I have to say that
Zac Harmon’s new record, From the Root,
was well worth the wait. It was my pleasure to sit
in Zac’s truck and listen to a rough mix of this
disc during his last time through Phoenix and I’ve
been looking forward to its release. Pushed to the
limit by producer/friend/former guitarist BR Millon,
Zac’s first release for NorthernBlues had me up out
of my seat and dancing in my living room. Keep in
mind that Zachariah is definitely a lover, not a
fighter, and From the Root showcases him at
his smooth talking absolute best. So let’s get on
with it.
"Don’t Give Me Another
Reason” finds Zac between a rock and a hard place.
He’s fallen in love with a devil woman who has him
under her spell and he’s trying hard to break away,
but it’s tough. “If I ever get to heaven…it won’t be
because of loving you…you’re the devil’s little
angel…still I love you…yes I do!” Zac eventually
escapes her clutches but not without feeling the
pain of walking away.
Some fine harp work by
Jimmy Z intros our next cut, “Hattie Mae”. “Hattie
Mae…woman don’t you know…I’m in love with you…Hattie
Mae…woman why can’t you be true?” Zac is definitely
in the clutches of Hattie Mae and loves her despite
all of her faults. It’s going to take some work but
Zac is determined to hang in there. “It seems like a
lifetime…but its only been 99 days…since you walked
out on me…and we went our separate ways…now you want
to come back into my life…you burned me once…but you
won’t burn me twice…since you’ve been gone!” Zac is
smart to walk away from this woman in “Since You’ve
Been Gone” and it’s good he’s managed to move on.
“Back Bitin’ Back
Stabbers” finds Zac in an all too common occurrence.
His friend Bobby has been spending time with his
wife Mary while he’s been gone, and it ain’t good.
“I’m working hard on the road…but I’m sending my
money home…somehow I found out…my Mary wasn’t
alone…she’s a back bitin’ back stabber…I gave her
up…now he can have her!” Hopefully Bobby’s happy
with the mess he’s inherited, because Zac is moving
on. A reggae feel permeates Zac’s pontification on
“That’s What a Woman Needs.” “What she really
needs…a little bit of loving…little bit of
pleasing…full time attention for whatever she’s
needing…respect and understanding…to feel
security…hear just what I say…that’s what a woman
needs!” I think Zac’s got most of it figured out and
his advice is definitely sound.
Our tempo slows way down
on what is the first ballad on the disc, “The Price
of Lovin You.” Here we find Zac experiencing the
deep pain of a good love coming to an end and he’s
struggling to move on. “I can’t get this feeling out
of me, baby…I guess it’s the price that I pay…the
price that I pay…for loving you!” Sueann Carwell
plays the woman in question, and she’s hurting, too.
“I remember the good times…but I can’t…forget the
pain…and how did we get here…which one of us…is to
blame?” One always wonders how a good love goes bad,
particularly when both partners are feeling the
pain. It’s just too bad this one didn’t work out.
Our mood changes and the tempo picks up when Zac
tells us about his “Honey Bee.” “I’ve got a
woman…her daddy named her Honey Bee…if you hear me
holler…that honey bee is stinging me!” Honey Bee is
definitely showing Zac a good time and he’s more
than happy to be stung by her.
The lover in Zac is
definitely coming out on “Smile on Your Face.” “If
you need someone…that special one…I’ll be that
one…you can lean on…baby, let me put a smile on your
face…let me touch you in that special place…cause a
smile renews your faith…let me put a smile on your
face!” You have to admit Zac is one smooth talker
but I’m thinking the ladies are starting to figure
him out. A fierce guitar lick intros “Enough” and
lets us know that Zac’s had his fill of this next
woman. “You keep doing things behind my back…now
finally came the straw that broke the camel’s
back…now don’t you cry for me…don’t you shed a
tear…cause I told you baby to stop all the
stuff…baby, enough is enough!” “Keep the Blues
Alive” lets us all know why we work so hard to keep
the music going. “When I was a boy…I knew a
man…folks said he was a real blues man…he taught me
how to play this blues…said “you ain’t going to make
no money…but here’s what you got to do…just keep the
blues alive!” Fortunately for us Zac took his
teachings to heart and remains deeply immersed in
the Blues.
A taste of funk and R&B
finds Zac espousing the virtues of “The Older
Woman.” “If you’re looking for somebody…someone who
treats you right…let me tell you son, I know
somebody…she’s the right type…let me tell you…you
have never been loved…until you’ve been loved by an
older woman!” Sounds like someone’s definitely
taught Zac right and he’s appreciative of all he’s
learned. So of course in “Scratch”, Zac’s got an
itch. “I’ve got a love rash baby…and I’m just
itching for a scratch…I need you to scratch me
baby…cause you know just where it’s at!” That’s all
I can say about “Scratch.” “Want Ads” finds Zac
finding the answer to his heartache. “Hey baby…so
glad to see you again…and after all these years,
baby…you still look the same…I want to tell you how
much I’ve been missing you…and to show you this what
I’m gonna do…going to put in the Want Ads…going to
tell the whole world how I’ve been missing you…cause
baby, it’s a bargain for this heart of mine!”
From the Root
closes with an acoustic number, “Man is Not Meant to
Be Alone.” Greg Wright accompanies Zac on slide
guitar with Jimmy Z’s soulful harp in the
background, “I said Lord…Lord…Lord…please won’t you
send somebody down to me…cause I’m so tired of being
on my own…a man is not meant to be alone!”
