Al Basile’s latest release for
Sweetspot Records, his eighth, is called The Goods.
If you’ve been following the former Roomful of Blues
member for a while, you know what to expect – smooth
music and arrangements in the Roomful of Blues
tradition (produced by fellow Roomful alumnus Duke Robillard), smooth vocals, and some of the most
intelligent and savvy songwriting around. The Goods
may be his most ambitious album so far, touching on
elements of the blues, jazz, soul, gospel, and
swing.
Basile was originally a poet and fiction writer,
with a master’s degree from Brown in Creative
Writing, so the 13 songs are all like little
short stories. The opener, “The Price (I Got To
Pay),” is a peppy soul number of the Memphis
variety. “Along Come The Kid” is a song about
expecting the unexpected, and features some
rock-edged guitar from Robillard. There’s more deep
soul on tracks like “Time Can Wait,” “She’s A
Taker,” and the gospel-flavored “Distant Ships.”
“Lie Down In Darkness (Raise Up In Light)” ventures
into gospel territory, featuring background vocals
from the Blind Boys of Alabama, and is guaranteed to
raise chill bumps. “1.843 Million” is a story song
about a heist in the old film noir tradition,
complete with car chases, sirens, and squealing
tires. Basile also journeys to the Crescent City for
three tracks, the double entendre-laden “I Want To
Put It There,” the funky “The Itch,” and “Don’t
Sleep On Santa,” which also incorporates some Latin
rhythms.
The humorous “Mr. Graham Bell” is a lengthy
minor-key blues lament about that best and worst of
inventions, the telephone with some great piano work
from Bruce Bears. “Reality Show” is also humorous,
about a woman who can only find satisfaction when in
front of a camera. “Pealing Bells” is another gospel
number with a masterful vocal from Basile.
Lending Basile a hand is a first-rate band including Robillard (guitar), Bears (keyboards), Brad Hallen
(bass), Mark Teixeira (drums), and fellow Roomful
alum Doug James (saxes, clarinet, piccolo). The
Goods takes the best of what Al Basile has done on
his previous releases and gathers it all together to
make one impressive album.
--- Graham Clarke
Texas guitarist Hadden Sayers’ back story reads like
a blues song. As recently as 2004, he seemed to have
it all…..record labels fighting for his services, as
many shows as he wanted to play, media attention for
his albums….then, things went south. Record labels
disappeared, shows dwindled down to a few a year,
agents came and went, friends and fellow musicians
died. Finally, Sayers stepped away from music,
recharged his batteries, adjusted his priorities,
forged a friendship and sometimes partnership with
singer Ruthie Foster, and has now released a
wonderful CD, Hard Dollar, on Blue Corn Records.
Sayers wrote all 13 songs on Hard Dollar and
he moves effortlessly through tracks like the
rocking opener, “Take Me Back To Texas,” the swamp
rock ballad, “All I Want Is You,” the after-hours
duet with Foster, “Back To The Blues,” and the
catchy shuffle, “Inside Out Boogie.” Sayers is a
first-rate guitarist and his laconic vocals are
picture perfect.
“Flat Black Automobile” is a cool R&B-based number
that cleverly discusses struggles with the almighty
dollar, and “Sweet Texas Girls” is a tribute to the
women of his home state. “Crush on You” is an old
school rocker with some great guitar, and “Hippie
Getaway” is a cool rapid-fire boogie shuffle. Sayers
channels another Texas guitarist, the Master of the
Telecaster, Albert Collins, on the funky
instrumental closer, “Money Shot.”
Sayers plays like a musician reborn on these tracks.
Judging by the enthusiasm and energy he and the band
(Tony McClurg – drums, Mark Frye – bass, Fender
Rhodes, Dave DeWitt – keyboards) exude throughout,
it’s obvious the guys had a ball making this
recording….probably just a little more fun than you
will have listening to it. Hopefully, Sayers is well
on the way to getting his career back on track and
there will be plenty more great music where this
came from.
--- Graham
Clarke
Tommy Lee Cook picked up a guitar when the Beatles
were hot, but he’s been putting out some great
rocking blues in Florida, with his band, the Allstars, for years. On Cook’s latest release,
Outside Looking In (Two Mules Music), he almost goes
it alone with only Pat “Cleanhead” Hayes on
harmonica and Danny Shepard on electric guitar and
midi-programming. Cook does the rest (electric and
acoustic guitars, Dobro, vocals and
midi-programming). Cook was at a musical crossroads
following the death of his good friend and musical
partner, Hamp Walker (the disc is dedicated to him).
