceptance comes and their love for each
other begins to grow as they share their first
“Valentine’s Day.” “Remember me…should I go
first...and all the years we were blessed and
cursed…how through it all…love lit the way…remember
it all again on this Valentine’s Day.” It’s no
secret that both Peter and Sue are on the road a lot
as traveling artists, so the time apart at times is
hard. Peter shares a portion of his thoughts on this
subject in “Dear Girl.” “Dear girl…dear girl…this is
my life at the moment…dear girl…this how I live
while you’re a thousand miles away…this is what I do
to pass the time until I have the sense of mind to
write it all down…dear girl.” Things aren’t any
easier for Sue and she shares her thoughts in “Baby
Don’t Go.” “Don’t walk away…leave me here…close the
door….disappear…don’t be so scared…give me half a
chance to relieve the doubt…If you loved me
once…you’ll love me now…baby, don’t go.”
He Said She Said closes with two songs: “Regret,” a
song by Peter lamenting his past and the thousands
of things that Sue doesn’t know about his life
before her (“there’s a water tower in the
sky…there’s a lonely whistle crying…there’s broken
lines out in the road in every town that I go…you
don’t know what I’ve lost”), and “Lost in You,”
Sue’s admission that her love for Peter is a major
component of her life. “Your eyes are old but
younger still…I wallow in your dark, deep
pools…powerless beneath your will…you know I get so
lost in you.”
He Said She Said is definitely a one of a kind
recording. While other artists have definitely had
the feelings and life experiences that Peter and Sue
share, none of them have exposed their innermost
details to the world that way that Peter and Sue have.
An excellent disc, Peter and Sue are touring this
summer behind their record and their live
performance is something I’d love to see. You can
order a copy of the disc from
www.suefoley.com or
www.peterkarp.com.
More information on this project can be found at
www.myspace.com/thehesaidshesaidproject
Enjoy!
--- Kyle Deibler
Karen Lovely’s star is definitely on the rise. The
second place finisher in this year’s International
Blues Challenge, Karen’s back with a new record,
Still the Rain, that will be a formidable competitor
for Best New Artist Debut at next year’s Blues Music
Awards. Karen’s backed by the Dawwg House Rhythm
Section, and producer Dennis Walker clearly has
brought out the best in this Blues woman from
Oregon. My old friend from Houston, the Blues Hound,
is definitely right --- Karen Lovely is “the single
most impressive emerging female vocalist I’ve heard
in quite some time.” Enough already, time to hit the
play button and get on with it.
Karen opens with “Blues Ain’t Far Behind,” her man
clearly has other things on his mind and Karen knows
he’s lying to her. “The story made no sense at all,
my heart started to break…staring out the
window….looking up the road…some big heartache’s
coming…and it won’t be long I know…I learned in my
time…when the first lie’s told…the blues ain’t far
behind.” Alan Mirikitani’s fretwork is impressive
and Karen’s clearly in command of her feelings as
she analyzes the problem in front of her. It’s clear
this man is done and he’s definitely lost a good
woman.
Up next is “Sunny Weather” and Karen’s in a
loving mood. “Don’t ever rain…nights are warm…loving
the time together…that’s how it goes in sunny
weather!” Karen’s enjoying the quiet moment’s spent
with her man, one of the benefits of “Sunny
Weather”. The title track, “Still the Rain,” is up
next and here we find a woman Karen knows
contemplating leaving an abusive situation. “A
shadow jumped…as the lights went dim…she found
herself…standing over him…she heard the levee
holding back the storm…soon the river…would be at
her door…still the rain came down.” Her choice was
clear, escape while she could…or stay to help her
abuser…a smile crept over her face as she watched
the house drift away from the top of the levee.
“Still the rain…still the rain came down.”