At 14 songs and just
over 66 minutes in length, From the Root, is
definitely a long record but Zachariah had a lot to
say. Kudos’ to BR Millon for pushing Zac to showcase
some of the finest guitar playing he’s ever done and
thanks to all of the players behind him who made
this record the disc that it is. Zac Harmon embraces
his soul blues roots on this disc, and From the
Root definitively shows that he’s learned his
lessons well.
--- Kyle Deibler
I have to admit that
Andrea Marr is one ambitious Aussie. It’s not
easy trying to garner attention from the American
Blues community half a continent away, but she’s
definitely trying. I’m familiar with Andrea from the
2006 IBC and was more than happy to review her new
record, Little Sister Got Soul, to see how
close she gets to the Memphis Stax sound she was
shooting for.
Cam Scott’s organ in the
background provides the ambience for Andrea’s
acapella intro to “Soulville.” “Show me the way to
go to Soulville…show me the way to go home…I got to
go to Soulville…that’s where I belong!” Her heart
resides in the deep soulful sounds that Stax was
famous for and finally Andrea gets the chance to
show the musical vision that she’s been working to
achieve.
Soul gives way to sexy
as Andrea charms her lover in “Steam Up The
Windows.” “Rev up your motor and take me for a
ride….I want to steam up the windows with you!” Sean
Vagg’s sax work on this tune sets the bar for the
passion Andrea’s reaching for. “I won’t need
conversation…to get me in the mood…just need some
body heat to find that special groove!” Greg Dodd’s
fretwork adds to the fire and this car ride is
nothing but hot! “I Prefer You” finds Andrea letting
her man know he’s the one for her. “You have the
standards…that I want to live by…yes, all the good
loving I need…that’s why…I prefer you!” Andrea’s got
a good man and all of the material things in the
world won’t change how she feels.
On the other hand,
Andrea can be an acquired taste and she’s not shy
letting you know it in “Don’t Touch What You Can’t
Afford.” “Now I don’t mince my words…I’m one
straight up lady…cause talk…is cheap…but I’m not
baby…don’t touch…what you can’t afford!” Honesty is
what Andrea expects and she lets us know that in
“Superwoman.” “I want the truth baby…so go ahead and
speak your mind…cause love is all about respect…to
get it…you’re going to have to give…it’s going to
take a Superman…to love a Superwoman like me!” In
“Taught Me To Love,” Andrea has finally found her
match in the loving arms of a good man. “You can
have me anyway that you please….cause, ooh your love
amazes me…you taught me to love."
Cam Scott’s back at the
keyboards to provide the intro for our next cut, “If
I Leave This World Tomorrow.” “If I leave this world
tomorrow…let me leave some love behind…there is too
much pain and misery…too much heartache…and too much
crying.” A little more love would make the world a
better place and Andrea’s goal is a laudable one…to
leave the world just a little bit better. Andrea’s
horn section consists of a sax player, trumpet
player and trombonist as they provide the backing
ambience of “Real Good Man.” Andrea’s blessed to
have a good man in her life and she’s more than
happy to tell us all about it. “He works hard to
make me happy…comes home with a smile on his
face…knows just how to please me…a love too good to
waste…I’ve got a good man!” Lucky for him, she feels
the same way.
The horns are back in
play as we segue into “What’s Wrong With You.” “Tell
me baby...honey, what’s wrong with you…you don’t
know a good thing when you see it…and I’m standing
right here in front of you!” Andrea’s man is a
player and this time he has to make a choice, she’s
not going to be just another name in a well-worn
black book. It's definitely feeling like he’s not
going to make the smart choice here and it will be
his loss.
Little Sister Got
Soul closes with the ballad, “Baby Got Me
Crazy.” Andrea’s definitely under the spell of the
man that she loves. “The way he loves me…ooh…the way
loves me…he makes me holler out his name…say and
praise me…I’m loving the way…yeah, my baby got me
crazy like that!” Girl’s definitely got it bad and
that’s all good.
This is a very good
record. I find that Andrea is true to her musical
vision for the project and she has assembled a
tremendous band to give her the soulful sound she’s
looking for. Andrea can be sassy; she can definitely
be passionate and hit all points in between. It’s
easy to see why this record won her an Australian
Blues Music Award for Female Vocalist of the Year,
and definitely proves she’s a talent to be reckoned
with. Hopefully one of these days she can bring her
band back to America and show us here in the states
what the Aussies already know, “little sister’s
definitely got soul!”
--- Kyle Deibler
I have to admit that
The Insomniacs are starting to get under my skin
with their newest release on Delta Groove, At
Least I’m Not With You. It was my pleasure to
work with them at last year’s Blues Music Awards and
I know Vyasa, Dean, Alex and Dave are as hard a
working blues band as there is on the road right
now. So I’m sure it was a treat for them to get off
the road and spend some quality time in the studio.
They’ve recorded a great disc, so let’s get on with
it.
Al Blake sits in with
the band to add his harp on the first cut,
“Lonesome,” as Vyasa is working hard to attract the
lady in his sights. Vyasa’s a lonesome boy and he’s
giving it his best shot, “I want to tell you
baby…don’t treat me like a toy…cause I’m
lonesome…I’ve been mistreated…I’m a dangerous boy!”
Hopefully she’ll be patient and take him seriously.
The shoe is on the other
foot in our next cut, “Broke and Lonely.” Times are
tough, Vyasa’s out of money and he soon could be out
on his ear. “I done lost all my money…now I’m 'bout
to lose my mind…and it seems like my baby…wants to
leave poor me behind.” The woman Vyasa loves
continues to torment his thoughts and he just has to
set the record straight in “Directly From My Heart
to You.” “Direct…directly from my heart to you…you
know I love you…and that’s why I feel so blue.” Ah,
agony and ecstasy, the combustible components of
true love.
