Boz Scaggs has always been something of a
musical chameleon, moving from pop to rock to soul to R&B to jazz with barely a
ripple, but a lot of his later fans don’t realize that Scaggs first received
attention as part of high school classmate Steve Miller’s band in the mid ’60s,
playing R&B and the blues. Regardless of what genre in which he is currently
immersed, those two genres are always part of the mix.
For Scaggs’ latest recording, Memphis (429
Records), he doesn’t mess around. He and producer Steve Jordan traveled to the
Bluff City, recruited a score of musical icons, including Memphis keyboard
legends Charles Hodges, Lester Snell, and Spooner Oldham, bassist Willie Weeks,
and guitarist/former R&B star Ray Parker, Jr, and recorded these sessions at the
famed Royal Recordings studio (with the Royal Strings and Horns), where the late
Willie Mitchell made soul history back in the ’60s and ’70s with Hi Records.
Memphis features 12 tracks, some familiar,
some not so much. Scaggs summons up the spirit of Hi Records on many of these
tracks, especially Al Green on the first couple of tracks (his own “Gone Baby
Gone” and Green’s “So Good To Be Here”). Willy DeVille’s “Mixed Up, Shook Up
Girl” is one of the standout tracks, with its light Latin backdrop.
Soul fans will be impressed with Scaggs’ take on
Brook Benton’s anthem, “Rainy Night In Georgia,” and Sylvia Robinson’s “Love On
A Two Way Street” gets a greasy Memphis reworking, with Hodges and Oldham on
keyboards. The Steely Dan album track, “Pearl of The Quarter,” is another
keeper. Scaggs also throws in some serious blues as well, with covers of the
soul blues standard, “Can I Change My Mind,” Jimmy Reed’s “You Got Me Cryin’,”
and a lovely version of “Corinna Corinna,” with Keb’ Mo’ playing dobro.
Though Scaggs has admitted that he’s battled
writer’s block over the past decade, he contributes two fine tracks that bookend
the disc….the aforementioned “Gone Baby Gone” and the melancholy closer, “Sunny
Gone.” Vocally, he has rarely sounded better, and the set list really
demonstrates his versatility.
Boz Scaggs has recorded some excellent blues and
R&B-based albums over the years (his self-titled Atlantic release, which
featured the magnificent version of Fenton Robinson’s “Somebody Loan Me A Dime,”
Silk Degrees, Slow Dancer, and Come On Home being just a
few), and Memphis easily takes a place among those fine releases.
--- Graham Clarke
I really dug Marshall Lawrence’s previous
release, Blues Intervention. It was one of the better acoustic discs I
heard in late 2010/early 2011, fueled by Lawrence’s kinetic guitar work, his
original songs, and his fresh interpretations of familiar blues classics. “The
Doctor of the Blues” hasn’t exactly been twiddling his thumbs since that
release, dazzling audiences all over the place with his amazing technique and
his fresh take on the Delta blues, which he calls “Neo-Delta Blues & Roots.”
Lawrence’s latest release, House Call, is
his fourth, and puts his talents on full display. He plays guitars, mandolins,
and provides all sorts of percussion, ranging from hand-clapping and
finger-snapping to rattling chains and banging pipes, and is backed by Dave
“Hurricane” Hoerl (harmonica), Russell Jackson (upright bass), David Aide
(Hammond B3), Dwayne Hrinkiw (drums), and Barry Allen (background vocals).
Lawrence wrote 11 of the 13 tracks, and his “Mean
Momma Blues” gets the disc off to a rousing start, moving quickly to “I Got To
Ramble.” The Holmes Brothers contribute angelic harmonies to “Factory Closing
Blues,” a scathing indictment of big business. Other highlights include “The
Ballad of Molly Brown,” rife with Lawrence’s impressive fretwork, the
Latin-flavored “Biscuit Rolling Daddy,” and “Long Way Back Home.”
Lawrence also covers the classic Tommy Johnson
standard, “Canned Heat Blues,” putting his guitar chops on full display and a
chilling take of the traditional “Death’s Black Train.” As good as his previous
release was, Marshall Lawrence surpasses it with House Call, giving the
Delta Blues a fresh original spin.
--- Graham Clarke
The Ruff Kutt Blues Band achieved a fair
amount of success with their debut release in 2011, Mill Block Blues.