Cook and the band play blues styles ranging from
Chicago to Delbert McClinton roadhouse to the Allman
Brothers’ southern rock. He’s also a clever
songwriter, with tunes like “Take A Breath,” a track
about a talkative person that sounds like it’s
straight out of Albert Collins’ songbook, “What You
Gone Do,” punctuated with sound advice from his
mama, and “God’s Little Acre,” a straight roadhouse
rocker. “This Old Flame” is a soulful number that
waxes philosophical, similar to the opening track.
“Grits and Groceries” is a fun song that pays
tribute to Southern cuisine that makes you hungry
just listening. “She’s Got The Look” is a slinky
rocker about a woman who has it all and knows what
to do with it. “The Truth About Lies” is another
track loaded with unique philosophy…..some of which
listeners will find themselves nodding their heads
in agreement.
If you’re unfamiliar with Tommy Lee Cook, you will
enjoy his songwriting, which puts a unique spin on
everyday affairs. He’s also a fine guitarist and
singer. I’m glad that he decided to continue making
music. He’s got a gift that should be shared with
blues fans. Hopefully, we will hear more from him
before long. Stop by his
website for more info and
if you’re in the Fort Myers area, visit his
Buckingham Blues Bar, where he and the Allstars play
every Sunday and Wednesday.
--- Graham
Clarke
The Christopher Dean Band’s latest release,
What I
Need (Lost World Music), is right up my alley. It’s
a splendid mix of urban blues of the Chicago and
Texas varieties and both Philly and Southern soul….a
fun ride from start to finish. Guitarist/singer Dean
is a veteran of Big Jack Johnson’s band, the Oilers,
having appeared on two of Johnson’s late ’90s discs
for M.C. Records, but he’s been recording since
2000. What I Need features 13 songs, ten cover tunes
and three original compositions.
The band covers tunes as far ranging as Magic Sam
(“All Of Your Love”), Bo Diddley (“Dearest Darlin’”),
Albert King (“I Made Nights By Myself”), Junior
Parker (“Mother-In-Law Blues”) on the blues side. On
the soul side, there are tunes associated with or by
Mel Waiters (“Hole In The Wall”), Omar Cunningham
(“Check To Check”), Johnny Rawls (“Lucky Man”),
Teddy Pendergrass (“The Love I Lost”) and David
Ruffin (“Walk Away From Love”).
Dean’s original songs are an excellent fit with the
covers. The title track is a deep soul tune with a
fine vocal performance, while “I’m Through” is soul
with a funky twist, and “All She’ll Ever Need” has a
jazzy feel.
Vocally, Dean does a great job and shows a lot of
versatility on a very diverse set of tunes,
particularly on the opener, “Hole In The Wall,” and
the Magic Sam and Johnny Rawls tracks. On some of
the tracks, Dean’s guitar work takes a back seat,
but when he does step up, he’s mighty impressive. I
really liked his solos on the Junior Parker, Magic
Sam, and Albert King songs.
The band deserves praise as well (Dean’s brother
David Foti on bass, Chip Dixon on drums), along with
a tight horn section (Jim Davis – sax, clarinet;
Chris Lehman – trumpet). Iman Davis provides backing
vocals. Guest musicians include Brad Vickers (bass),
Colby Inzer (drums), Carl Snyder (keyboards), Dan
McKinney (keyboards, percussion), and Mike Metallia
(harmonica).
Simply put, if you dig urban soul and blues,
What I
Need is guaranteed to give you hours of listening
pleasure. The Christopher Dean Band has hit a home
run with this disc.
--- Graham
Clarke
The Colorado rock group, Big Head Todd and the
Monsters, have recorded a few blues songs over the
last two decades, notably a cover of “Boom Boom”
that featured the tune’s originator, John Lee
Hooker. So it’s not a total surprise when the group
decided to record a tribute album to Robert Johnson
on the centennial anniversary of his death. The
final product, on Ryko/Big Records, is called Big
Head Blues Club: 100 Years of Robert Johnson, and
features ten tracks associated with the legendary
blues man. Also involved is a first rate assemblage
of blues artists (B.B. King, Hubert Sumlin, Honeyboy
Edwards, Charlie Musselwhite, Ruthie Foster, Cedric
Burnside, and Lightnin’ Malcolm.