When all else fails, the
best course of action is to just go to straight
ahead, as we learn in “Maybe Sometime Later.” “This
is me confessing…I know how this might sound…girl,
I’d like to undress you…when no one else’s
around…but if that’s moving too fast… baby…you know,
we could slow down!” Smooth and direct, Vyasa is
willing to go as fast or as slow as she wants.
The title track, “At
Least I’m Not With You,” finds Vyasa perfectly
comfortable to move on without her. “Cause I might
be alone…but at least I’m not with you!” Whatever
the sources of their problems, Vyasa is happy to be
alone without her and is satisfied to be single for
awhile. “Root Beer Float” is the first of two amped
up instrumentals on the disc and features Alex
Shakari’s nimble fingers running up and down the
keys of his piano.
It’s Mitch Kashmar’s
turn to lend his harp to our next cut, a slow ballad
entitled “Hoodoo Man Blues.” Here it seems that
Vyasa’s woman has done a good job of putting one
over on him, and if she doesn’t change her ways,
she’ll have to go, because…”somebody done hoodoo…the
hoodoo man!” Kashmar’s harp solo is excruciatingly
sorrowful and more than conveys that pain that Vyasa
is feeling now. You definitely feel this one is over
now.
The mood and tempo
lighten considerably as Vyasa tells us about the
bell of the ball in “She Can Talk.” “She finally
found…a guy to stick around…I saw them holding
hands…while they walked round town…I asked my
friend…why he had the luck…don’t you know…that boy
is deaf!” “Damn that girl can talk!”
“Baby Don’t Do It” finds
Vyasa pleading his case to his woman to let him
stay. “If you leave me pretty baby…I’ll have bread
without meat…please say you’ll change your
mind…baby, don’t do it…don’t do it…please don’t do
it…if you leave me pretty baby…I’ll have bread
without no meat!” Shades of Dick Dale’s guitar had
to influence the Insomniac’s next cut, “Angry
Surfer.” “Come on sugar…let’s try again…cause…I…I…I
really am your friend!” Vyasa’s fretwork would make
Dick proud.
Confession time rears
its head as Vyasa lets us know, “I was in love with
a married woman…cause I just couldn’t help myself…I
don’t go around breaking up families…that’s the
reason…why I left.” “Description Blues” is an
accurate title for this tune as Vyasa continues to
embellish he tale of leaving the married woman he
loves behind. Alex’s heavy hand on the B3 tells us
that Vyasa truly loved this woman and its pains him
terribly to have to walk away.
At Least I’m Not With
You closes with “20/20,” a song where Vyasa
admits looking back that he should have been
satisfied with the woman he loved, and the second
instrumental, “Insomniacs Boogie.”
I’ve enjoyed the
up-tempo jump blues attack that the Insomniacs have
come to call their own, and At Least I’m Not With
You is an impressive disc. Al Blake, Mitch
Kashmar and Jeff Turmes on saxophone all add just
the right assist to what is a very tight quartet and
this is a disc you’ll continue to throw back in the
CD player again and again. The Insomniacs are all
over Myspace and Facebook, so look for them there or
stop by their website at
www.theinsomniacsblues.com.
Wherever you land, grab
a copy of At Least I’m Not With You, we need
to keep these boys out on the road for a long time
to come and they can use the gas money.
--- Kyle Deibler
The Insomniacs
took the blues world by surprise in 2007 with their
debut recording, Left Coast Blues, which
received a 2008 Blues Music Award for Best New
Artist Debut. The band (Vyasa Dodson – vocals and
guitar; Dean Mueller – bass; Alex Shakeri –
keyboards) also received a 2007 Muddy Award
(presented by Cascade Blues Association) for Best
Contemporary Blues Act. Their exuberant and
exhilarating blend of blues, swing, jump, and roots
music seems to be a crowd pleaser wherever they go.
So with all those awards
and critical acclaim coming after their initial
release, it would seem like the bar would set
incredibly high for the band’s sophomore effort,
right? Well, it is set pretty high, but fortunately
The Insomniacs are more than up to the challenge.
Their second release for Delta Groove Music, At
Least I’m Not With You, continues their hot
streak with a vengeance. It features 13 tracks,
including seven originals, of jumping west coast
blues.
The session was recorded
in two days, but consists of material that The
Insomniacs have been playing at clubs and festivals
for the past couple of years, so the brief amount of
time allowed is no factor whatsoever. The original
compositions showcase some clever lyrics on tracks
like “She Can Talk,” “Angry Surfer,” and the catchy
title track. Also included in the originals are a
couple of sparkling instrumentals, “Root Beer Float”
and “Insomniacs Boogie.”
The covers include the
opener, a cool take on Memphis Slim’s “Lonesome,” a
laid-back version of Johnny “Guitar” Watson’s “Broke
and Lonely,” a smoldering rendition of Junior Well’s
“Hoodoo Man Blues,” and Lowman Pauling’s R&B
classic, “Baby Don’t Do It.” John Willie Henry’s
“Description Blues” is another slow burner (clocking
in at over eight minutes) featuring some great
fretwork from Dodson and some hot Hammond B3 work
from Shakeri.
Stopping by to lend a
hand are harmonica aces Al Blake and Mitch Kashmar,
Joel Paterson on pedal steel guitar, and Jeff Turmes
on sax. It all adds up to another winner from The
Insomniacs. At Least I’m Not With You is a
marvelous set of West Coast blues that will please
their ever-expanding fan base.