$10,000 of the proceeds from the sales of that disc went toward the Blues
Foundation’s HART Fund, which provide relief to blues musicians in need. For the
band’s impressive follow-up, That’s When The Blues Begins (Vizztone),
James Goode, who plays bass, ups the ante by adding singer/guitarist Zac Harmon
and singer Finis Tasby to returning contributors Anson Funderburgh (guitar),
Gentleman John Street (keyboards), and Wes Starr (drums), with Ron Jones (sax),
Eric Przygocki (upright bass), and Steven Richardson (harmony vocals).
Tasby’s contributions, six vocals, were his last
recordings before his debilitating stroke in December, 2012. He is in great form
on the opening track, “Deep Elam Blues,” with Funderburgh laying down some great
Texas-style stinging lead guitar, “Blues In My Blood,” “Don’t It Make You Cry,”
and “Bare Foot Blues,” both of which has a distinct New Orleans slant to them,
courtesy of Street’s keyboards. “Down So Low” finds Tasby so low, “his belly’s
on the ground.”
Harmon’s contributions are equally strong, his
smooth and assured vocals shine on “Oh Woman!” and “Blues Ain’t A Color.” The
wonderful title track is one of several which feature gospel-like harmony vocals
from Richardson, a real plus. “I’m Over You Woman” features Harmon with
Funderburgh throwing out some sinewy Albert King-like lead work, and the two
trade leads on the closing track, “When A Bluesman Goes To Heaven,” as Harmon
dreams of the afterlife’s ultimate blues band.
That’s When The Blues Begins is a great
listen from start to finish. James Goode has taken what was a great concept and
actually improved on it this time around. Fans of Gulf Coast blues will want to
add this disc to their collection for sure.
--- Graham Clarke
At one time, the blues was a major part of
jazz….anyone who’s listened to Louis Armstrong, Miles Davis, Thelonious Monk,
Dizzy Gillespie, or Coleman Hawkins would know this. Somewhere along the way,
jazz began to branch out and expand to the point that the blues was either
minimized or eliminated altogether. There are still jazz musicians who get what
a big part blues plays in jazz, but they seem to be outnumbered at times and the
music, to me, has suffered and declined. Jazz without blues is jazz without
soul. Your mileage may vary, but this is the reason why I review blues CDs
instead of jazz CDs.
Chances are that if you’ve listened to music over
the past four or five decades, you’ve heard Amos Garrett play guitar. In
the ’70s and early ’80s, Garrett was the session guitarist of choice for artists
like Paul Butterfield (as guitarist in Paul Butterfield’s Better Days), Emmylou
Harris, Bonnie Raitt, Bobby Charles, Ian Tyson (in Ian & Sylvia’s Great Speckled
Bird), Jesse Winchester, and Maria Muldaur, whose monster hit from the ’70s,
“Midnight At The Oasis,” features Garrett’s legendary one-take solo).
Garrett’s latest release, Jazzblues (Stony
Plain Records), is his debut release with his Jazz Trio (Keith Smith – guitar
and Greg Carroll – string bass). The disc consists of eight jazz standards, two
apiece from Davis (“Freddie Freeloader” and “All Blues,” two tracks from Davis’
classic, Kind of Blue) and Monk (“Misterioso” and “Blue Monk”). There’s also a
wonderful cover of Freddie Hubbard’s “Little Sunflower.”
Garrett and company also cover a pair of tunes
from Canadian jazzman, Bob Erlendson (“Forty One/Ronnie’s Gone”). There are two
tracks that feature vocals, Garrett’s serene turn on “Cocktails for Two,” and
Roberta Donnay’s stunning interpretation of Hoagy Carmichael’s “Skylark” closes
the disc.
All of these tunes were recorded during various
live dates in Canada over the past two to three years. If you’re a fan of Amos
Garrett’s, you’ve probably figured he would do an excellent job in a jazz
setting. You won’t be disappointed, as his jazz playing varies little from his
regular guitar work. With Garrett, the blues is always present in whatever style
he’s playing. The addition of Smith is a plus and they complement each other
well.
Jazzblues shows that the blues was a part
of jazz from the beginning, and if maybe some jazz musicians have strayed from
that mix over the past few years, it’s good to know that artists like Amos
Garrett still know how to put it back where it belongs.