Singer/guitarist Todd Park Mohr does an fine job
playing some solid blues guitar on most of the
tracks, and also does a good job on vocals, not
necessarily sounding like Johnson but highly
effective on tracks like “Ramblin’ On My Mind,”
which also employs Lightnin’ Malcolm’s piercing
slide guitar. As is typical on most of Big Head
Todd’s releases, the music is not just straight
Delta blues….there’s some gently jazzy rhythms
(“When You Got A Good Friend”), funk (“Preachin’
Blues” and “Come On In My Kitchen”), and droning
Hill Country blues (“If I Had Possession Over
Judgement Day,” with Burnside’s propulsive
percussion and Malcolm’s searing slide). However,
where the group plays it straight (“Kind Hearted
Woman,” “Love In Vain,” and “Last Fair Deal Gone
Down”), its clear that these guys know what they’re
doing with the real stuff.
The centerpiece of the album, though, is probably
Mohr’s duet with B.B. King on “Crossroads Blues.”
King really does a fine job here and the rhythm
section of Rob Squires on bass, Brian Nevin on
drums, and Jeremy Lawton on keyboards, excellent
throughout, really shines on this track. Foster also
appears on a couple of tracks, as does Sumlin (both
on “When You Got A Good Friend”). Musselwhite blows
harp on three, and the irrepressible Honeyboy
Edwards adds vocals to the album’s closer, “Sweet
Home Chicago.”
In late January through March, the Big Head Blues
Club gave a U.S. tour in support of the disc that I
was fortunate enough to catch, featuring the group
with Malcolm, Burnside, Edwards, and Sumlin (I wrote
about it in detail
on my blog). It was a masterful
performance that also happened to be filmed, so
maybe there will be a future DVD release in the
works. Whether they do or not, this project stands
up just fine on its own merits and should be
required listening for blues fans.
--- Graham
Clarke
New York guitarist Chris Bergson has backed jazz
singers Annie Ross, Dena DeRose, Sasha Dobson, and
Norah Jones over the past 15 years, but has
also released his own recordings during that time,
including the well-received Fall Changes in 2007.
Blessed with an expressive vocal style, impressive
guitar chops, and a talent for songwriting that
encompasses blues, folk, and pop, Bergson is rightly
considered to be an artist of the future in the
blues. Based on his latest release for 2 Shirts
Records, Imitate The Sun, all indications read that
the future may be now.
Bergson has spent time playing in drummer Levon
Helm’s Midnight Ramble shows in Woodstock, NY, and
it’s easy to see the influence of The Band on his
latest release, especially on the opener, “Goin’
Home.” The title track is deep soul with a great sax
solo from Jay Collins, keyboards from guest Bruce
Katz, and Bergson’s spot-on guitar work. Bergson
also shines with some shimmering slide guitar and a
vulnerable vocal on the solo on “Shattered Avenue,”
and “Hello Bertha” is a supple slice of Memphis
soul. The funky “Mr. Jackson” is another original
track that stands out. “Laying It Down In White” is
a plaintive blues ballad with a heartfelt vocal and
lovely guitar.
Bergson also does four covers…..for blues fans, a
pair of familiar tunes (Howlin’ Wolf’s “Down In The
Bottom” and a sharp version of “Dust My Broom,”
minus slide guitar ) and a not-so-familiar pair (a
cool take on Bessie Smith’s “You’ve Been A Good
Wagon” and an emotionally-charged reading of Bob
Dylan’s “Standing in the Doorway”).
Hearing Imitate The Sun, it’s hard to figure why
Chris Bergson isn’t better known in blues circles.
Maybe that relative anonymity has allowed him to
continue to develop his refreshing vision of the
blues, mixed with soul, folk, rock and pop
undisturbed. Whatever the reason may be, it’s hard
to imagine him remaining anonymous for much longer.
Seek this one out, by all means.
--- Graham
Clarke
The Nancy McKeen Bluz Machine has opened for acts
like Johnny Winter, Eddie Money, Rory Block, Shannon Curfman, and the Blasters. Lead singer McKeen looks
like she should be catching a ride home from
cheerleader practice, but her powerful, world-weary
vocals are influenced by artists as diverse as
Curfman, Susan Tedeschi, Al Green, Grace Slick, Etta
James, and Janis Joplin, and trust me, she learned
her lessons well.