--- Graham Clarke
Duke Robillard
celebrates his 16th release for Stony Plain Records
by taking a step back. Reuniting with several of his
Roomful of Blues bandmates (Doug James, Rich
Lataille, and Al Basile) as well as incorporating
some new faces (singer Sunny Crownover), Robillard
revisits the ’40s and ’50s blues and R&B that has
been Roomful of Blues’ trademark for over 40 years
on Stomp! The Blues Tonight. In addition to
the powerful horn section, Robillard has assembled a
top notch rhythm section (Marty Ballou and Jon Ross
on bass, Mark Teixeira on drums) and a set list that
includes a perfect blend of cover tunes and
originals.
The cover tunes range
from a splendid slow blues version of Johnny
“Guitar” Watson’s “Three Hours Past Midnight,” a
wonderfully bouncy take of Roy Milton’s “Baby, You
Don’t Know” (a staple of Roomful’s early
repertoire), a rollicking take on Tiny Grimes’
version of “Frankie and Johnny,” featuring
Robillard’s guitar and James’ saxophone, Wynonie
Harris’ “Playful Baby,” a version of “Money’s Gettin’
Cheaper” that bears closer to Charles Brown’s
original version than the more familiar Jimmy
Witherspoon version, and “Tore Up,” complete with a
wild Ike Turner-influenced guitar turn. The disc
closer, Milton’s “Early in the Morning,” shows the
influence of Milton on Robillard’s vocal style.
The originals include
the rowdy title track, which kicks the disc off in
appropriate fashion, “Look But Don’t Touch,” a
gritty Texas blues collaboration between Robillard
and Crownover, and “Jumpin’ The Bone,” a superb
instrumental tribute to T-Bone Walker composed by
Robillard and James. Crownover’s sultry vocals are
featured on six tracks, including “I Wanna Hug You,
Kiss You, Squeeze You,” Helen Humes’ “Million Dollar
Secret,” Jay McShann’s “Hands Off,” Paul Gayten’s
“For You My Love,” and a marvelous rendition of the
Bessie Smith classic, “Ain’t Nobody’s Business.”
Robillard’s guitar work
is as impressive as ever, as are his vocals. The
band provides excellent support (Bruce Bears’ piano
is a highlight) throughout. Any new Duke Robillard
release is a guaranteed pleasure from start to
finish, and Stomp! The Blues Tonight ranks up
there with his best recordings.
--- Graham Clarke
Ronnie Earl is
not your typical bluesman these days. He doesn’t
tour, doesn’t appear on TV, doesn’t play festivals,
rarely gives interviews, and is not interested in
jumping through any of the hoops required to be a
“star.” Recently sidelined by health problems, Earl
was given the opportunity to sit back and
re-evaluate his life, opting to simplify things. Now
his primary focus is on the three “F’s:” family,
friends, and faith. He sees his music as a means to
“bring healing and love to the people who listen to
it,” as well as an opportunity to forge a deeper
relationship with God.
Earl’s previous release,
Hope Radio (available on CD and DVD), was a
magnificent effort that would seemingly be tough to
improve on. However, his new release, Living in
the Light (Stony Plain) is as powerful a release
as its predecessor, fueled by Earl’s incredibly
creative guitar work as well as stellar work from
his band, the Broadcasters (Dave Limina – Hammond B3
and piano, Jim Mouradian – bass, and Lorne Entress –
drums), along with some contributions from a few
friends.
Those friends include
the Fabulous Thunderbirds frontman, Kim Wilson, who
plays harmonica and sings on three tracks: a gentle
remake of Robert Jr. Lockwood’s “Take A Little Walk
With Me,” “Child of a Survivor,” a song penned by
Earl about the Holocaust (Earl’s parents were
survivors), and “Donna Lee,” a tribute to Earl’s
wife. New England blues singer Dave Keller
contributes two tracks: the funky opening track,
“Love Love Love,” and a soaring version of Bob
Dylan’s gospel tune, “What Can I Do For You,” which
also features members of the choir from Earl’s
Baptist Church. Keyboard wiz Dave Maxwell also
guests on two tracks, Rod James plays bass on one
track, and Jason James adds second guitar on one
track as well.
Living in the Light
is easily Earl’s most personal album, based on the
song selection and the passion and sincerity he
brings to each guitar solo. The seven instrumental
tracks are diverse and spectacular, featuring Earl’s
highly distinctive and original playing as well as
his interplay with Limina’s B3 and piano. What has
amazed me about Earl’s albums is the fact that the
most recent ones have featured nearly eighty minutes
of guitar work and there’s never a dull moment.
You’re on the edge of your seat waiting for his next
solo.
Living in the Light
will please not only fans of blues and jazz guitar,
but music fans in general. This is real soul music
of the finest kind.
--- Graham Clarke
You may not know who
Colin Linden is, but if you listen to modern
blues and roots music, there’s a good chance you’ve
heard him. Linden has produced over 70 records,
including efforts by Bruce Cockburn, Paul Reddick,
Lucinda Williams, and Colin James. He’s played on at
least 300 albums, served as guitarist for Cockburn,
Emmylou Harris, and Robert Plant & Alison Krauss,
and his songs have been covered by The Band, the
Blind Boys of Alabama, Keb’ Mo’, and Colin James.
Linden has also released
11 solo albums over his career, the most recent of
which is the ambitious From The Water (True
North). The disc is dedicated to Linden’s good
friend and collaborator, keyboardist Richard Bell,
who passed away in 2007. Bell co-wrote one of the
songs with Linden while in the hospital, “Trouble
Comes In Threes,” a clever nod to Ray Charles’
Atlantic-era recordings. “Smoke Em All,” co-written
by Linden and his wife, novelist Janice Powers, is a
warm tribute to Bell and probably the only song that
refers to Ray Charles and George Chuvalo in the same
line. “The Heaven Me” is another tribute to Bell.
