Just got back from an adventure-filled week in
Memphis and had the good luck to run into Shaun
Murphy at the Generation Blues fundraiser at the
Hard Rock Café. Shaun looked radiant and confident,
a tone well established in her new record, It
Won’t Stop Raining, that was waiting for me when
I got home. It’s a killer record, with some great
writing from amongst others, E.G. Kight, and Shaun
completely nails it. Let’s throw it in the CD player
and give it a spin.
Shaun and the band start out with “Spreadin’ the
News” and it’s clear from the beginning that Shaun
and the band are on fire. She’s got the blues and is
telling the world all about it. The liner notes are
brief and don’t tell me who all the players are, but
suffice it to say producer T.C. Davis has surrounded
Shaun with Nashville’s finest. “Hey baby…do you have
these blues…feel them touch my soul and find myself
spreading the news.” The band moves on to a Denise
LaSalle tune, “Your Husband is Cheating on Us,” and
Shaun isn’t happy to find herself the third wheel in
what is becoming a complicated love situation. “He
used to come to my house…when he wanted to play
around…but now he’s found his pleasures…on the other
side of town…hey lady, your husband is cheating on
us…I know you had a good man…thought you had a man
you could trust.” He’s taking advantage of both his
wife and Shaun, a situation that Shaun just won’t
stand for. Regardless of the outcome, Shaun’s
stirring the pot and doesn’t care who gets hurt at
this point.
E.G., Johnny Neel and Joanna Cotton had a hand in
writing Shaun’s next tune, “Happy With the One I Got
Now,” and here we find Shaun in better spirits. Her
man’s a little nervous about where he stands with
Shaun, but she’s quick to address that, “Oh, why do
you have to be so hard-headed? I’m happy with the
one I have now.” I’d take that and run with it if I
was him. I have no doubt that Shaun would set the
record straight if the reverse was true as well. We
move on to the title track, “It Won’t Stop Raining,”
and the tempo slows down for the first ballad on
Shaun’s disc. A sad tale of a love that’s run its
course and clearly Shaun loved her man. “Ain’t seen
nothing like it in all my years…on the day that you
leave me…the sun disappears…how can I stop these
tears…when it won’t stop raining?”
Shaun’s run of bad luck continues and she’s acutely
aware of the struggle as she sings the lead for
“Running Out of Time.” “I keep on searching…cause I
know love is not a crime...yeah, cruising down to
Memphis on a Saturday night…oh, running out of
time.” A scintillating guitar solo echoes Shaun’s
feelings of desperation and I’m hoping she finds who
she’s searching for in Memphis, Tennessee. Love is a
two-edged sword for all of us and it’s the theme
that Shaun chooses to explore in her next tune,
“Price of Love.” “Everybody pays the price of
love…you’ve got to pay the price of love…we all
crave a true romance…like the desert craves the
rain…you’ve got to have some kind of love.” Shaun’s
right, we all crave a love in our life and sometimes
it comes to us at a greater cost than we expect but
we’re happy to pay the price.
“Hey Baby (Don’t You Remember Me)” finds Shaun
encountering a past love in her life who did her
wrong and left her with major responsibilities. “Hey
Baby…don’t you remember me? You left me with a
mortgage and four hungry mouths to feed.” His good
looks and wandering eye took him all over town, and
in the process he left behind a good woman, four
kids and a mortgage. Definitely not the ideal way to
go. Another E.G. Kight song is next, “That’s How a
Woman Loves,” and it’s my favorite tune on Shaun’s
record. I don’t know that E.G. intended it to be her
answer to Percy Sledge’s “When a Man Loves a Woman,”
but it fits the bill nonetheless. “But when she’s
back…in his arms again…nothing compares to her lover
and friend…a woman understands…how to bring the
best…out of her man.” A beautiful tune and one that
should garner some interest as a song of the year
candidate.
A
beautiful guitar solo with some organ behind it
provides the introduction for Shaun’s next tune,
“Need Your Love So Bad,” and here we find Shaun
looking for a man to hold her tight and love her
through the night. “I need someone to stand up…and
tell my when I’m lying…and when the lights are
low…and it’s time to go…that’s when I need your love
so bad.” A soul to believe in and walk the earth
with is all any of us are looking for and Shaun’s no
different here. Walking the straight and narrow
isn’t always easy and that’s a topic Shaun covers in
our next track, “I Hate the Blues (But the Blues
Sure Seems to Love Me)”. “I hate the Blues…but the
Blues sure seems to love me.” No matter how true to
her path that Shaun tries to stay on the Blues
always seems to find a way to bring her back into
the morass of all that can go wrong in her life.
Shaun and the band close out her record with one
last tune, a funky version of “Fool for You.” “I
keep on pushing…I keep on toeing the line…cause
everybody knows…I’m a fool babe…a fool for you.”
I
really like the tone and strength found in this new
record from Shaun. The songwriting is excellent and
Shaun embraces the message found in each tune with a
riveting vocal performance to match. The band is
stellar, the production superb and I have no doubt
Shaun’s recorded a winner here. You can find the new
recording and more information about Shaun, the
band, her touring schedule, etc. at her website,
www.shaunmurphyband.com.
It Won’t Stop Raining is an outstanding disc and
one that will earn Shaun Murphy some serious
accolades as the year progresses.
--- Kyle Deibler
I
have to admit Ken Valdez is a bit of an
enigma to me. I’m peripherally aware of the
five-song EP he put out in support of T-Model Ford
before he passed and have watched recent video of
his performance at a show promoted by my good
friend, Spike Stephen, in Rochester, Minnesota but
beyond that, listening to his new disc, Soul
Renegade, has been an experience. At times Ken
sounds like an angry Mike Zito to me, reminiscent of
his Pearl River disc, but it’s all good.
Ken
starts out his disc with the title track, “Soul
Renegade”, and it’s a song about rebirth to an
extent. Ken’s found the desire to return to
performing his own music and the record starts off
well. “Soul Renegade…soul renegade…I’m back…stronger
than I was before.” Ken’s last record was an
acoustic offering roughly nine years ago, so his new
disc is a coming out party for his return to touring
and performing live. The next track up is “Rio
Grande Blues” and we’re taking a trip down to Texas
with Ken here. “I can wander…down any road I
choose…nothing takes me home…like these Rio Grande
blues.” Ken feels a spiritual connection to Texas
and its Blues history that he pays homage to here.
A
heavy bass line from Paul Peterson provides the
intro to Ken’s next tune, “Sugar Shakin’ Boogaloo.”
“Hey…hey, baby…sugar shakin’ boogaloo…can you tell
me girl…how you do the things you do.” Ken’s got a
good woman here and “no matter what I do…you’re as
sweet as you can be.” It sounds like she’s a keeper.
Ken’s fretwork is spot on and he needs to continue
to appreciate this woman who loves him so. “Make It”
is next, a tune with a Hill Country feel to it and I
find that Colorado’s own Hazel Miller is along for
the ride singing backup vocals. “If fate comes our
way…baby, don’t be afraid…I know we can make it.”