--- Graham Clarke
Bart Walker has been playing guitar since
the age of four, and the Nashville-based blues guitarist has worked with
country-rocker Bo Bice, former Black Crowes drummer Steve Gorman, Black Crowes/Cry
of Love guitarist Audley Freed, and Cry of Love/Lynyrd Skynyrd bassist Robert
Kearns. As a frontman, he’s hot off the success of his debut release, Who I
Am, and was the winner of the Gibson Guitarist Award at the 2012 IBC in
Memphis.
For Walker’s latest effort, Waiting on
Daylight (Ruf Records), legendary producer Jim Gaines is on board as
producer, and an all-star set of Memphis session studs (Dave Smith – bass, Steve
Potts – drums, Rick Steff – keyboards). Simply put, if southern blues rock is
your bag, this disc needs to be in your collection and if it is, it will be on
steady listening rotation.
Fans of the Allmans and/or ZZ Top will dig the
rowdy “Took It Like A Man,” and “It’s All Good.” There’s some scorching
blues/rock on tracks like “Black Clouds,” “Girl You Bad,” “99%,” and the
Skynyrd-esque “Happy.” The title track is a solid ballad that might be a nice
radio hit in a perfect world.
There are also a pair of covers on the disc that
will be familiar to blues and blues/rock fans. Walker’s revved-up take on J. B.
Hutto’s “Hipshake It Baby” comes with some paint-peeling slide guitar. The
second cover is of the Allman Brothers’ “Whippin’ Post,” but is taken at a much
slower pace than the original, but building to a string-bending climax that will
leave you wanting to hear more.
Waiting on Daylight is a most impressive
release that guarantees you will be hearing more from Bart Walker. With his
rugged blues-based vocals and his powerful guitar chops on full display like
this, word will be spreading fast.
--- Graham Clarke
Paul Filipowicz’s new release, Saints &
Sinners (Big Jake Records) spans over 30 years of the Chicago-born,
Wisconsin-based blues guitarist’s string-shredding career. Filipowicz worked
through the ranks playing in the bands of Mighty Joe Young, Lefty Dizz, Hound
Dog Taylor, and Luther Allison, and if you’re not familiar with his work, you
will find upon listening that he puts what he’s learned over the years to good
use.
Filipowicz positively rocks on these tracks. The
opening cut, “Hound Dog Shuffle,” is a down-and-dirty instrumental tribute to
his former employer, Hound Dog Taylor. “Bluesman” is an autobiographical track,
with Filipowicz wailing away on guitar and singing like a man possessed. It
doesn’t let up much from there, with the greasy slow blues, “Your True Lovin’”
and the swampy “Hootin’ and Hollerin’” slowing things down a peg or two before
Filipowicz tears into “Good Rockin’.”
“Fat Richard’s Blues” is a moody instrumental nod
to Filipowicz’s former sax man, Dick “Fat Richard” Drake, featuring some
inspired fretwork, but from there the band picks back up with the rocker, “Where
The Blues Come From,” the Magic Sam-inspired “Everyday – Everynight,” and the
crunching boogie track, “Hey Bossman,” is so good that you will hate for it to
end.
The first nine tracks were recorded in November
of 2012, with Filipowicz’s working band (Dave Remitz – bass, Brian “Tito” Howard
– drums, and Harris Lemberg and Jimmy Voegeli – keyboards). The last three
tracks were recorded way back in 1982 with Drake on saxophone and the rest of
Filipowicz’s band (Will “Smokey” Logg – guitar, Randy Joe Fullerton – bass, Rob
Stupka – drums, and Chuck Solberg – piano). These tracks, an unhinged cover of
Clarence Carter’s “Backdoor Santa,” Howlin’ Wolf’s “How Many More Years,” and a
clip of Filipowicz’s own “West Texas Strut,” are from his 1982 Lucky 7 sessions.
They provide proof that Filipowicz has been great for a long time and shows no
signs of letting up soon.
If you’re not familiar with Paul Filipowicz,
Saints & Sinners is a good place to start, but you will definitely want to
hear more.
--- Graham Clarke
It Wasn’t Real, the latest release from
Gina Sicilia, finds the sultry young singer chanteuse working through a
ten-song set mixing blues, R&B, jazz, doo-wop, and pop. Backed by a tight and
talented band, and produced by Grammy winner Glenn Barratt, this latest set
rivals her incredible 2007 debut, Allow Me To Confess, as her best
recording.