The title track is
another highlight, beginning as a banjo-driven
jaunt, but turning into an atmospheric New Orleans
shuffle with lots of spooky slide guitar. “Mon Couer
Est Dans Tes Mains” is a elegant number with a
passionate vocal from Linden and so is the spiritual
“I Have Seen A Miracle.”
“Later Than You Think”
also has a spooky New Orleans feel to it. This is
one of three songs from the recent Paul Reddick
album, Sugarbird (produced by Linden),
featured on From The Water (the others being
the bluesy “Devilment,” with Reddick on harmonica,
and “John Lennon In New Orleans,” reborn as a ’60s
era ballad ) that Linden reinterprets and gives a
whole new life to. In the liner notes, Linden states
that he sees From The Water and Sugarbird
as companion pieces.
Linden’s guitar work
stands out from start to finish, and he gets great
support from his backing musicians (Gary Craig –
drums, percussion; John Dymond – bass; Bryan Owings
– drums, percussion; John Whynot – keyboards; Whitey
Johnson – National Resophonic guitar). Reddick also
adds harmonica to selected tracks and the Memphis
Horns (Wayne Jackson – trumpet, Tom McGinley –
saxophone, and Jack Hale – trombone) give several
tracks a R&B feel.
An exceptional, highly
emotional piece, From The Water will grab you
from the opening note and hold you until the last.
If you don’t know who Colin Linden is, pick this
disc up and prepare to be amazed.
--- Graham Clarke
Jim Byrnes is
familiar to many people from his appearances on TV
shows like Wiseguy (as Lifeguard) from the late
’80s, or as Joe Dawson from the late ’90s syndicated
favorite, Highlander, but he’s always considered
himself a musician first and foremost. Born and
raised in St. Louis, Byrnes absorbed all the great
music emanating from the city during the glory days
of blues and R&B. Artists like Chuck Berry, Ike &
Tina Turner, Ray Charles, and Muddy Waters all
frequently played in the city and were major
influences on Byrnes’ style, a rootsy blend of
blues, R&B, and gospel. All three genres are
well-represented on Byrnes’ latest release, My
Walking Stick (Black Hen).
Byrnes’ gritty vocals,
the various genres covered by the track list, and
the diverse instrumentation of some tracks bring to
mind the music of The Band (whose “Ophelia” is one
of the standout tracks covered). Steve Dawson’s
production gives this disc gives an earthy feel.
There’s nothing slick here. This is the real deal as
far as roots music goes (I would call it Americana,
but it doesn’t seem right, given it was produced in
Canada…..let’s call it North Americana).
Byrnes expertly manages
a varied set of tunes. His own compositions range
from the bluesy “Ol’ Rattler” and “Talk In Circles.”
Tracks like Mel Tillis’ “Walk On Boy,” “My Walking
Stick,” “Ophelia,” “Three Shots,” and “Lonely Blue
Boy (Danny’s Song)” all sit comfortably in the roots
section, while there are also nods to gospel with
Washington Phillips’ “What Are They Doing In Heaven
Today?” and the traditional “I Want My Crown,” both
featuring exquisite harmonies by the Vancouver
gospel trio The Sojourners, who are spectacular
throughout.
Byrnes revisits his St.
Louis influences with a great set of obscure covers,
including a soulful remake of the Valentinos’
“Lookin’ For a Love” (spiced up by Dawson’s slide
guitar), Little Milton’s “I’m Living Off The Love
You Give,” and a remake of Ray Charles’ “Drown In My
Own Tears” that will raise chill bumps. The swampy
“One Life (Creole Poetry)” closes the disc on a
moody note.
In addition to The
Sojourners, Byrnes enjoys the assistance of Chris
Gestrin on keyboards, Jesse Zubot on violin, Keith
Lowe on bass, and drummers Stephen Hodges and Matt
Chamberlain. The multi-talented producer Dawson
handles all the guitar work.
Jim Byrnes has won
several Juno Awards (the Canadian counterpart to the
U.S. Grammy) in recent years. One listen to My
Walking Stick and you’ll realize that they were
well-deserved. This is a must-have for roots music
fans.
--- Graham Clarke
Several years ago, I was
fortunate enough to hear a CD from Jason Ricci
and New Blood called Feel Good Funk. This
self-released disc was one of the highlights of 2003
for me. Ricci was an amazing talent with seemingly
endless energy and creativity. He not only played
the blues, but also incorporated jazz and funk into
his music. I was already familiar with Ricci, having
read Adam Gussow’s article about him in Blues
Access magazine a couple of years earlier (now
collected in Gussow’s book, Journeyman’s Road), but
the article, while it revealed much about his
background and early struggles with drug abuse,
really couldn’t do justice to his incredible talent.
Ricci studied with
former Johnny Winter sideman Pat Ramsey and honed
his harp skills to the point where he won the Sonny
Boy Blues Society Blues Contest at the age of 21. He
eventually relocated to the hill country of
Mississippi where he joined David Kimbrough’s (son
of Junior) band and played with many in the
Kimbrough and Burnside families for several years.
After a couple of years with the Zydeco/blues band
Big Al and the Heavyweights, Ricci went solo and
formed New Blood. The band has recorded several
entertaining discs since 2003, but their latest, and
second for Eclecto Groove Records, Done With the
Devil, is easily their best so far.