Karen finds the shoe’s on the other foot in our next
tune, “Cold Man Cold.” “No goodbye…no nothing…just
hit the road…that’s cold, man cold.” He left Karen
high and dry…took her TV, too. Sounds like a good man
to let go and good riddance. “Other Plans” finds
Karen contemplating the love she’s hoping for with
the man in her life. “We’ll build a future and a
home…share true love forever…if I have my way…we’d
spend each and every day…hand in hand…but you have
other plans.” I can never understand why a good man
would let a good woman slip away, but here it
happens again. He’s got “other plans” and they
clearly don’t include Karen.
In our next tune, “Ask
Your Heart,” we find more of the same. “You say it’s
clearer…every day…you’d be better off without me…so
you’re going to go…decision’s made…you’d be better
off with me…so ok baby…your head says we should
part…but ok baby…did you ask your heart?” It would
be interesting to know what his heart really says.
In “Full Time Job,” we find Karen making excuses for
the behavior of her man and realizing that loving
him is indeed, “a full time job.” “Climbing the
walls…pacing the floor…turn the porch light
on….round half past four…day and night…it’s all I
can do….it’s a full time job…loving you.” At least
in “Glad Your Gone,” Karen can feel relieved that
he’s finally gone. “Had a couple nights of rain…just
a couple cold, grey dawns…then I woke up this
morning…already glad you’re gone!” Michael Vannice’s
tenor sax echoes mournful notes in the background as
Karen appreciates the happiness that her man leaving
has brought her.
Alan’s guitar is back at the
forefront of our next tune, “Never Felt No Blues.”
“I refuse to call him…it’s me that’s been done
wrong…the way I’m feeling now…I can’t hold out too
long…I have never felt no blues…like this before!”
This one definitely hurts but Karen’s better off
having let this bad man go. Still, she’s missing the
loving touch of this man and it will be awhile
before she’s over him.
Karen’s back in control of her feelings on our next
cut, “I’ve Had Enough.” “Days drift by…with nothing
to show…except this broken down pride…with nothing
to show…I’ve had enough!” This relationship is over
and Karen’s adamant she’s moving on. Jim Pugh’s
keyboard skills on the piano set the tone for our
next song, “Older Fool.” “Some folks grow older…they
grow a little wiser too….seems to me…I’m just an
older fool!” Karen’s compassionate heart gets her
into trouble and here she’s repeating the same
relationship mistakes over and over again. Wonder
when the learning curve is going to kick in.
“Knock
Knock” finds Karen at the door of her lover, trying
to talk her way in. “Knock, Knock Baby…wish I had
your key…this would be easier on me….if I just had
your key…and no locked door…going to keep you
away…away from me!” Sounds like Karen’s determined
and she definitely wants this man. Hopefully he’ll
let her in.
Still the Rain closes with a sweet ballad, “So
Willing.” “So willing…baby…it’s so, so true…I am
ready….ready and able…to do right by you!” “My love
is for the taking…I won’t be holding back…anything
you need…all you got to do is ask…so willing…I’m
ready, willing and able…to do right by you!” Karen
truly loves this man and he’d be crazy not to
appreciate the woman standing in front of him.
I have to admit that I’ve rarely seen an artist move
this far forward so fast. Karen’s last record,
Lucky Girl, set the tone for her appearance at the
IBC, and Still the Rain is setting the table for
Karen’s first appearance at the Blues Music Awards.
Karen is indeed an amazing vocalist, backed by an
equally amazing band, all in Dennis Walker’s capable
hands. The result is one of the most impressive
debut records I’ve heard for an emerging artist
ever.
You can find out more about Karen on her
website at
www.karenlovely.com. Both of her discs are
available there, and catch a live performance by
Karen if you can. Then let me know if the Blues
Hound was right.
--- Kyle Deibler
You have to admire the temerity of Popa Chubby. It
says right on the disc for his latest release on
Blind Pig Records, The Fight Is On, “play at full
volume for maximum effect.” The Fight Is On is Popa’s tribute to classic rock music and it truly
does function very well at full volume. Let’s give
it a listen at a volume that works.