The Bluz Machine is Mark McFeely – guitar, Bob
Giacometti – bass, and Pat Rush – drums. The band
recently released a well-crafted EP, Three Jacks and
a Jill, which will certainly leave you wanting to
hear more than the five impressive tracks that are
included here.
The Bluz Machine is a veteran group that is as
comfortable rocking the house on urban blues tracks
like “Part Time Woman,” “Blues For Christmas,” and
“Third Rail,” as they are on the slower numbers
(“Eleven,” which also features excellent harmonica
from Dave Hixon). The closing tune, “Slow Burn,” is
an interesting cut that features a standout vocal
from McKeen with only percussive backing from the
band.
McKeen sounds like a future star and the Bluz
Machine musicianship is excellent.
I can’t wait to
hear more from these guys. Stop by
CDBaby and give
this one a listen.
--- Graham
Clarke
Carlos Del Junco originally wanted to record a live
“Best of” collection as a follow-up to his recent
release, Steady Movin’, but was never completely
satisfied with the results. He then decided to do an
“almost live” CD recorded in the studio, but played
live to capture the energy, intensity, and
creativity of his live performances. Mongrel Mash
(Big Reed Records), like most other Del Junco
recordings, covers a lot of ground, is always
interesting and entertaining.
The opener, “The Crazy Bastard,” has an earthy feel
behind its somewhat idiosyncratic rhythm. “My
Favourite Uncle” combines island beats with the
Crescent City and twangy Hawaiian guitar. A hyper
reworking of Muddy Waters’ “Got My Mojo Workin’,”
here simply titled “Mojo,” is a standout, and finds
the band, and Del Junco, firing on all cylinders.
Del Junco also revives three songs from previous
albums, the adventurous “Heddon Tadpolly Spook,” a
moody recreation of “The Field,” and the Latin
rocker, “Mariachi.” The lite-jazzy cover of Herb
Alpert’s “Slick” features longtime Del Junco
collaborator Kevin Breit on electric sitar. “A
Fool’s Alibi” is a cool blues re-write of the T-Bone
Walker tune. “Lil’ Laptop” is a 21st Century rewrite
of the ’50s rocker, “Rocket 88,” substituting a
computer for the hot rod.
The Blues Mongrels are simply superb. Kevin Breit is
as virtuosic on stringed instruments as Del Junco,
and the incredible rhythm section (Henry Hellig –
bass, Jorn Anderson – drums, and Denis Keldie –
organ) are truly the secret weapon on the disc. I’ve
seen “mad skills” used in several publications to
describe Del Junco’s talents on the harmonica, but
even that phrase doesn’t do him justice. He’s taking
the harmonica to a whole new level that was
previously only dreamed of.
There’s never a dull moment on
Mongrel Mash. In
fact, you will find more to enjoy every time you
plug it in.
--- Graham
Clarke
Movie goers may remember Dana Fuchs from the 2007
movie, Across the Universe, and her memorable
interpretations of several Beatles tunes. She's also
appeared as Janis Joplin in the off-Broadway
musical, Love, Janis. However, the sultry singer has
also released several albums of powerful rock and
blues over the past few years. Her latest, Love To
Beg, is her first for Ruf Records. While Fuchs
certainly owes a debt to Joplin with her vocal
stylings, Joplin is merely a piece to the puzzle.
She takes in equal parts blues, rock, soul, and
gospel in her approach and she seems to have barely
scratched the surface so far.
The title track is a rocker that benefits from a
supple vocal from Fuchs and some sizzling slide
guitar and harmonica from producer/collaborator Jon
Diamond. There are plenty of other highlights, too,
mostly focusing on the rock side of the blues, such
as "Keepsake," "Set It On Fire," "Pretty Girl," and
"Faster Than We Can." "Keep On Rollin'" slows things
down a bit, and "Summersong" is a nice change of
pace, landing more on the pop and soul side of the
fence......a really fun track that brings to mind
the Memphis soul sound of Stax and Hi Records in the
'60s and '70s. Fuchs mines from that vein on the
album's' lone cover, a fine version of Otis
Redding's "I've Been Loving You Too Long."
Overall, this is a very strong effort by Dana Fuchs
that will definitely please her fans, and should open
a few eyes and ears. It will be interesting to hear
where she goes from here.
--- Graham
Clarke
Portland bluesman Lloyd Jones has built a large fan
base in the Northwest and has released several
well-received albums over the past few decades. He's
as comfortable playing R&B, funk, rock, or soul
music as he is playing straight blues. Highway Bound
is Jones' first "unplugged" disc and it features
16 stellar traditional blues tunes.