Ken’s message to his woman here is regardless of
what the world throws at them, their love will
survive and they will “make it”.
A
drum intro from Mario Dawson leads us into our next
tune from Ken, “Sometimes.” Here we find Ken trying
to find his way in a relationship that doesn’t seem
to be working out. “Sometimes, I don’t know…what you
want from me…sometimes you're by my side…but I feel
lonely, Lord.” She can run if she wants to but Ken
isn’t running anymore. One thing’s apparent so far,
Ken is an outstanding guitarist and I know that
makes my buddy Mike Delaney happy since Ken’s axe of
choice is a Delaney.
A
lighter tone provides the intro for “Far From Gone”
and here we find Ken reminiscing about a woman he
loved a great deal. “In my dreams…see you in
everything…I may say goodbye…but you’re far from
gone.” She’s definitely gone but the memories Ken
has of her are real and they will see him through
the pain of this break-up. “Detroit Iron” is next
and as you would expect, it’s a powerful tune paying
homage to the output of Motor City. “We’re going to
cruise in your Cadillac…come on Jimmy, give us a
ride….come on Jimmy…give us a ride in the big, old,
long Cadillac.” Ken’s incendiary fretwork is on
display here and it’s clear he’s enjoying the ride
in Jimmy’s Cadillac…a 1959, to be exact!
Ken
and the band move on to “Final Season” and it’s a
discussion of our time on this earth. “This is the
final season…this is the last go around…this is a
sacred planet…this is the gathering ground.” We only
have one life to enjoy on this earth so it’s best to
make it a life well lived. Nine songs in and we
finally come to a ballad, “Whiskey and Water,” a
song about Ken’s local watering hole. “Got a real
sweet sounding jukebox…it plays my favorite song…it
goes…one more whiskey and water…one more whiskey and
water…I’ll play it all night long.” This is Ken’s
refuge…that’s his bar stool…everyone knows each
other…and Ken plays his favorite song on the
jukebox…all night long.
Another powerful guitar intro moves along to
“Angels” and everybody’s got some. “I thank you…for
my angels…for keeping me here…above the ground.”
It’s always good to know that a divine force is
watching over you, trying to ensure you spend “one
more day above the ground.” Both Hazel and Mary
Cutrufello are on the background vocals here and
kill it as Ken celebrates another day of living.
Ken’s take on Willie Dixon’s tune, "Wang Dang
Doodle," closes out a very high energy disc from
this Bluesman from Minneapolis, providing a fitting
ending to Ken’s disc.
Soul Renegade is an ambitious release for a
Bluesman who hasn’t released a disc in almost nine
years. Ken’s spent the last three years or so behind
the soundboard mixing and producing discs for other
artists while honing his considerable songwriting
talents to a razor’s edge. While it’s hard to accept
the fact that producing a disc to raise funds for
his friend T-Model Ford provided the impetus for Ken
to return to the performing arena, I’m glad it did.
Ken plays a lot around the Minneapolis area and his
schedule can be found on his website at
www.kenvaldez.com. Check out a few tracks from
Soul Renegade and I hope it’s not another
nine years before Ken decides to release his next
disc.
--- Kyle Deibler
I
remember hearing about Shari Puorto way
before I met her. Working a venue for the IBC on
Beale Street didn’t allow me to wander out to see
some of the other talent and there was buzz on the
street concerning Shari that year. So I instead
purchased her first record and have loosely followed
her since then. When her new record, Obsession,
showed up on my doorstep, I was curious to hear what
she’s been up to. It’s always great to witness the
maturity of an artist first hand and with the
release of her fourth record, Shari’s on her way.
Let’s give it a spin.
A
deep sustained note on the low end gives way to a
funky guitar intro from Johnny Lee Schell and Shari
opens with “It’s a Damn Shame”. Communication seems
to be the issue here. Shari loved the man in her
life desperately and he just never got the message.
“It’s a damn shame…you never figured it out.” Tired
of wrestling with the issue, Shari’s walking away
and not looking back. Tony Braunagel produced this
disc along with Shari and it’s his drum intro that
takes us on to “Home of the Blues.” “Cry out for
mercy…but there’s nothing you can do…you’re in the
home of the Blues.” Bad things sometimes happen to
good people and when they do, “you’re in the home of
the Blues.”
Up
next is the tune “Six Months Sober” and here Shari’s
exploring how she feels being free from a man who
hurt her badly. “Six months sober…no longer
addicted…to you.” Another relationship gone badly,
as least Shari escaped and is able to celebrate her
separation from a man she truly loved. Johnny Lee
Schell’s contributing some guitar pyrotechnics to
the mood and I hear Jim Pugh pounding away on the
keyboards for this tune. A more somber mood returns
and takes us to a place of darkness as Shari sings
about a “Sugar Daddy”. “If you’ve got a gift for
me…tonight you’ll be mine…oh come on…you know you’ve
thought about it too…I’ll make you feel real
good…and give you some sugar too.” Shari’s not
looking for the man of her dreams…just her man for
tonight…and this “sugar daddy” will do.
The
title track, “My Obsession,” is next and I find that
Shari shares the same perchance for shoes that my
sister did. “My obsession….is possession…of every
pair…I even want the one’s, I’ll probably never
wear…if you want to be with me…and don’t want to
lose…get me those shoes.” Chocolate and flowers
won’t work here but a nice pair of shoes with 5 inch
heels will get you everywhere. Mike Finnigan then
provides a beautiful piano intro for the first
ballad on Shari’s disc, “Old Silo Road.” “Who would
have thought…such a simple thing…would mean so much
to me….old silo road.” The home of many romantic
memories for Shari, a walk down Old Silo Road is
like going home for her.
Barry Goldberg’s twinkling the ivories as the band
picks the tempo up on our next tune, “Workin the
Room”. “You’d better watch out…going to get up on
you soon…you know I’m in heaven…when I’m working the
room.” Shari prides herself on knowing how to bring
the room to life and she’s got her eye on a
particular man she wants to get close to tonight.”
Shari segues on to “Better Left Unsaid,” and here we
find her mourning the decline of the love in her
life because of all the lies her man is telling her.
“We tried everything…but nothing worked…no more
second chances…no more make up songs to sing…just
leave it alone…what it is, is what it is…I don’t
even need a goodbye kiss….too much pain…don’t try to
explain…some things are better left unsaid.” Shari’s
done here and it’s time to just move on.
She
continues to ponder her inability to find a man to
love in “What’s the Matter with the World.” “What’s
the matter with the world…doesn’t anybody see…well,
I try and try…to show you what’s inside of me…what’s
the matter with the world?” Love will happen when
it’s meant to and sooner or later someone will fall
in love with a brown eyed girl like Shari. Steve
Fister handles the lead guitar duties on “All About
You” and here we find Shari realizing that the
relationship she wants isn’t equal to both parties.