Though Sicilia is a wonderful singer with plenty
of range and soulfulness, I think her strongest suit may be her songwriting
skills, which was one of the most noteworthy things about her previous
recordings, dating back to her debut release. The title track opens the disc,
and it’s excellent….a slow, sexy number with Jay Davidson’s sax wailing in the
background. From there, she moves to a lively doo-wop tune, “Please Don’t Stop,”
and the smoldering “Wake Up Next To You.”
“Walkin’ Along The Avenue” is a breezy rocker that includes Dennis Gruenling on
harmonica.
The wistful and romantic “City By The Water”
opens with some nice acoustic guitar and features a strong vocal from Sicilia,
who also shines on the country-tinged “Write A Little Song With You.” On the
heart-wrenching “Don’t Wanna Be No Mother,” Sicilia recounts a tale lamenting
the downside of domestic life. “Oh Me, Oh My” appears to be a carefree tune with
butterflies and dragonflies and sunshine, but also casually tossed in is a
comment about the sometimes fleeting qualities of romance, which changes the
focus of the tune considerably.
As much as I enjoy Sicilia’s vocal talents, I
continue to really be impressed by her songwriting. It’s highly personal and
honest, and she’s not afraid to take chances. However, let’s not gloss over her
vocals by any means. She is comfortable in any genre, be it blues, pop, jazz,
country, or soul/R&B. These qualities make It Wasn’t Real worth a spin.
--- Graham Clarke
If you’ve never listened to Hans Theessink,
you’re missing out. Long regarded as Europe’s top blues and roots artist, he’s
been playing for over 40 years, with over 20 albums and countless live
performances throughout the world. He’s been particularly prolific over the last
couple of years, with three outstanding releases for Blue Groove Records, the
excellent Jedermann Remixed from 2011, 2012’s Delta Time, his
second collaboration with singer Terry Evans, and this wonderful collection,
Wishing Well.
Wishing Well offers 14 songs, split evenly
between seven Theessink originals and seven traditional blues and Americana
covers that spread over a wide span of years. Although primarily a solo acoustic
album, with Theessink alternating between guitar, mandolin, banjo, and
harmonica, he is assisted on several tracks by Dave Pearlman (pedal steel), Gyan
Singh (tablas), and Blessings Nkomo (shaker).
Theessink covers traditional standards like “Make
Me A Pallet On Your Floor,” “Alberta,” Brownie McGhee’s “Living With The Blues,”
“Wayfaring Stranger,” and “Delia” (both associated with Johnny Cash). He also
does Townes Van Zandt’s “Snowin’ on Raton” and Bob Dylan’s “Ballad of Hollis
Brown.” His own compositions mesh well with the covers, notably “New Home Upon
The Hill,” “Hellbound,” and the lovely title track.
Wishing Well is a laidback, easygoing
collection, fueled by Theessink’s nimble fretwork and his warm, rumbling
baritone. For guitar lovers, it’s essential listening.
--- Graham Clarke
Guitarist Matt Baxter and singer/bassist
Jake Sampson have joined forces for Haunted (Auburn Sky Records),
an amazingly authentic disc of modern Delta blues. Baxter is a master guitarist
who has played with a wide variety of musical acts ranging from Prince Buster to
Donnie Osmond, and Sampson is a well-established blues man from the Motor City.
For the most part, Haunted features Baxter
and Sampson performing as a duo. The pair also wrote all ten tracks, and they’re
a strong set of modern tunes that would have fit easily into the mold of the old
pre-war blues from the ’30s. Tracks like “Dusty Mule” and the title track are so
authentic, you can almost feel the hot breeze blowing across a dusty delta dirt
road. The duo sounds particularly effective on these tracks, plus “Soul,” “Same
Old Pain” and “Someday.”
“Jamie Lynn” has more of a gentle country blues
feel, and “Don’t It Make You Feel Good,” with added instrumentation from Dave
Pellicciaro (B3) and Tony Coleman (drums), feels almost like a foray into Latin
jazz. The electric “Little Girl Gone” is a nice change of pace, and “Take Me
Back Home” adds piano (from Simon Russell) and sounds like a long-lost John Lee
Hooker tune.
Haunted is a nice, relaxing set of mostly
acoustic, Delta-flavored blues. Baxter’s virtuosity on guitar is a marvel, and
Sampson’s down-home, gravelly vocal style is a perfect companion to the music.