Jones is a first-rate guitarist, showing some
particularly outstanding fingerpicking on his
version of Elizabeth Cotton's "When I'm Gone" and
Blind Willie McTell's "Broke Down Engine." He also
tackles tunes by John Brim ("Ice Cream Man," with
Charlie Musselwhite guesting on harmonica), Robert
Johnson (a plugged-in rendition of "Last Fair Deal
Gone Down"), and Leadbelly ("Good Night Irene").
Jones also does a pair of tunes from Big Bill
Broonzy ("Southbound Train" and "Key To The
Highway") and W.C. Handy ("Careless Love" and "Make
Me A Pallet On The Floor") and even covers Hoagy
Carmichael on the closer ("Lazybones," with Curtis
Salgado on harmonica).
Jones also wrote three songs on
Highway Bound, all
three of which blend seamlessly with the included
blues classics. I can't recommend this one highly
enough.
--- Graham
Clarke
For the past decade, Mack Orr has been pounding out
some of the greasiest, funkiest Memphis blues heard
in years. A late bloomer (picking up the guitar in
his 40s), Orr has been fronting the Daddy Mack
Blues Band for the past couple of decades and has
released three fantastic albums that should be in
every discerning blues fan's collection. His latest
release, Bluesfinger, should join the other three
as essential listening.
The title track is a bluesy version of the Bar-Kays'
classic soul instrumental, "Soul Finger," and it's
so funky you can feel the grease dripping off of it.
That vibe carries over to tracks like "Great
Recession Blues," 'You Got My Money," the salacious
"Soda Pop," and "Long Hard Road." "Can't Make It
Without Your Love" leans more toward the soul side
of Memphis with an impressive vocal turn from Orr,
plus horns, churchy B3, and chick singers. Their
gritty version of "Honky Tonk" will remind some
longtime fans of Orr's album of rock covers from a
few years ago, Slow Ride. Lending the band a hand
is Memphis harmonica ace, Billy Gibson.
There's nothing new or even revelatory here, just
the basic gutbucket blues played about as well as
they can be played. As I stated a few weeks ago, the
Daddy Mack Blues Band is one of my favorite bands
currently playing. Pick up Bluesfinger and you will
see what I'm talking about and you might even thank
me later.
--- Graham
Clarke
The Terry Quiett Band won the 2010 Ozark Blues
Challenge and before that, they won the 2008 Wichita
Blues Society Blues Challenge. The trio's
versatility encompasses blues, rock, and jazz, with
guitarist Quiett being particularly masterful in all
three genres. He's also a powerful and emotive
singer and wrote all 13 songs on their latest
release, Just My Luck. The disc holds up well to
repeat listening because you find something else
each time that you missed the time before,
especially with Quiett's guitar work.
Most of Quiett's songs deal with familiar blues
themes (love, women, regrets), but his approach is
anything but familiar. Standout tracks include the
jazzy late-night feel of "Work For It," the
Southern
rocker, "Big Man Boogie," and "Getting Through To
Me," which features some particular nasty guitar. A
couple of tracks, like "Pound of Flesh" and "Fool's
Gold," have an autobiographical hint to them. Quiett
also goes acoustic on "Judgement Day," and dabbles
in reggae on the politically-charged "Some People."
Blues/rock fans will love this release. It's a
well-rounded, well-played set and Quiett has the
makings of a future star with his formidable
writing, playing, and singing skills.
--- Graham
Clarke
The Steve Miller Band’s latest
CD, Let Your Hair Down (Roadrunner Records), is a
sequel to last year’s Bingo!, which was the
guitarist’s first studio recording in 17 years. In
fact, the songs on this new album were recorded
during the same sessions, so there’s a certain
continuity to it all.
Many listeners may not realize it, but Miller
actually got his start playing the blues in the ’60s
and early ’70s, starting his first blues band with
the help of friend Boz Scaggs at the age of 12. He
adopted his “Space Cowboy” persona in the mid ’70s
with much success, but has recently returned to
exploring his blues roots.