“Oooh…I’m in this too…don’t you ever forget…I’m in
this too…it’s all about you…no, baby…it ain’t all
about you…ain’t nobody’s fool…what the hell are you
trying to prove?” His true self came to the
forefront over time and proved to Shari that he
wasn’t the man she thought he was. It wasn’t all
about him and now it’s time for him to go, Shari’s
had enough, she’s moving on.
“Turn to Stone” finds Shari contemplating a time
when she was happy with her life, the home she lived
in and the man she loved. Music was in the air and
now it’s gone. “Turn to stone…I don’t want to turn
to stone…these old bones….keep haunting me…just
won’t leave me alone.” The final tune on the disc is
Shari’s cover of the classic “When a Man Loves a
Woman.” It’s a slightly different tune when sung
from the woman’s perspective, but it’s clear that
Shari’s hoping the man in her life loves her the
same way. It’s an interesting change when Shari’s
viewpoint switches from third person to first
person, but you can’t help but hope she finds this
kind of love in her life.
Shari and her band were out here in Colorado two
summers ago and it gave us a chance to catch up and
talk about old times. To put out a disc with such
luminaries as Tony Braunagel, Johnny Lee Schell,
Mike Finnigan, Jim Pugh and an array of other
artists is a testimony to all of Shari’s hard work
in and around her home base of Los Angeles. You can
find out more about Shari, her schedule and her
music at
www.BluesRockMusic.com and catch a show if you
can. With a voice and stage presence likened to
Janis, Bonnie and others; Shari’s definitely a
female artist with a bright future, earning her
following one fan at a time.
--- Kyle Deibler
Everywhere I go in the Blues world, the topic of
“keeping the blues alive” invariably comes up, and
it’s always refreshing to head to an event like the
International Blues Challenge in Memphis to get a
different perspective on the answer to the question.
It was in Memphis this year that I first met A.J.
Fullerton, a transplant on the Front Range, who
made his way over the Divide to become an integral
part of the greater Blues community here in
Colorado. A.J. played behind Grace Kuch at the Women
in Blues showcase and that was my first taste of
hearing this Bluesman from Montrose play. A trip to
High Hops in Windsor later this spring, and it’s
apparent that A.J. is a very old soul in a very
young body whose tunes sound like he’s been living
in the Delta his entire life. His new EP is
entitled, She’s So Cold.
A.J.
breaks out his resonator for the title track, “She’s
So Cold,” and we’re off and running. Here we find
A.J. encountering a woman he was definitely
attracted to, but she rebuffed him at every turn. “I
could not help myself…she was so pretty…I couldn’t
help myself at all…she held me under her spell so
gently….I did not want nobody else…she’s cold and
now she’s gone…she’s so cold and I don’t miss her…so
glad that she’s gone.” A lesson learned and A.J. is
a quick student of life for sure. He segues into
“Smoke & Mirrors” and the topic is the same, another
girl has caught A.J.’s eye. “Well, maybe you’ll call
me…maybe you won’t…or maybe you miss me….maybe you
don’t….I’ll always wonder…if you felt the same…I
wish I could know you…but I don’t know your name.”
Her name is a good place to start, A.J., better luck
next time my friend.
A.J.’s acoustic guitar comes out for our next track,
“Half Empty,” and he’s still trying to solve the
feminine mystique. “Won’t you free me…free me from
this world of pain…well, I see you waiting…you’re
half empty…but not really gone…and I hear you
whisper…our love must die…move on.” All of the tunes
on A.J.’s disc are original tracks and he moves on
to “Falling Apart at the Seams”, though I find it
hard to believe that anything really baffles A.J. to
the point that he’s falling apart. “I’ve been
aching…aching for days…but these blood stains of
mine…they’re here all the time…my heart won’t let me
come clean…falling apart at the seams.”
His
resilience is a theme that continues in A.J.’s next
track, “Ain’t Got Nobody But Me.” “When I’m
sick...when I’m sick...ain’t no one going to keep me
home…when I’m sick…when I’m sick…I’m going to stay
at home.” With no one to rely on but himself, A.J.
is just going to do the best he can. The next track,
“I Don’t Want to Grow Old,” is an interesting
perspective from a young man who just turned 21 and
isn’t looking forward to growing old. “I’ve got
blood, blood on my hands…Lord, you know…I would
remand…I’m too weak to fight…my heart is not
bold…and I do not, do not want to grow old.”
A.J.
closes out his record with the tune, “Homesick,” an
ode to his roots in Montrose, Colorado where his
family resides. “Won’t you give…me one more
chance…show me how I can make it up to you…I’m
homesick…but I can’t go home….well, hardships…when
you’re on your own…when memories…are the only thing,
keeping you going strong…well homesick…and babe, I
want to go home.”
I
can honestly say the Blues is alive and well when
young Bluesmen like A.J. Fullerton are on the scene,
keeping the music strong with an interesting blend
of modern day lyrics and old school licks. A.J. is
rapidly building his reputation here on the Front
Range one gig at a time, and he wouldn’t have it any
other way. You can learn more about A.J. and his
music at
www.ajfullerton.com.
And if you’re out here in Colorado at a local
brewery, coffee house, house party or any other gig
A.J. happens to be playing at, grab a drink, sit
down and help A.J. along his journey by supporting
what he loves to do best --- playing his Blues for
you.
--- Kyle Deibler
Over the years it never ceases to amaze me the level
of talent that comes to Memphis to compete in the
International Blues Challenge in both the band and
solo/duo categories. An artist who caught my eye
this year was Delanie Pickering from New
Hampshire. I appreciated the sarcasm found in her
lyrics, the brutal honesty of her performance and
her willingness to bear her heart in a room full of
strangers. In some ways Delanie reminds me of a
young, brash Eden Brent --- and that’s not a bad
thing. She’s about to release her new record,
Down Not Home, and Delanie is definitely one to
keep an eye on.
Delanie opens with “I Don’t Want Your Number” and
there’s no misunderstanding her intentions here. “I
don’t want your number, baby…I want you to take me
home.” Not one for conversation, Delanie is sure she
will learn all she needs to know about the man in
question another way, “I’ve been watching you all
night…and I don’t want to go home alone.” A sweet
acoustic guitar intro leads us to her next tune,
“Coal Miner’s Blues,” a love song about a boy
working in the mines and a woman who loves him.
“Send me a canary…when I get out of your reach…you
can’t see the whites of my eyes…when he gets to
me…I’ll tie a letter to his feet…and I hope he
brings it back to you or I.”
The
title track, “Down Not Home,” is next, and we hear
Delanie tell a story of woman choosing the wrong
path. “Cause everybody sees the way you’re
moving…they know…you’re moving down…not home.”
Destined to fall, everyone knows the path she’s on
and yet no one moves to try to change her mind.
Myron Kibbee displays some mean fretwork on this
tune and lends just the right touch of desperation
to the situation. I like the fact that Delanie is
brutally honest in the lyrics she writes and we hear
more of that with her next track, “I’ve Got a Man on
my Mind.” “I got a man…I got a man on my mind…he
don’t know I’m in love with him…or that he’s on my
mind...all the time…all the time.” Delanie knows
what she likes, this guy has it, “and, he’s the
finest guy in town…I just want to hold him in my
arms…want him to take me…down…down…down.” Delanie
doesn’t necessarily know the exact right thing to
say, but I have a feeling she’ll figure it out.