The title cut is up first and already we’re settling
in for what is bound to be quite a ride. A solid
drum intro gives way to Popa’s guitar and here we
go. “The time for talk is over…and the lessons have
been learned…so touch gloves and go to neutral
corners…til you feel the bell…there ain’t no room in
heaven…you’re already been in hell….the fight is
on!” Survival is the battle of the fittest and the
fight is on! Up next is “We’ve Got Some Rocking to
Do” and the anthemic attack of Popa’s guitar rages
on. “I’ve been working my fingers to the G-Damn bone
and the boss man don’t want to leave me alone…now
its 6:05 and I’ve got a whole lot of money…we’ve got
some rocking to do.” Popa works hard and now it’s
time to get out and play hard.
Our next cut,
“Another Ten Years Gone,” reflects on the passing of
musical influences in Popa’s life. From Hendrix to
Lennon to Steve Ray Vaughn, they all influenced
Popa’s music. “I was 30 years old when Stevie Ray
died….stone cold sober and I stood there and
cried…wind and mountain…steel death trap….Lord they
came…took Steve Ray back…and the blues keeps moving
on…Lord, I’m 10 years gone!”
“The Right Time” ends up being a shuffle and the
mood definitely changes. “This time is going to be
the right time….going to be the right time…wake up
momma…do you hear the clock ticking….put your head
on my heart…can you feel it ticking…I ain’t making
up for lost time….this time…is going to be the right
time!”
The classic rock theme returns in “Rock &
Roll is My Religion” as Popa lets us know, “you can
keep your justice…I don’t need your rules…I just
roll among my soul…sing those low down blues!” He’s
content with his place in the world and far be it
from us to try to change him. Things keep moving
with our next tune, “The Company of Thieves.” “The
company of generals…sure to take your life…but the
company of thieves…will put you to the knife!”
Popa’s living fast and loose, definitely appreciates
it being that way.
Our next song, “Switchblade Combs and Candy
Cigarettes,” almost has a Jimmy Buffet feel to it.
The song is about Popa’s encounter with a very gutsy
13 year old girl. “And you’re a wicked child…the
kind that makes me smile…I have no regrets…and when
you walk alone you have a switchblade comb and candy
cigarettes.” This encounter reminds Popa of his
childhood and the circumstances are eerily similar.
Chubby’s fretwork is just amazing and he follows
this tune with another rocker, “Noisemaking Love
Machine.” “Finest style, expert skills…got that
money…pay them bills…I’m a hard hitting daddy…sure
enough to make you scream…when I come a calling….I’m
a noisemaking love machine.” Popa’s been in jail and
now that he’s back on the streets, he’s definitely
back on the prowl. Up next is “Steelhorse Serenade,”
a rocking instrumental. Pig’s work on both the bass
and drums is amazing and the band is at their loudest
volume, ear-drum breaking best. Wow!
The levels drop down to a tolerable level in our
next tune, “It’s Over.” “I’m over the limit…I’m over
the thrill…over and over…and over again…I tell you
it’s over…it’s over my friend…over the limit…and now
you must pay!” Popa’s woman’s been bad and now it’s
time to rein her bad habits in. “Wicked Wanda” and
her ability to play Popa are the subject of our next
tune. “The fool that I was…didn’t matter none…til
she slipped out the room…slipped back in with a
gun…I know your type…three kids and a wife…and if
you’re smart…you’re going to want to save your
life…some girls are sweet…some girls are gay…but I’m
the kind of woman…going to blow you away!” Popa got
more than he bargained for this time. He won’t come
around “Wicked Wanda” again anytime soon.
The Fight
Is On closes out with “Ace of Spades” and here we
find Popa is a gambling man. “Push enough to ante…I
know you’re going to see me…read em’ and weep…the
dead man’s hand again…I see it in your eyes…take one
look and die…the only thing you’re going to see…the
ace of spades!”
This definitely has been a rocking album from
beginning to end. Popa’s first studio album in
almost two years has definitely been worth that
wait. And Popa’s right, “play at full volume for
maximum effect!” You can find out more about Popa
Chubby and grab a copy of this amazing disc at
www.popachubby.com.