Fans of this style of blues will find themselves returning to this disc for
repeated listens.
--- Graham Clarke
Dudley Taft’s music dates back to the
early ’80s, when, while in a Connecticut prep school, he formed his first band,
Space Antelope, with Phish’s Trey Anastasio. From there, he migrated to Seattle
and became part of the music scene for over 20 years with the bands Sweet Water
and later Second Coming, who had a Top 10 hit, “Vintage Eyes,” around the turn
of the century. After Second Coming folded, Taft opted to do something
different, initially moving toward forming a ZZ Top tribute band before falling
under the spell of Freddie King.
Taft’s second solo release, Deep Deep Blue
(American Blues Artists Group Records), shows the influence of King on Taft’s
guitar work, but that’s only a piece of the pie….Taft also mixes in his
Seattle-based rock and blues/rock influences, which makes for a pretty unique
approach to blues guitar. He’s also a strong vocalist, which certainly doesn’t
hurt a bit.
Taft penned eight of the 11 tracks on Deep
Deep Blue. “The Waiting” is a churning boogie rocker. “God Forbid” is a
continuation of the title track (“Left For Dead”) about a character from Taft’s
first CD, and “Bandit Queen” tells the story of Pearl Hart, a latter-day
stagecoach bandit. The title track is a pensive slow blues. “Feeling Good Now”
is a funky rocker with a punchy horn section added for good measure, and
“Wishing Well” sounds like a Southern rocker from the ’70s, with the opening
acoustic guitar turning into stinging electric leads, mixed with vocal
harmonies.
Taft also covers three diverse tunes, including
the opening track, Bob Dylan’s “Meet Me In The Morning” and a scorching take of
Leon Russell’s “Palace of the King” that would have made the Texas Cannonball
proud. I have to admit my curiosity was piqued when I saw Lou Reed’s “Sally
Can’t Dance” on the track list….I was a big fan of Reed’s back in the day.
Taft’s rocked-out version of the tune is excellent and one of my favorite tunes
on the disc.
Taft is backed by producer John Kessler (bass),
Chris Leighton, Scott Vogel, and Jason Patterson (drums), and Eric Robert
(keyboards). Ashley Christenen adds backing vocals.
Deep Deep Blue is a powerful, high-energy
set of rock-flavored blues that proves that Dudley Taft’s decision to move from
the rock arena to the blues scene was a wise one indeed.
--- Graham Clarke
The Hound Kings are an acoustic trio that
consists of Anthony Paule (guitar), Scott Brenton (harmonica), and Alabama Mike
(vocals). The trio originally recorded together on Alabama Mike’s electric blues
CD, Tailor Made, and were encouraged enough by those results to give
acoustic blues a try. The resulting CD, Unleashed (9 Below Productions),
is acoustic blues for the 21st century, with Alabama Mike’s insightful lyrics,
putting a modern spin on longtime blues topics, combined with Paule’s
on-the-money guitar work and Brenton’s intuitive harmonica fills.
Alabama Mike’s vocals are the equal to his
songwriting, unique and original. Listeners will be drawn into his lyrics by
listening to the passion and commitment that he brings to his performances.
Tracks like “SSI Blues,” “Drunk Honey Bee,” “The Real McCoy,” “You Got Issues,”
“Recession Blues,” and “The Thang” mix current events with regular blues topics.
Paule grew up listening to Peetie Wheatstraw, Scrapper Blackwell, and Robert
Johnson and this is really his first opportunity to record acoustic blues. He
makes the most of it. He’s one of those guitarists who says a lot with just a
few notes. Brenton, who also engineered the session, provides harmonica fills
that are always in the right place at the right time.
The trio closes the disc with two cover tunes, a
reworking of Mississippi Fred McDowell and Rev. Gary Davis’ “You Gotta Move,”
which will definitely make you move, and Mercy Dee Walton’s “Red Light,” a spicy
old chestnut that rocks the disc to a close. Unleashed is a refreshingly
original acoustic blues disc that will appeal to any blues fan who gives it a
spin.
--- Graham Clarke
Singer Linda Valori has won numerous music
awards in her native Italy since the mid ’90s. She performed twice for Pope John
Paul II and Pope Benedict XVI. She’s comfortable singing pop, jazz, and opera,
but her first love is blues and R&B, of the Bobby “Blue” Bland and Etta James
variety, having become a fan as a child. Therefore, it’s past time that she
releases an album of blues and R&B classics. Enlisting producer Larry Skoller
(who produced the Chicago Blues: A Living History releases), Valori has
stepped forward with Days Like This (LeArt World Music).