Will Kindler adds some beautiful pedal steel to
Delanie’s next track, ‘Nice Woman.” Another of
Delanie’s acoustic tracks, it’s a song about a woman
who’s experienced some tough times in her life. “She
didn’t know what she was getting into…she knows
everyone hates her guts…and I haven’t seen that
woman…since she sobered up…and I know I could never
hate her guts…she bit off more than she could
chew…it’s not her fault…it’s what I’d do, too.”
Delanie is definitely an old soul in a young body
and I enjoy her stark analysis of the world she sees
around her. I hear a little of Jeremy Harman’s cello
as Delanie moves on to tell us the story of “Ralph
Pill.” “Ralph Pill…I’m not saying that he’s mean…he
scares all of the beauty queens…but not me.” A man
about town, Ralph Pill definitely had his detractors
and for some reason Delanie is enamored with the
lessons she learned from one Ralph Pill.
“Baltimore” is one of two covers on Delanie’s
record, and here we find her reflecting on a love in
her life. “If I can get to Baltimore…have a place to
shower…see my cousin’s Bill’s a bellman…at the
Belvidere Hotel…and if they’re underbooked…stay
under his name…and I’ll live it up like Vanderbilt
or Poe.” “Cause, it’s the weekend…ain’t got
nothing…but a memory of you.” Delanie’s trip to
Baltimore is an opportunity to reflect on a love
that burned fast and ended way too soon. “Ain’t No
Saint” finds Delanie still in a reflective mood and
dwelling on another relationship that ended all too
quickly. “But those things…they just don’t happen
anymore…but I know it’s better…better for you that
way…as I look at all this mess I made….and all these
men I pushed away…I know the truth…I ain’t no
saint…when I’m blue.”
Delanie closes out her record with her version of
the Richard Jones classic tune, “Trouble in Mind.”
“If these blues don’t overtake me…I’m going to rock
right out of here, babe.” Delanie’s fretwork on her
acoustic guitar is excellent and there’s a lot to
look forward to from this New Hampshire blues woman.
There’s a lot to like about one Delanie Pickering.
She’s a student of life and the world around her
with a keen eye for detail that she writes in her
songs. Everyone starts somewhere and her appearance
at the IBC caught my eye and those of a few other
folks in the industry. You can follow her on
Facebook for the moment and hopefully Delanie will
continue to pursue her muse. She’s a talented
songwriter with a lot to say, and Down On Home
is a good introduction to one Delanie Pickering.
--- Kyle Deibler
For
decades, Robert Lee “Lil’ Poochie” Watson and
Hezekiah Early have been entertaining blues fans
in the Natchez, Mississippi and at local festivals
in Mississippi and Louisiana. The duo’s music
encompasses both acoustic and electric Delta blues,
New Orleans R&B, rock ‘n’ roll, and soul. Watson’s
earthy, weathered vocals and driving guitar is a
perfect complement to Early’s steady backbeat on
drums (he also plays harmonica strapped to his mic
with electrical tape).
A
few years back, Watson and Early appeared on the
Broke & Hungry/Cat Head Delta Blues & Folk Art
documentary, We Juke Up in Here, to favorable
reviews, and Watson and Early recently issued their
first collaborative album on Broke & Hungry Records.
Natchez Burnin’ offers a dozen rugged, raw,
fantastic tunes --- two originals from Watson, one
from Early, plus nine covers of blues, R&B, soul,
and rock tunes transmogrified into the unique
Watson/Early brand of blues.
The
two Watson originals, the exuberant “Got My Eyes On
You” and the sparse “Mama Don’t Love Papa” touch on
familiar blues themes, but the raw urgency of
Watson’s vocals and guitar and Early’s harmonica
make them stand out from the crowded field. Early’s
offering is a fun one, the singalong “Shooby Dooby
Doo.” The duo also covers Rosco Gordon (a
loose-limbed “Just A Little Bit”), Fats Domino (“My
Girl Josephine”), Chuck Willis (“I Feel So Bad”),
and re-imagine a couple of Louis Jordan’s jump blues
classics (“Ain’t That Just Like A Woman” and
“Somebody Changed The Lock,” one of two tracks that
feature Early playng his homemade acoustic guitar
with.the other being an amazing take on the blues
standard “Baby Please Don’t Go”).
Watson and Early also cover Lightnin’ Hopkins (“Mr.
Charlie”), Big Joe Turner (“Flip, Flop, and Fly”),
and Lazy Lester (“Late In The Evening”). If you
weren’t sold on the duo’s diversity from the
previous paragraph, that should seal the deal for
you.
I can easily see fans of traditional
Mississippi blues having a fit over this release.
It’s a sometimes stark, sometimes joyous, always
exciting mix of electric and acoustic blues that
touches on the sounds of blues (Delta and Hill
Country), R&B, and soul, all brought together into
one unique style that captures the raw feel of
Mississippi juke joint blues perfectly.
--- Graham Clarke
The
Milwaukee-based band Tweed Funk just issued
another smoking hot album of their dynamic
horn-driven, Memphis-based blues/funk/soul musical
concoction. Come Together (Tweed Tone
Records) consists of ten stellar tracks that will
make fans of vintage soul very happy, and should
make new listeners wonder why in the heck it faded
away in the first place. For their new release, the
group not only operates like a well-oiled machine,
but they also worked together in the songwriting
process, turning out some top notch tunes in the
process.
Front man Joseph “Smokey” Holman sounds fantastic on
these tunes, which mostly maintain a positive upbeat
vibe. The punchy “Light Up The Night,” a feisty,
funky tune of determination that you can dance to,
kicks off the disc perfectly with a funky bottom and
horns blasting away. “Don’t Give Up” follows suit,
featuring a powerful trumpet solo from guest Doug
Woolverton of Roomful of Blues, then the understated
and soulful “Muse” showcases one of Holman’s best
vocals.
“Sweet Music,” an autobiographical track finds
Holman really hitting his stride, as he recounts his
life under the spell of the music from his early
days in the church to performing with Rufus Thomas
and Curtis Mayfield. The title track is a message of
hope that drips with Memphis soul and is one of
several tracks that feature the angelic backing
vocals of Chrissy Dzioba and Sara Moilanen of The
Whiskeybelles.
“Embrace” is a lovely old school soul ballad that
will have you looking for a slow dance partner. Next
up is “Who Is This,” a delightful instrumental that
mixes jazz and greasy Memphis soul in equal measure,
with notable solos from Woolverton and sax man
Andrew Spadafora.
“Love Ain’t Easy” is a hard-charging funk workout
with standout contributions from bass man Eric
Madunic, drummer Dave Schoepke, and guitarist JD
Optekar, and another great face-off from Woolverton
and Spadafora. “Bullet” is a slow burning tale of
regret and salvation with a great vocal perforamnce
from Holman, and the closer, “Soul Rockin’,” is funk
with a capital “F.”