--- Kyle Deibler
I have to admit a bit of a bias against Australian
“Blues” bands, as most of what I’ve heard doesn’t
usually fall into the generally accepted category of
blues. However, I’ve recently heard some Australian
bands that know what the blues is, and Chase The
Sun is one of them. Having said that, they lean
a little towards rock, although it is blues-rock
and, in any case where did rock originate from?
This is a band that doesn’t pretend to be anything
that it isn’t, they play pure rocking blues, or
blues rock if you prefer, and they play it well. If
you want to try and define it, then it’s a bit like
the music that “Government Mule” produce.
Rednecks & Gentlemen is the band’s second
album, and the music has progressed. I liked the
first CD, and I like this one more.
The CD opens with the title track, “Rednecks &
Gentlemen,” which is written by the band members, as
are all 11 tracks (track seven, “Living Free,” is
written by the band plus two others). The track
gives you a taste of what’s coming up in the album,
it’s instrumental, full of flavour and excitement,
and it makes you want more.
“Dream Maker” has a bit of Hendrix influenced guitar
at the start, with some driving rhythm section
pushing the guitar and vocals forward, while “Away
On Business” slows things down a little. “Girl Can
Talk” lifts the tempo just a little, before things
slow way down with the beautiful “Live On,” which
has some poignant lyrics about a man looking over
his life – living on just to die. This is followed
by the slow, slow, “Sweet Candy,” with a guitar riff
that puts me in mind of “Spoonful” as performed by
Cream.
And then….. Oh Boy!!! The listener gets smacked in
the ears by the fast boogie blues-rocker “Living
Free” – for me, the whole CD is worth having just
for this track alone, and that’s not to say the rest
of the album isn’t good, it’s just that this is
something special. It obviously gave the band the
boogie fever, because they’re off and running with
the fast paced “6 Feet Under” – it exhausted me
listening to it, so I don’t know what the band were
like at the end of playing it – delicious! This
reminds me why I love a good bit of blues boogie!
The band comes up with another fast-paced number,
“Princess,” before slowing down with the acoustic
“Living Free Part 2.” The CD wraps up with the
medium tempo “Long Gone” – a nice way to finish off
a great album.
The CD can be ordered from the band’s
website.
--- Terry Clear
Testify (High Life Records) is the long
awaited follow-up to the 2006 album Squeeze Here
from Texas bluesman Rocky Jackson – and I
have to say that it was worth waiting for. Five of
the 13 tracks are covers, which leaves eight songs
written by Rocky Jackson – plenty to show that he
can write the stuff as well as play it. The covers
are by Willie Dixon, Muddy Waters, Jimmy Reed,
Robert Johnson, and a traditional blues in the shape
of “Early In The Morning” – appearing here as track
seven on the CD.
The CD opens with the Willie Dixon number “I Just
Want To Make Love To You,” covered down through the
years by just about every bluesman (and a few women,
too) – Jackson makes a good job of it, too, bringing
a little of his own Texas flavour to an already good
song.
The album then moves into a Jackson original, “Big
Legs Mean Fat,” a humorous discourse on the types of
women’s legs that men prefer, before the medium
tempo “Voodoo Spell” takes over. On track four, the
old Robert Johnson song “Stop Breaking Down,” Rocky
Jackson demonstrates his mastery of the slide
guitar. This is a great updated version of an old
song from one of the grandfathers of the blues,
showing just how an old song can be brought up to
date without losing it’s original flavour.
Showing that he in not just a one-dimensional
bluesman, Jackson follows up with a slow, moody
instrumental entitled “Like Magic.” This is really a
really nice track, full of feeling, and it’s
followed up by “I Wanna Testify,” another slow-paced
number which flows nicely into the traditional
“Early In The Morning.”