One of the coolest things about Miller’s approach,
which will appeal to both blues and rock fans, is
his ability to seamlessly blend the blues with rock
and pop. It was a quality that many enjoyed about
his work in the ’70s and early ’80s, although they
might not have realized it. That quality is present
on Let Your Hair Down, as Miller tackles a solid set
of familiar blues tunes….songs most blues fans are
more than familiar with, and put his unique touch on
them. In Miller’s hands, they’re almost like new
songs. While he doesn’t sing on all of the tracks
(leaving that to the more than capable Sonny Charles
and a few others), Miller’s guitar work is a solid
presence throughout.
Highlights include a funky take of Junior Wells’
“Snatch it Back and Hold It,” a smooth version of
Rosco Gordon’s “Just A Little Bit,” a rowdy cut of
Bo Diddley’s “Pretty Thing.” Muddy Waters’ “Can’t Be
Satisfied” is a standout and Miller even
resuscitates the old chestnut, “Sweet Home Chicago,”
with satisfying results. Another fine track is a
scorching remake of Jimmy McCracken’s “The Walk.”
Let Your Hair Down comes in two versions. The first
one contains only ten songs, but there’s also a
“special edition” that includes four bonus tracks.
The cream of the bonus quartet is a manic take on
Billy Boy Arnold’s “I Ain’t Got You,” and a silky
version of T-Bone Walker’s “Tell Me What’s The
Reason.”
Like Bingo!, this disc was produced by Andy Johns.
The band includes drummer Gordon Knudtson, guitarist
Kenny Lee Lewis, bass player Billy Peterson,
keyboardist Joseph Wooten, and percussionists Adrian
Areas and Mike Carabello. Longtime collaborator
Norton Buffalo contributes harmonica and vocals on
Let Your Hair Down. These were his last recordings,
as he succumbed to lung cancer not long after this
session in the fall of 2009.
Let Your Hair Down is a great set of rocking blues
that will please fans of the Space Cowboy, but it’s
also a great listen to blues fans for Miller’s new
take on some old favorites.
--- Graham Clarke
At last, the long awaited new CD from Alabama-based
Shar Baby – 11 O’Clock Blues (Blues DigitDoc Records).
This CD is in Shar Baby’s familiar and unique style
of country blues, but it’s different from her
previous albums in so many ways. With 10 self-penned
tracks and one track by Rosie Brittain, it’s at
least as good as her last CD, if not better.
The CD was recorded in Birmingham, Alabama earlier
this year, 2011, and it is published in the USA by
Juke Blues Publishing and released in Europe by DigitDoc Records (who spotted Shar Baby at a blues
festival in Spain a few years ago and signed her up
straight away).
The opening track, “Slippin’,” is a nice laid-back
song about the perils of leaving women at home on
their own. Shar Baby always seems to be able to tell
a tale through her songs, and this is no exception
with a storyline laid over some great guitar work
and a very professional rhythm section.
“Cause I Love You” is a soul blues ballad, which
shows an entirely different side of this woman. She
uses this song to prove that she isn’t just a blues
singer, she can mix it with the best of them and
switch styles totally. Track three, “The Stalker,” is
the only track not written by Shar Baby, but it
doesn’t make it any less than the other tracks –
it’s a slow and moody cautionary tale about a woman
taking care when she’s out on the street and not
getting picked by a stalker. Some lovely guitar
breaks in this track!
“Pick In My Pocket” picks up the tempo and changes
the flavour of the music --- this is happy blues! And
then “Busted” slows back down a little, with a song
about a woman coming home and catching her trusted
husband with another woman. This track has a great
driving beat, pushed along by the rhythm section in
fine style.
“Remember When” slows down even further, with Shar
Baby singing about old memories from her childhood.
This lady draws a lot of inspiration from her early
years, and the songs give a good illustration of her
childhood and teenage years.
Track seven, “I’m Ready,” picks up speed with a
boogie shuffle featuring some really nice guitar
from Tim Boykin, and it leads nicely into “Alabama
Bound,” with a tale about a blues artist heading for
Birmingham.
The tempo lifts up a little again with my favourite
track on the album, “Red Eyed Snake.” This is pure Shar Baby blues, as witnessed on her earlier albums,
and tells the tale of a woman telling her man to
find another home. Tim Boykin again drives things
along with some inspired guitar playing.
Getting towards the end of the CD, and the music
just keeps growing – “Beer & Atmosphere” is a about
taking care when you’re out on the town. The backing
tips a nod to some Howlin' Wolf riffs, and it makes
a nice refreshing change of beat before leading into
the last track, “Keep Your Mind To Yourself.” This
is a lovely ballad to finish on, and my only
criticism is that it leaves the listener wanting
more!!