Last month, Blues
Bytes’ Kyle Deibler took a pretty comprehensive
look at the songs on this disc. I can add little to
his comments, but I will say that Done With the
Devil has a great mix of original tunes with
sometimes highly personal lyrics that cover the
bases from the blues to jazz to rock to funk, along
with what can best be described as a unique set of
cover tunes, ranging from Glenn Danzig (“I Turned
Into A Martian”), to Willie Dixon (“As Long As I
Have You”) to Mongo Santamaria (“Afro Blue”) to Sun
Ra (“Enlightenment”). There’s not a bad tune in the
bunch.
While Ricci’s harmonica
playing continues to be phenomenal, he has really
improved as vocalist and a songwriter. The band
(Shawn Starski – guitars; Todd “Buck Weed” Edmonds –
bass; Ed Michaels – drums) wrote or co-wrote songs
for the disc and one listen will prove that they are
simply one of the best bands of any genre out there
right now. They also get a hand from guitarist Shawn
Kellerman on one cut along with producer Phil Wolfe,
who plays guitar, Hammond Organ, Fender Rhodes, and
accordion on selected tracks.
Jason Ricci and New
Blood continue to break new ground, taking the
harmonica in directions that few ever imagined it
would go. Done With the Devil has plenty to
offer for blues fans willing to come along for the
ride.
--- Graham Clarke
Shar-Baby & Clarence
Bluesman Davis are two blues artists who have
wanted to record together for a long time, and they
finally got it together in May 2009 to produce
Foot Stompin' Delta Blues. If you are a fan of
down home delta blues, then this is the real deal!
You’ll go a long way to find anything this good and
this authentic – it’s roots music at it’s best ---
simple, uncomplicated, pure blues.
These two compliment
each other really well, providing vocals and guitar,
and the band provide excellent backing – Jock Webb
on harmonica, Kenny Webber(bass) and Albert Billups
on drums, are joined at various times by Tommy
Carter, Dale Hicks, and Nelson Brown (backing
vocals).
The album opens with
Shar-Baby on vocals on “Mercury Ford,” a good
starting number with a driving bass line laid down
by Kenny Webber overlaid by Jock Webb’s harmonica
and Shar-Baby’s vocals – no need for me to tell you
what the song’s about! The CD is dedicated in
general to Shar-Baby’s good friend, Willie King, who
passed away in March of this year, and track two,
“Alabama,” is specially dedicated to him; the track
was written by Shar-Baby and tells the story of the
Alabama sound (you aint’ been around till you’ve
heard that Alabama sound) which she has in bagfuls,
even if she wasn’t born there.
On track three, “Blues
All Over Me,” Clarence Davis takes hold of the
vocals, providing a solid contrast to the previous
two tracks, slowing things right down with a solid
delta sound. Jock Webb again provides the harmonica,
putting me in mind of Little Walter at times –
understated stuff, no show-off riffs, just good
playing. Track four and Shar-Baby is back on vocals
on the Al Braylock song “Take It Eazy Greazy,”
performed to perfection in Shar-Baby’s distinctive
style; the guitar work is more up-front in this
track and Jock Webb manages to change his style
slightly to sound like a cross between Little Walter
and Junior Wells. I like this guy’s playing!
Clarence is back on the
vocal for the classic “C.C.Rider,” and the album
alternates between Clarence and Shar-Baby with some
really great blues. Shar-Baby’s “Blues Is Here To
Stay” is an absolute winner, “Mr.Gip’s Juke House”
is just as good, and Clarence’s version of the
“Shake ‘em On Down” is one of the best that I’ve
heard in a long time.
The album goes on
producing even better and better songs until you
wonder where it will end – and it ends on a
fantastic instrumental boogie called, appropriately
enough, “Fast Boogie” – and my feet wouldn’t stop
tapping so I had to play it again, and again………..
E-mail to
nimrod@netzero.com and get yourself a copy of
possibly the best roots blues CD this year.
--- Terry Clear
Sentenced To Living
(Blues Boulevard) is the ninth album from Brazilian
blues artist Big Gilson & Blues Dynamite that
I’ve heard, although there are apparently 12 in
total. He’s a one man blues promotion for Rio De
Janeiro, and is determined to put the place on the
map as a blues production centre!
The 11-track CD opens
with “I Wonder Who,” and once it gets past its
slightly flamboyant opening, it’s a good bluesy
rendition of a Muddy Waters classic; Luciano Leaes
guests on the track on Hammond organ, lending the
track a different flavour totally from the original.
The organ is never pervasive, but it’s there in the
background and you know it.
The title track,
“Sentenced To Living,” follows, and I guess it’s
written by the band as the CD cover doesn’t mention
writing credits for any of the tracks. Some, like “I
Wonder Who,” “Tobacco Road,” “Take Me To The River,”
and “Yer Blues” are fairly obvious, but some of the
others are either more obscure or band originals.
Big Gilson & Blues
Dynamite give John D Loudermilk’s “Tobacco Road” a
nice boogie beat, and it works very well – Hammond
organ again, but this time courtesy of Miguel
Archanjo, supporting Big Gilson’s guitar work.
Not all of the tracks
are pure blues, but there’s enough blues on the
album to make it interesting. Al Green’s “Take Me To
The River,” for example, is a good blues track, as
is the following track, “Way Down In Hastings” –
possibly another band original? “Silver Train” hit
me as being Mick Jagger’s song from the album
Goat’s Head Soup, but it’s not that one, it’s an
instrumental foot-tapper with shades of hillbilly
blues. The CD culminates in the Lennon/McCartney
track “Yer Blues,” and the band makes a good version
of it.
The band continues to
produce good solid albums.
--- Terry Clear
This band, Mick Stover's Gentleman's Blues Club,
is a new one on me, although it was actually founded
in 2005 by bass player Mick Stover. Stover had
previously been in blues/rock bands and toured
extensively in Japan, USA & Canada.In 2005 Stover
invited friends he had met during his career to come
and join his new band, The Gentlemen’s Blues Club.