In
case you missed it, I really enjoyed listening to
Come Together. Tweed Funk comes about as close
as possible to recapturing the essence of the music
that I came to love when I was growing up and it
sounds like they had as much fun making the music
and I had listening to it. I can’t recommend this
one highly enough to music fans.
--- Graham Clarke
It’s always a great day when you get your hands on a
new Too Slim and the Taildraggers album. For
30 years and 20 albums,
singer/songwriter/guitarist/blues rocker
extraordinaire Tim Langford has blessed fans with
his brand of blues, a distinctive style that mixes
the best of the traditional blues artists like
Lightnin’ Hopkins, Muddy Waters, and Howlin’ Wolf,
blues rockers like Eric Clapton, Robin Trower, and
ZZ Top, and the southern rockers Lynyrd Skynyrd and
the Allman Brothers.
With that list of influences, you would be inclined
to think that Too Slim’s brand of blues deserves to
be heard, and you would be correct. A prime example
is Slim’s latest release, Blood Moon
(Underground Records), ten stunning tracks of some
of the best blues rock you’ll likely hear this year.
Backed by two of Nashville’s finest, drummer Jeff
“Shakey” Fowlkes and bassist Robert Kearns, Slim may
have just unleashed one of his best releases ever,
loaded with powerhouse guitar work, great
blues-based grooves, and some of his most inspired
songwriting.
There’s a great mix of tunes on this set. The
smoking “Evil Mind,” which kicks off the disc, is a
hard-driving rocker that sets the pace for the whole
album with some fierce guitar work from Slim and
rock-solid support from the Taildraggers, who
provide a massive musical backdrop despite being
only two in number. The smoldering title track is an
epic slow burner that takes it’s sweet time to
develop and is worth every second.
“Twisted Rails” has a huge sound, mixing funk with
some positively Hendrixian guitar work going on and
standout drumming from Fowlkes. The song is also
reprised at the end of the disc in a short
instrumental version. “Get Your Going Out On” is a
fine country-styled rocker that’s more than a match
for anything that’s played on the country radio
stations these days. “Gypsy” has a southern rock
overtone, a cool mix of rock, blues, and a little
bit of jazz, and “Good Guys Rock” is a relentless,
get-on-your-feet rock ‘n’ roller.
Several of the songs reflect on Slim’s recent battle
with cancer and his refusal to back down from the
adversity that goes along with fighting the disease.
On the defiant “Dream,” Slim declares that he “ain’t
ready for the reaper so don’t come knockin’ on my
door.” He waxes similar sentiments on the haunting,
mostly acoustic “My Body,” and on the rugged rocker
“Letter,” he gives a shout-out to his friends who
supported him when he was down.
Blood Moon represents Too Slim and the
Taildraggers at their blues rocking best, a
thrilling ride from start to finish.
--- Graham Clarke
Sounds Like The Blues To Me (JCP Records) is New
Orleans blues man Jeff Chaz’s first album of
new material since 2006’s In Exile. To these
ears, this album is his best to date, and coming on
the heels of his recently released career
retrospective, Chronicles, listeners should
have a full and vivid picture of the talents of this
amazing musician. As on his previous releases, Chaz
wrote or co-wrote all of the tracks, an even dozen
on the new release, and has packed it full of his
powerhouse guitar work, a near-perfect mix of
traditional and contemporary styles, and his equally
strong and soulful vocals.
The
title track opens the disc, and it’s a low-key,
funky affair about two-timing and double-dealing.
The steamy “Make Love To You In The Sand” has a
solid Crescent City feel with the punchy horn
section, and Chaz gets in the T-Bone Walker mode for
the after-hours slow burner “Hitchhiking In The
Rain” with some sharp fretwork. “I Am The Blues” is
a clever “talking” blues number where the guitarist
channels Albert King and Otis Rush. “You Look So
Good To Me” is one of my favorites on the disc, a
jumping blues with Chaz playing some crisp B.B.
King-styled lead, and he shows his soulful side on
“Mysterious, Exotic Lady,” turning in a powerful
vocal.
Another standout is the humorous --- well, what else
could it be --- ”I’m Goin’ After Moby Dick In A
Rowboat,” a hilarious track loaded with swagger and
grit. “Four In The Morning” is a great workout for
Chaz, both on guitar and vocals. “Will You Be Mine”
is a smooth, old school ballad and the aptly-titled
“Walkin’ With My Baby” is a funky shuffle. “The Mt.
Vernon Blues” is a swinging instrumental, and is a
great lead-in to the smoldering, nearly nine minute
closer, “You Bound To Get Us Both Hung,” another
cheating and lying tune similar to the opener but
done from the narrator’s perspective this time
around.
Chaz gets fabulous rhythm support from bassists Doug
Therrien and David Hyde, drummers Doug Belote, Allyn
Robinson, and Willie Panker, and keyboardist John
Autin, who plays B3 and Steinway. The tight horn
section consists of trumpeter/arranger A.J. Pittman
and Ward Smith, who plays tenor and baritone sax.
Like many New Orleans residents, Jeff Chaz struggled
to recover from the aftereffects of Hurricane
Katrina, but based on this inspired release it’s
safe to say that the recovery is in the rear view
mirror and he is back on track, moving forward, and
then some. Sounds Like The Blues To Me should
appeal to anybody who digs modern blues with a
traditional feel.
--- Graham Clarke
Big Walter Horton is one of the most influential
blues harmonica players of all time. He recorded
with many of the blues giants of the ’30s, ’50s and
’60s, appearing on classic tunes like Jimmy Rogers’
“Walking By Myself,” Otis Rush’s “I Can’t Quit You
Baby,” and many others. He also made numerous
recordings of his own between the ’50s and ’70s,
even making a cameo appearance during the Maxwell
Street scene of The Blues Brothers in 1980.
Influential as he was for many harp players, Horton
is not as widely known as many of his
contemporaries, such as Sonny Boy Williamson II or
Little Walter Jacobs, due mainly to his shy
personality and his reluctance to serve as a band
leader.
A
couple of years ago, Blind Pig Records released a
fine tribute to Little Walter that featured many of
today’s harmonica players paying homage.
Appropriately, Horton has now been given the same
treatment, thanks to EllerSoul Records and Lil’
Ronnie Owens, who produced and spearheaded the
wonderful Blues for Big Walter, which
features nearly two dozen of the finest blues
artists of the past and present giving Horton his
proper due.
Owens has combined new and archival recordings with
a host of harmonica players paying their respects.
The archival recordings include a 1992 track, “She
Loves Another Man,” with Jimmy Rogers on vocals and
guitar and Bob Corritore providing the harmonica.
There’s also a 2001 recording of “Rambling On My
Mind,” with Corritore and Robert Lockwood. Both of
these are first rate.
The
remainder of the tracks include a couple by the
Nighthawks’ Mark Wenner (“Worried Life” and “Walking
By Myself”), Steve Guyger (“If It Ain’t Me,” “Little
Boy Blue”), and Mark Hummel (“Heart Hearted Woman,”
“Easy,” with Sue Foley on guitar). Owens himself
plays on three tracks (“We’re Gonna Move To Kansas
City,” “Need My Baby,” and the closer, “Think Big”).