Another great CD from a vastly underrated blues
artist – let’s hope that the next CD isn’t too far
away!!
---Terry Clear
This is my first encounter with the
Mike Eldred
Trio, although I doubt that it will be the last.
Those clever guys at Blues Boulevard always seem to
be able to pick good music, and they keep that habit
going with this album, 61 and 49 – two famous
highways, of course.
All 13 tracks on the album have been written
by Mike Eldred and he has attracted a few guests to
help the trio out her – you might recognise the
names Ike Turner, Scotty Moore and Kid Ramos, amongst
others. A sleeve note on the CD cover from ZZ Top’s
Billy Gibbons also shows that this band is well-respected in the music business.
There’s no recording date mentioned on the CD cover,
but as Ike Turner sadly died in 2007, it’s obviously
prior to that.
The CD opens with a '50s style rocker, “She’s A
Rocket,” written about one of Eldred’s daughters.
This track was an inspired choice for the opener, as
it gets your feet tapping from the first note! The
pace doesn’t slow down either for the following
track, “Jake’s Boogie” – it’s just what it says on
the tin, a boogie. And it’s a good driving tune
inspired by guitarist Jake Berger. By the time I’d
listened to these first two tracks my feet were
ready for a rest, and I was thankful that track
three, “Louise,” was at a slower pace. It’s still
got a great driving, rocking, beat though together
with memorable guitar work.
“Ms.Gayles Chicken House” is a nod in the direction
of Scotty Moore’s wife Gayle, who allegedly makes
the best chicken and used to host an annual event at
the Moores’ house. A nice medium-paced boogie,
giving my feet a little bit more rest, until “Jimmy
Jimmy” comes in strong with a '50s flavour rock n
roll number – a bit of Jerry Lee Lewis influence
showing through here.
I’m not quite sure what to make of track six, “This
Old Train.” It’s another track with a 1950s
influence, but this time it’s more like the sort of
thing that Pat Boone might have done. Not at all bluesey, but a good song nevertheless.
As the CD moves into “I Ain’t Coming Back,” the
blues is back on line with a boogie shuffle number a
little reminiscent of early Stevie Ray Vaughan –
definitely my favourite track on the album, and it
leads nicely into “Ruby’s Blues,” which is a slow
and moody instrumental blues that ranks easily as my
second favourite track – lovely late night blues,
this one.
“For A Girl” puts me in mind of 1970s Rolling
Stones, while “Mr.Newman” is in a similar vein and
“Lookie Here” gets back to some Texas type blues
with a little Stevie Ray Vaughan influence again,
especially on the guitar work – this is the type of
music that this band is best at, and my feet were
tapping again listening to this one.
The title track, “61 & 49,” is a lovely slide guitar,
slow, traditional blues and, while it’s totally
different to the Texas blues style of the previous
track, it’s equally as good and equally as well
executed. And onto the final track. Just when I
thought that I was getting a handle on this band,
they go and knock me flat with an a capella spiritual
with background harmonies.
I guess it goes to show that this band will try, and
succeed, with whatever they come up with.
---
Terry Clear
San
Diego's Big Shot Reub and the Reloaders is
the type of band that can be found in corner blues
bars across the United States. They're not going to
become big stars nor will they hit the worldwide
festival circuit. But they're part of the
neighborhood and everybody in the joint knows the
names of the band members. They play some decent
blues, but on many songs they stretch the limits of
their collective skills. They sound best when
accompanied by barroom chatter and the clinking of
longneck beer bottles.
That pretty much describes what
you'll hear on the Reloaders' self-released disc,
Roundhouse Blues. The best cuts from this trio
are the slow blues "I Don't Drink" and the mid-tempo
shuffle "Big Shot Roll," perhaps because the
material is better suited to lead singer Reuben
Vigil's limited vocal range. A little variety is
added when Glenn Laughlin joins the band to handle
the vocals on the Los Lobos-ish "Viva Bracero";
Vigil does his best guitar work on this five-minute
jam.
I've heard better blues than
what's on Roundhouse Blues --- heck, we all
have. But sometimes the best blues is what's being
played at any given time in any given place. If Big
Shot Reub and the Reloaders happens to be on the
bandstand some evening when you walk into their
place of employment, order a beer, break open a bag
of beer nuts, and sit back and enjoy the music.
--- Bill
Mitchell