The take up included B.B.Chung King, Dave Osti, Dave
Raven and others, and the band quickly became a hit
with US audiences.
Their first album (which
I unfortunately missed) was Shotgun Wedding,
followed in 2007 by Longhorn Honeymoon and in
2008 by Red, White & Blue. How did I miss out
on these? Maybe they didn’t make their way to
Europe!
This new album, The
Sky's On Fire (Music Avenue), is 13 studio
recorded tracks with the addition of three live
tracks, and out of these 17 tracks, only one of them
is a cover version (Led Zeppelin’s “Since I’ve Been
Loving You”).
I have to say at the
outset, that this CD is more rock than blues, but
there are some blues/rock tracks and some blues, too
– check out track three, “State Of Grace,” very
Stevie Ray Vaughan, or track eight, “Run,” a superb
boogie number that leaves you wanting more of the
same.
When I saw track nine on
the sleeve was called “Dust Broom” I was convinced
it was a take on Elmore James’ “Dust My Broom”, but
it’s totally original with no reference to Elmore’s
track. It’s a fast-paced rock/blues about a motel
cleaning lady, and it’s good. It leads into “” Kinds
Of Women,” an equally good track and slightly more
bluesy with a lot of keyboard action.The band’s take
on the Led Zeppelin track is well put together,
slightly more blues than the original, if anything,
and I found I liked it more than Led Zep’s version!
The three live tracks
prove that this band can play, and the blues tracks
on the album show that they know their stuff. It
would be great to hear a whole album of blues from
them!
--- Terry Clear
Lisa Phenix’s second CD, Songflower Girl,
is another impressive effort. The recurring theme is
love, particularly mother-child. It’s good, organic
music with crossover potential into country, album
rock, folk, and bluegrass.
Held over from the first
disc are Producers Lisa Phenix and Michael Roe
(mandolin/guitars), with the third this time being
Ralph Stover (one of the disc’s pianists). Special
guest is Chuck Bond on trumpet. The band is rounded
out with electric and stand-up bass, drums, dobro/banjo,
violin, pedal steel and a second guitarist. As for
production and natural sound, this one is right on.
The band is as accomplished as on CD # 1, but the
vocals integrate more effectively. They sound live,
not overdubbed. Artwork is professional and
colorful.
Phenix well-plays “Silly
Little Mama,” a fitting sobriquet. She seems to draw
influence from a couple musicians she likes, the
muscular and diverse Texas singer/songwriter Carolyn
Wonderland as well as the charming Tennessee
bluegrass songbird Robinella. Starting on the open
mic circuit in her hometown of Sacramento with Kate
Wolf tunes, Lisa is now an effective artist who’s
finished product is distinctly her own.
Songflower Girl
is sprinkled with originals this time mixed with
some co-written by band mates, a Grateful Dead tune,
plus “Hosea” by Gregory Norbert. The album opens up
and bright, well-sequenced in tempo and mood,
expressive in feeling on quality canvass. Rockabilly
gives way to High Plains Drifter-type music
utilizing the guest trumpeter, thru medium rock, all
well-wrapped with Pink Floyd’s “Wish You Were Here.”
Phenix’s voice is always
pitch-perfect, just a pinch of very fine grit. She
really needs to be heard by more people, whether
they agree her music has commercial potential or
not. Packaging is consistent with Lisa’s personality
and image just like the previous CD, be it the slow
pace of life, outdoor environment, or classic cars
in the northern California country. I can attest
that her music reflects her real personality. You
can tell music permeates anything she may be doing
in life.
The performer’s first
disc was Homegrown (reviewed for this
publication in
March 2005) which burst forth with an impeccable
back-up band, pure lead vocals, and shiny
production.
In addition to her two
music CDs, her “Silly Little Mama”
website sells a We Feel box set
including emotional intelligence playing cards
(designed to help children identify and cope with
their’s and other’s feelings), a music and movement
CD, and instructions. Also available is a Christmas
album, Holidays are for Hugging.
--- Tom Coulson
Radio Broadcaster/Musician
Paul Simon sang,
“Detroit, Detroit/got a hell of a hockey team,” and
yeah the Red Wings are back in the playoffs, but he
might have mentioned the hell of a music scene in
this town, too! This was home to John Lee Hooker,
Sippie Wallace, Willie D. Warren, Baby Boy Warren,
Boogie Woogie Red, the Butler Twins, Chicago Pete
and other major blues folks. It still boasts the
likes of Eddie Burns, Alberta Adams, RJ Spangler,
Reverend Robert Jones, Johnny Bassett, Robert Noll,
Madcat Ruth, Little Sonny, Harmonica Shah, Jim
McCartney, Lazy Lester, boogie woogie legend Bob
Seeley and many more. That’s not to mention the
Motown, jazz (Kenny Burrell, the Jones brothers,
Curtis Fuller, James and Regina Carter, etc) and
rock (MC5, Stooges, Amboy Dukes) legacies. This has
always been a workingman’s town dominated by
journeymen musicians with strong work ethics. For
all its faults, Detroit continues to churn out world
class blues acts that reflect life in the trenches.
Consider the following a
pretty fair slice of the best that Detroit blues has
to offer:
Christy Howard’s I Crossed the Tracks
(No Cover), her second outing in three years, is a
delightful mishmash of city and country-flavored
blues delivered with the able assistance of a
first-rate band. Husband Jeff Howard’s guitar work
is sizzling, as is that of Jim Kahr -- who played
with John Lee Hooker, Muddy, Junior Wells, Lowell
Fulson and the like – and the incendiary Billy
Davis, the original guitarist with Hank Ballard and
the Midnighters. Maybe the only real distinction
between blues and country is accent. Howard’s
Tennessee accent follows her into the studio, but
there is plenty of adopted Detroit grit here, too.