There’s also a pair of dandy instrumentals, courtesy
of Kurt Crandall (“Great Shakes”) and Andrew Alli
(“Evening Shuffle”).
The
opener is “Someday,” which features T-Bird front man
Kim Wilson on harp with vocals and guitar from Big
Jon Atkinson. Perched midway through the disc is a
nearly 19-minute marathon medley from Sugar Ray
Norcia and the Bluetones that touches on five
sensational traditional tunes. All of these 16
tracks pay tribute to either Big Walter Horton’s
music or his playing style and if you weren’t aware
of how influential his playing was, you will be once
you’ve heard this disc.
Fans of traditional Chicago blues will find a lot to
savor with Blues for Big Walter. Hopefully,
it will encourage newer blues fans to back track and
discover some of this great artist’s recordings.
--- Graham Clarke
After two recent highly acclaimed albums, 2013’s
Road Worn and Ragged and last year’s Morose
Elephant, Memphis-based blues rocker Jeff
Jensen has issued The River City Sessions
(Swingsuit Records), a live disc which was recorded
in front of an enthusiastic studio audience at
Ardent Studios. Jensen is renowned for his energetic
live performances, and this well-produced 11-song
set --- eight originals and three covers --- really
captures his spirit and passion about as well as you
can ask for, short of being in attendance.
The
set lists includes several original tunes from
Morose Elephant (the soulful ”Make It Through,”
“Empty Bottles,” a spirited “Elephant Blue,” “Ash
and Bone”), one from Road Worn and Ragged
(“Brunette Woman”), and a couple from his 2007
self-titled release (“Can’t Believe We’re Through,”
the splendid slow blues “Find Myself All Alone”).
There’s also a fun original instrumental, “JJ
Boogie.” The set is bookended by covers from T-Bone
Walker (an exuberant “T-Bone Shuffle”) and Bob Dylan
(a scorching “All Along The Watchtower”) with
Jensen’s terrific reading of Tom Waits “Heart Attack
and Vine” in between.
Throughout the set, listeners will get a full dose
of Jensen’s riveting vocals and impressive guitar
work, but he’s also a phenominal songwriter, as his
original tunes will verify. He’s backed by longtime
musical partner Bill Ruffino (bass) and Robinson
Bridgeforth (drums).
An
inspired release, The River City Sessions
should do at least one thing for listeners. For
those new to Jensen, it will encourage them to check
out his already noteworthy catalog. It will also
please those longtime fans who have been craving a
live disc that puts his full talents on display.
Blues fans dare not miss this one.
--- Graham Clarke
Peter Harper, who performs as Harper, was
born in England but moved to Australia with his
family when he was ten years old. He grew up
listening to his grandfather’s blues records, but
also was a fan of early ’70s R&B, British Invasion
rock, and English folk music. Picking up the
harmonica in his early teens, he developed a
distinctive style, eventually becoming involved in
the music scene around Perth, Australia. Over time,
he also began incorporating the didgeridoo into his
music as well. He’s issued several CDs since the mid
’90s, most recently releasing Show Your Love
(Blu Harp Records) with his Detroit-based backing
band, Midwest Kind.
Harper calls his music “World Blues” and that’s
appropriate. This disc ventures into the old
traditional blues/R&B styles of yesterday, with a
nod to modern funk and a definite focus on love and
unity via Harper’s lyrics, and he wrote all 11
tracks. He’s amazing on harmonica, as expected, and
also mixes in didgeradoo and djembe on several
tracks, including the stirring opener, “Hell Yeah.”
His expressive and versatile vocals are another
plus, and the musical support provided by Midwest
Kind (Will Rideoutt – guitar/backing vocals, James
Norris – bass, Cam Lewis – drums) is superlative.
While the message of love and unity is front and
center, Harper tempers this with tunes that lament
the greed, anger, and hatred that seems to emanate
fro the world today with tracks like “I Can’t Stand
This,” “We Are In Control,” and “Hell Yeah,” the
message of most of the songs is that the only way to
persevere through these conditions is to focus on
the positive and show compassion and love toward
each other. Tunes like “I Look At Life,” “What’s
Goin’ Down,” and the title track reflect these
thought.
Show Your Love is not your conventional blues
album, as you might have surmised above, but
Harper’s vocals and harmonica virtuosity, along with
the tight support of the backing band are a plus,
and the use of the “Down Under” instruments add a
lot of character to these songs ... already good
songs anyway. If this is what we’re calling “World
Blues,” count me in. The terrific music and the
positive messages make this album a keeper in most
discerning fans’ collections.
--- Graham Clarke
Based in Chicago, The Steepwater Band
recently released their sixth album, Shake Your
Faith (Diamond Day Records). Approaching 18
years together, the band (singer/guitarist Jeff
Massey, guitarist Eric Saylors, bassist Tod Bowers,
drummer Joe Winters) easily moves from funky
blues-rock to psychedelic pop to rock n’ roll,
combining a vintage sound with modern flourishes.
The new album, their first in four years, consists
of 11 new original tunes, all written by the band.
The
band’s versatility is their strongest suit. The
title track is a midtempo bluesy rocker with a
catchy melody, but “Be As It May” has a definite
psychedelic Beatlesque pop edge to it, and “Break”
has a distinctive guitar/organ-driven rhythm to it.
“Bring On The Love” is a mellow pop tune with a
positive message that could be a hit in a perfect
world. “I Will Never Know” is a more traditional
blues rocker with some nice guitar effects from
Saylors, who also lays down some funky licks on
“Gone Goodbye.” “Last Second Chance” is a slow
burner that takes its sweet time and is worth every
minute. The straight-up rockers “Mama Got To
Ramble,” “Jealous of Your Way,” and “Walk In The
Light” are fun, too.
The
addition of Saylors to the line-up was a good one.
His guitar work is distinctive and inventive, and
complements Massey’s own lead work effectively.
Massey covers a lot of ground with his vocal
talents, and the rhythm section (including producer
Jim Wirt, who plays keyboards on most tracks) is
rock solid.
Shake Your Faith should be required listening
for blues-rock fans as well as fans of old-school
rock n’ roll.
--- Graham Clarke
Austin-based guitarist Jeff Plankenhorn has
played with an impressive array of well-known and
well-regarded musicians, including Joe Ely, Ruthie
Foster, Bobby Whitlock, Ray Wylie Hubbard, Jimmy
Lafave and many others. His own music combines the
blues with gospel-flavored soul and rock, and is
usually played on a stand-up lap steel guitar of his
own creation, dubbed “The Plank.” Plankenhorn
learned to sing as a youngster in the church choir,
but his lap steel sound combines the Sacred Steel
sounds made popular by Robert Randolph with the
Dobro music played by Jerry Douglas. If this sounds
to you like a pretty potent musical combination, you
would be correct. But if further evidence is needed,
just check out Plankenhorn’s newest CD, SoulSlide
(LoungeSide Records).