The following tracks are a mixture of tempos and
styles, including the Jimmy Reed written “Don’t Say
Nothin’ “ – this track is so rich in Jimmy Reed type
vocals that it could be featuring the man himself.
It just goes to prove that Rocky Jackson isn’t
afraid of trying totally different styles of music,
as does Jackson’s version of Muddy Waters’ “Long
Distance Call.”
Jackson saves the best for last – track 13, “L.A. To
Austin,” is pure Texas blues written and played to
perfection – good driving blues, with classic
road-trip lyrics.
This CD is a definite “must have.”
--- Terry Clear
This CD is named X (Roman numeral for 10)
because it is Steve Arvey’s tenth recording,
this one on Bittersweet Records, and because it
feature ten tracks which Arvey describes as being
ten of his most favourite tunes. Chicago musician
(currently living in Florida) Arvey has moved away a
little from recording just blues; this CD has so
many styles and influences that it’s impossible to
forecast what the next track will bring each time.
The album opens with the Charles Bury song “Bar Room
Blues,” one of only two tracks on the CD that wasn’t
written or co-written by Arvey. “Bar Room Blues” is
one of the few completely blues track on the album,
and it makes a good start to the CD.
“Venice Beach” comes up next, written by Scott
Pollack from Dr 8; it features some inspired guitar
work from Arvey, although it’s hard to pigeonhole
the song – maybe country rock comes close. Things
slow down then with a nice ballad, “Dreams We Left
Behind,” before Steve does a couple Bob Dylan
impressions on “Another Dream Is Broken” and then on
“Love Is Earned.” This man can conjure up so many
personas in his music!
Just when you start to settle into the music, Arvey
slaps you in the head with a Bosa Nova influenced
instrumental “Madrid” – where did that come from?
And then it’s back into the blues rocker “Cows Come
Home” – a curious title, but a great bluesy track –
pure Steve Arvey! This is by a long way my favourite
track on the album.
Things slow down with “Ft. Desoto” and stay slow
with the lovely “Love Is A Painful Thing,” and this
time Arvey sounds just like Albuquerque bluesman
Stan Hirsch. This track contains some absolutely
beautiful acoustic guitar work.
The last track on the album takes Arvey back to his
Dylan-influenced music, this time sounding a little
“country” on “Marry Me.”
Knowing what good blues Steve Arvey is capable of,
it’s difficult at first to get your head around this
CD, but persistence pays off and you start to get an
idea of what he was about when he made this album.
--- Terry Clear
The Bluesmasters Featuring Mickey Thomas were
formed in 2007 by Tim Tucker and Sean Benjamin – Tim
plays guitar on this album and Sean plays piano on
two of the trucks. The line-up is impressive,
featuring legendary English drummer Aynsley Dunbar,
Doug Lynn on harmonica, bass player Danny Miranda,
Ric Ulsky on Hammond B3, together with Mickey Thomas
on vocals and Tim Tucker on guitar.
Their self-titled CD on Direct Music opens with a
slow shuffle version of Joe Turner’s “Cherry Red,”
with ex-Jefferson Starship vocalist Thomas belting
out some familiar lyrics, leading into the up tempo
boogie “Rock Me Baby” – this track is so good that I
had trouble getting past it on the CD! Things slow
right down for Elvin Bishop’s “Fooled Around and
Fell In Love” with interesting rhythms making it
different enough from the original, whilst retaining
the flavour.
The tempos and flavours twist and turn thoughout the
CD, with ballads (“I’d Rather Go Blind”), boogies
(“Can’t Get No Grindin’ “), traditional blues (“Walkin’
Blues”), slow and mooody (“Third Degree”), rocking
soul blues (“Get Your Business Straight”). “Over
Yonder Wall”, the old James Clark number really
stands out, with some excellent guitar work being
driven along by the Hammond B3, for me the highlight
of the album.
The CD winds up with the Clapton’esque “Long Time,”
a track written by Tim Tucker and a fitting finish
to a very well produced CD.
I’m already looking forward to more by this band!
--- Terry Clear