Combined with a lope that speaks to her roots in
country, bluegrass and gospel, the combo is magical.
The songs are all impressive originals from Christy
and Jeff Howard with standouts being the
country-slinky title cut, “It’s a Shame,” “Livin’ On
the Edge of Sin,” the “Loan Me a Dime”-groove of
“Six Feet Down in the Blues,” “Deep In Blues
Country” and guest vocalist Jan Abrams’ superb
vocalizing on “Blues To the Bone” and “On the
Gamblin’ Floor,” the latter with Wailin’ Dale
Blankenship on wailin’ harp. This has grown into one
of my favorite recordings of the year.
Sweet Claudette
recorded That Man’s Got To Go (No Cover), her
fifth release, live in the studio – first takes all.
Enhanced by Howard Glazer’s fiery guitar and a two
man horn section (Marty Montgomery, saxes and Alonzo
‘Big Al” Haralson, trumpet and flugelhorn) Claudette
sails through a 10-song program of originals, and an
Albert King cover (“Ain’t Nobody’s Bizness”) with
the chops of a seasoned pro with loads of experience
under her belt. The title cut (“that man of mine is
breakin’ up my happy home”) is a standout in a
program loaded top to bottom with impressive
numbers. Claudette is the epitome of Detroit finger-snappin’
party blues, but she’s also a master at the low
down. “Not Another Moment,” the sho’ nuff sweet
“Don’t Talk That Yak To Me,” and the gorgeous “Love
I See In Your Eyes” point to the work of a talented
woman who has traveled the road
Motor City Josh
released Forty Four on his own Ford Music Co.
imprint. Every blues man worth his salt has latched
on to a Howlin’ Wolf tune or two in their career.
Motor City Josh Ford is enamored enough of the blues
giant to have released this collection of all Howlin’
Wolf covers. That he does so with sizzling chops and
wholly impressive vocals speaks volumes to his
talent. The CD, at least his 10th, features guest
Jason Ricci’s harp on a handful of numbers, in
addition to Ford’s band and other locals sitting in.
The star of the show, however, is unquestionably
Motor City Josh. He’s always been an enticing figure
with his swagger and humor sharing equal space. Both
are in abundance here. The opening title piece sets
the hard driving pace, and his takes on “Spoonful,”
“Evil Is Goin’ On,” “Back Door Man,” “I Ain’t
Superstition,” “Sittin’ On Top pf the World,”
“Little Red Rooster,” a rollicking “Wang Dang
Doodle” and other Wolf classics does both the Wolf
and Josh proud. This isn’t a mere album of covers –
it’s a killer disc. Pretty impressive liners from
Josh, as well!
Kate Hart, who
was nominated for a Grammy for her 1990 debut disc
and who led the extraordinary Detroit Women project
for a long while, has self released the wholly
hypnotic Alone Again with Friends on her own
imprint. Featuring her smooth vocals, impressive
original songwriting and arrangements, and a
first-rate crew of players, the core of which is the
award-winning Doug Deming and the Jewel Tones, with
a pair of Detroit Women and a trio of Seattle Women
sitting in, this is exquisite front to back. The
opening “Bowin’ To the Main Man” is slinky and
riveting. “Bad Girl Blues” could have been a
Victoria Spivey outtake – in fact there is a good
deal of classic blues-revisited that informs the
bulk of the project. “You Are Bothering Me” exudes
clinking glasses and a smoky room, “Snooze You
Loose,” the swingin’ “Albaturkey Blues,” “Who’s Been
Sleeping In My Bed,” and the clever “Boogie Woogie
Food Menu” are standouts, but there’s nothing here
that doesn’t dazzle. More impressive with every
spin, this is the work of a talent deserving of
wider recognition, ya dig?
Motor City Women &
Detroit Express has their impressive debut,
Ready, out
on Josh Ford’s label, and it’s a blast! A rowdy rockin’ piano-pounding “Did He Mention My Name?”
opens with a bang and it doesn’t let up from there.
Cheryl Lescom takes the lead, with background vocals
that remind of Ball-Barton-Strehli. The groove
shifts to a very funky “Watch What You’re Doing,”
demonstrating the diversity of this amazing
collective. Lady T, backed again by the gals, is all
about double and single entendres. The chorale
opening on “Guilty for Lovin’ You” is gorgeous, á la
Take 6. Lescom is again impressive here, showcasing
a more tender side. Stacia Petrie Ford is funky and
soulful on “Right Here Right Now,” one of the
standout pieces on the disc, and Elena Papillo has
the lead on “On the Road,” on which the guitar
(likely Ford) flashes off gorgeous Dickie
Betts-style lines. The core band is Steve Kohn
(drums), Jim David (keyboards), Rich Zeldes (bass)
and Dennis Burr (guitar), with Motor City Josh on
guitar and percussion. “Are You Really Ready?,” with
Lady T back at the mic, is a booty rockin southern
style blues. Aja Sardis takes the lead on “Hey, Hey,
Hey,” a blues/jazzy sort of number with excellent
instrumental backing, veteran Valeri Barrymore burns
up “Can You Feel My Blues,” and Lady T’s “Side To
Side” is a finger snapper. Ford’s closing lead on
“One More Last Chance” is a gorgeous blues. These
gals are all dyed in the blues and first rate. The
project points most decidedly to the breadth of
talent in Detroit. Yup, we got a hell of a music
scene.
--- Mark E. Gallo