Plankenhorn wastes no time at all, diving into the
riproaring opener, “Lose My Mind,” with gospel-like
fervor, both vocally and with some soaring guitar
runs. “Lose My Mind,” co-written with Grammy winner
Gary Nicholson, is one of eight dynamic original
tunes offered. Others include the soulful “Trouble
Find Me,” “Like Flowers,” a rocking duet with Ruthie
Foster, and the funky “Dirty Floor,” one of three
songs co-written with Fastball guitarist Miles
Zuniga (the poppy “Born To Win” and “Vagabond
Moonlight”). The ghostly instrumental “Kansas City
Nocturne” is another standout, as is the rambling
rocker “Live Today.”
SoulSlide also includes a fantastic reproduction
of Sam & Dave’s “You Got Me Hummin’,” which teams
Plankenhorn with the Texas soul man Malford
Milligan, who also contributes gritty background
vocals throughout the disc. “Mockingbird Blues” is
an easy-going Willis Alan Ramsey song that amazingly
has never been released. “Headstrong” has a nice
country flair, as does the moody closer, Jeff
Barry’s “Walking In The Sun.”
Plankenhorn’s regular band, formerly the rhythm
section of the late Texas guitarist Stephen Bruton’s
band, provides stellar support (Brannen Temple –
drums, Yoggie – bass, plus Dave Scher –
guitar/keyboards). Other contributors include Rami
Jaffe (keyboards), Peter Adams (keyboards), Zuniga
(guitar, piano, bass, backing vocals), Tim Pierce
(guitars), Bruce Hughes (bass, backing vocals),
Scrappy Jud Newcomb (guitars, backing vocals), and
John Chipman (drums).
With his awesome guitar work and supremely soulful
vocals, Jeff Plankenhorn is currently the talk of
the Austin music scene. With a powerful release like
SoulSlide under his belt, the word is bound
to get out to an even wider audience.
--- Graham Clarke
Steve Dawson continues to amaze and impress with
each release. The Canadian-born guitarist moved to
Nashville several years ago, and while his guitar
work is as impressive as it ever was he continues to
grow by leaps and bounds as a composer and singer.
Dawson’s seventh solo release, Solid States and
Loose Ends (Black Hen Music) is a heady mix of
blues, Americana, gospel, folk, and soul, consisting
of 14 outstanding tracks, ten penned by Dawson and
four covers.
Dawson’s previous release, Rattlesnake Cage,
was a solo acoustic instrumental album. With the new
release, Dawson surrounds himself with a potent
band: Gary Craig (drums), John Dymond (bass), plus a
fine set of Nashville’s finest musicians, including
Kevin McKendree (keyboards), Fats Kaplin (viola,
fiddle, mandolin, accordion), Jim Hoke (saxophones),
and Steve Herrman (trumpet), Mike Bub (upright
bass), plus heavenly backing vocals from the McCrary
Sisters and Keri Latimer.
The
album opens on a high note with the swampy “Loose
Ends,” which features Dawson playing some pretty
tasty slide, and sweet backing vocals from the
McCrarys, too, before segueing into the upbeat
acoustic “Broken Furniture Blues,” which Dawson
punctuates with some excellent slide. Next up is
“Leave My Name Behind,” a pre-war-styled
gospel-fueled number with Dawson strutting his stuff
on National Steel, Kaplin on viola, and the McCrarys
doing their thing. For the standout “California
Savior,” Dawson plays National Steel, pedal steel,
and pump organ.
The
gentle “On Top Of The World” is a delightful
country-flavored swinger, and “Little Silver”
continues the country vein with an up-tempo guitar
rhythm and pedal steel from Dawson. The rousing
“Driver’s Wheel” follows suit with Kaplin on fiddle
and backing vocals from Latimer. “Final Words” is an
enticing mix of soul and blues that addresses
loneliness, and features an appropriately soulful
vocal from Dawson. “Early Warning” is a sparse
number focusing on Dawson’s acoustic guitar and
mandolin, the McCrary’s backing vocals, and churchy
keyboards from McKendree, and the shimmering ballad
“Rose’s Blues” closes the disc.
Dawson also re-imagines four classic tunes that
cover a lot of musical ground, from a fun reading of
Gid Tanner & the Skillet Lickers’ “Henhouse Door,”
to Riley Puckett’s “Can’t Put That Monkey On My
Back,” highlighted by some otherworldly slide work,
Joe Tex’s “You Got What It Takes,” transformed into
a sharp urban blues track, and the traditional
“Delia,” done country blues style.
Any
of Steve Dawson’s albums are worth a listen, but
Solid States and Loose Ends stands out in his
catalog, with some of his most compelling
songwriting and guitar work yet.
--- Graham Clarke
For
her fourth album, Enjoy The Ride (Blues Roots
Productions), singer/songwriter/guitarist Debbie
Bond headed to The Shoals, that fabled land of
musical nirvana that encompasses four Alabama cities
(Muscle Shoals, Sheffield, Tuscumbia, and Florence),
and produced some of the finest blues, soul,
country, and rock recordings of the past 50 years.
Bond, an Alabama gal herself, has been compared to
musical legends Bonnie Raitt and Janis Joplin, but
really has molded her own distinctive voice and
musical style performing and learning the blues from
older Alabama musicians Johnny Shines, Willie King,
and Eddie Kirkland.
Enjoy The Ride consists of 11 delicious tracks
of downhome, gritty Southern soul and blues. Bond
and her musical associate/soul mate Rick Asherson
wrote six of the tracks and mixed in five enticing
covers. The backing band includes Asherson
(keyboards/harmonica), Dave Crenshaw
(drums/percussion), and backing vocalists Rachel and
Carla Edwards. The guest list includes guitarist
Will McFarlane (Bonnie Raitt guitarist) and Muscle
Shoals legend Spooner Oldham (keyboards).
Highlights among the originals include the title
track which opens the disc with upbeat tempo and
lyrics and stellar slide guitar, the Gospel-flavored
horn-fueled “Find A Way,” the heartfelt and soulful
“Start With Love,” and the country blues closer
“Train Song,” but the lively and humorous “Wishbone”
may be the best of the bunch. Bond also covers
Willie Dixon (a funky read on “I Am The Blues”),
Jody Williams (a moody take on “You Left Me In The
Dark”), Colin Linden (“Remedy”), and a pair of soul
burners from Ann Peebles (“Love Vibration”) and late
mentor Kirkland (“Rainbow”).
With a tight set of new originals and well-chosen
cover tunes, Debbie Bond and Enjoy The Ride
prove that there’s still musical magic in The
Shoals.
--- Graham Clarke
A
knowledgeable contributor called David Ducharme-Jones’
previous CD, A LOUD Guitar, “an original and
diverse set of blues-based roots music.” Okay, so
that was me (the “knowledgeable” part can be debated
at another time) in the
September 2012 issue of Blues Bytes, but a LOT
of other reviewers and listeners really dug the
album because it was a very creative and
entertaining set with the Austin guitarist covering
a lot of musical ground from blues to rock, country,
and even jazz.
On
Ducharme’s latest release, Strangest Things (Blissed
Out Productions), he goes the duo route with his
significant other, singer/guitarist Anne Ducharme-Jones,
who provided background vocals on his previous two
albums, with excellent results. The 13 tracks, all
written by the couple, are heartfelt, lyrical, and
personal glances at their own lives, love, and
experiences. The songs range from driving electric
rockers like “Two Satellites” and “Red Roses,”
country-flavored tunes like “I Don’t Need You,”
“River Runs Dry,” and “A Little Bit of Luck,” rootsy
blues tunes like the title track, “Crazy Heart,”
“The Girl Is Gone,” and “Beside You Now,” “Good
Enough,” and soul/pop nuggets like “Of the Water,”
“Wherever You Go” and “I Was Wrong.”
If
you’re familiar with David Ducharme-Jones, you’re
well aware of his musicianship. On Strangest
Things, he plays guitar, bass, keyboards, and
mandolin. Anne Ducharme-Jones takes lead vocals on
several tracks (“I Was Wrong,” “I Don’t Need You,”
and “Crazy Heart”) and their voices blend
seamlessly. They are truly a match made in heaven as
vocalists and songwriters.
The
duo is well-supported by a core band that includes
David Breaux (keyboards), David Evertson (bass), and
Mark Leshner (drums), and guests Taylor Ducharme-Jones
(percussion), Michael Koop (drums), Ron McRae
(bass), Mike Meadows (drums/percussion), Donny
Silverman (flute), and Jimmy Stevens
(drums/percussion).
A
strong set of original tunes, Strangest Things
should satisfy any discerning fans of blues, rock,
and roots, who will want to hear more from this duo
after listening.
--- Graham Clarke
The Jon Spear Band’s 2015 debut release, Old
Soul, was a rousing success, finishing in the
Top 25 of the Roots Music Report’s Top Contemporary
Blues Albums for the year and receiving numerous
favorable reviews and much airplay. It was a great
set of blues and soul originals from the
Virginia-based band, serving as a nice introduction
to blues fans to Spear, who’s been around the music
scene since the early ’60s, and the young
singer/guitarist Dara James. The band recently
issued their sophomore effort, a live set recorded
at the Southern Café and Music Hall in
Charlottesville, Virginia in November of 2015.
Live Music Is Better offers a dozen tracks,
including four originals from the band’s debut,
seven tasty blues and R&B covers, and the
Spear-penned title track that closes the disc. It
provides an excellent showcase of what the band
(Spear – vocals/guitar, James –
vocals/guitar/harmonica, Andy Burdetsky – bass, John
Stubblefield – drums) is capable of in a live
setting. Keyboard wizard Adrian Duke and sax man
Haywood Giles guest on several tracks as well, with
Duke taking vocals on one track.
The
band reproduces four of the standout tracks from Old
Soul, including the smooth title track, the rocking
“Devil’s Highway,” which opens the disc, the
award-winning “I Love My Skin” (vocals by Duke on
this version), and the soulful “Paid In Full.”
Covers include the Robben Ford/Michael McDonald tune
“Nothing to Nobody,” the rollicking “Shake Your
Boogie,” Warren Haynes’ “Just Before the Bullets
Fly,” a funky take on the Meters’ “Cissy Strut,”
Delbert McClinton’s country rocker “Blues About You
Baby,” Frankie Miller and Will Jennings’ “Beginner
At The Blues” (made popular by Coco Montoya), and
the blues standard “Have You Ever Loved A Woman.”
The
disc closes with the title track, the only new song
on the set, written and sung by Spear. It pays
tribute to all of those who make live music possibly
--- musicians, club owners, venues, etc. It’s a fun
and lively song that closes things out in great
fashion.
Live Music Is Better is a rock solid set that
gives fans and newcomers a nice summary of how good
a band the Jon Spear Band really is, especially on
stage.
--- Graham Clarke
California blues rocker Brad Wilson returns
with Power Blues Guitar LIVE (Cali Bee
Music), a 13-track set of blues classics updated to
a raw and raucous electric blues sound, plus live
versions of four Wilson originals. The guitarist is
backed by Oscar Huguet (bass), Thaxter Daggs and
Kofi Baker (drums), Kirk Nelson (keyboards), and Joe
Robb (sax).
The
set includes tunes made famous by Muddy Waters (“Got
My Mojo Working,” “I Just Want To Make Love To You,”
‘She Moves Me,” “Standing Around Cryin’”), Otis Rush
(“I Can’t Quit You Baby”), Albert King (“Born Under
A Bad Sign”), Freddy King (“I’m Tore Down”), T-Bone
Walker (“Stormy Monday”), and the requisite version
of “Sweet Home Chicago.” A pretty familiar set list,
but Wilson powers them up with his guitar work and
spirited vocals.
The
four originals are also noteworthy: ”All Kinds of A
Fool,” “Slide On Over,” “Black Coffee At Sunrise,”
and a bonus cut, “I’m Still Breathing.” To be
honest, Wilson’s takes on the originals are actually
more interesting than the covers because most of the
covers have been explored fully previously. Still,
Power Blues Guitar LIVE is a solid effort
that serves as a nice companion to Wilson’s previous
studio releases and shows him to be as exciting a
performer on stage as in studio. Blues rockers
should check this release out.
--- Graham Clarke
A
couple of years ago, while making the collaborative
disc Soul Brothers with Johnny Rawls, Otis
Clay recorded a vocal track of one of his
favorite Gospel songs, “Mississippi Poor Boy”
(originally recorded by the Canton Spirituals) in
hopes of including it on a future Clay solo album
for Catfood Records. Clay told Catfood Records head
Bob Trenchard, “I am getting up in years and you
never know how much time you have,” which proved to
be prophetic in light of Clay’s sudden death in
January of this year.
Unfortunately, no further work was done on a
potential Otis Clay album, but Trenchard remembered
the vocal track, so he, Rawls, and guitarist Johnny
McGhee decided to go to the studio and expand on
Clay’s vocal. Trenchard played bass, McGhee played
guitar, Rawls produced the track and, with soul
singer Janelle Thompson, added background vocals.
“Mississippi Poor Boy” was one of Clay’s favorite
songs, and it shows with every note he sings. Rawls’
production puts Clay’s powerful vocals directly in
the forefront, which is how it should be, of course,
and gives the song a stripped-down earthiness with
the McGhee’s crisp guitar and the steady backbeat.
You can’t help but feel that while Otis Clay was
singing this song, he was actually taking inventory,
as the song says --- taking into account where he
came from, where he’d been, and stating that all he
had was because of the Lord. “The Lord’s been good
to me,” he declares over and over again with a deep
and simmering passion.
“Mississippi Poor Boy” could not be an more
appropriate final selection on the soundtrack of
Otis Clay’s musical life. The great man began his
musical career in Gospel, so it’s only fitting that
that’s where he concluded it.
--- Graham Clarke