The 12 tracks on Days Like This cover a
lot of ground. The title track, written by Van Morrison gets things off to a
soulful start. Valori also covers tunes by Chrissie Hynde (“Don’t Get Me
Wrong”), Janis Joplin (“Move Over”), and hits the blues hard with her smoking
take of “I Smell Trouble,” with guitar from Mike Wheeler, who also contributes
to Ike Turner’s “I Idolize You.” Guitarist Luca Giordano lends a hand on the R&B
chestnut, “So Doggone Good.” Valori also performs a cool duet with singer Mike
Avery on the album closer “If I Can’t Have You.”
Valori gets powerhouse support from a crack band
that includes Keith Henderson (guitar), Tim Gant (keyboards), Billy Dickens
(bass), Vincent Bucher (harmonica), Khari Parker (drums), and Joe Rendon
(percussion), with background vocals from Avery and Stevie Robinson. There’s
also a strong horn section with Doug Corcoran (trumpet, baritone sax) and
Marqueal Jordan (tenor sax).
So how is Linda Valrori’s first attempt at
recording a blues/R&B record? Judging from what we hear on Days Like This,
it won’t be her last. She tears into these 12 tracks and sings with a fire and
passion that will make you want to hear more from her, and soon.
--- Graham Clarke
Janet Ryan and her band, Straight Up,
have been blowing audiences away on the East Coast….the band with their high
energy blues attack, and Ryan with her powerful vocals. Having released two
well-received recordings in the past ten years, Ryan scores again with her
third, and latest release, Mama Soul, on CSP Records (distributed by
Malaco Records, a label that knows a thing or two about soul).
12 of the 13 tracks were written by Ryan or Terry
Vieregge, who also plays bass, or Chuck Mabrey, who plays keyboards. They
include the strong opener, “He Burned That Bridge,” which packs a punch, the
jazzy “What I Like Best,” “Mr. Misery,” a tune with lots of crossover potential,
as is “What Was I Thinking,” “Love Has Left The Building,” with some killer sax
by Joe Meo, and “Take Your Shoes Off,” a nice slice of soul. The album’s lone
cover is Sippie Wallace’s “Woman Be Wise,” and Ryan does a great job with it.
The disc, recorded in Dallas, includes a host of
area musicians backing Ryan as well as members of Straight Up (Ray Chaput –
guitar, Joe Elliot – keyboards, BillyKlock – drums, and Dennis LeBeau – bass).
CSP label head Jimmy Rogers first heard Ryan sing on a documentary and knew he
had to get her into the studio. Blues and soul fans will be glad that he did.
--- Graham Clarke
Formed
in 2011, Los Angeles-based blues/rock band The
Record Company has rapidly developed an
enthusiastic and growing following in southern
California. As the band prepares for a
cross-continent trip that includes July dates at the
Quebec City Summer Festival and the Ottawa Bluesfest,
its debut CD, Superdead, is highly
recommended to fans of contemporary blues rooted in
old-school traditions.
The
album opens with the juke-joint-ready “Don’t Let Me
Get Lonely,” an acoustic guitar-based throwback that
evokes the spirit of John Lee Hooker. As vocalist,
Chris Vos is gifted with a soulful voice that
recalls the Motown era, as well as with the
understanding for how to use it. From the opening
line, a listener can immediately hear, and even
feel, the depth of Vos’ plea for companionship
through the song.
Alex
Stiff’s Stax-ready bass drives the second song,
“Goodbye Sad Eyes,” laying a foundation that
compliments Vos’ accomplished and tasteful slide
guitar. Marc Cazorla adds a textbook demonstration
of how to play drums with feeling and musicianship,
while also fulfilling the percussionist’s
traditional role of sustaining the rhythm section.
Other
highlights include “Born Unnamed,” through which
fans of Jimmy Reed might notice his influence on Vos’
guitar work, “Medicine Man,” which infuses the
classic Bo Diddley riff with intensity and a sense
of urgency, and a slide guitar-oriented ballad,
“This Crooked City.”
Ultimately, The Record Company is comprised of three
equally accomplished musicians. That triple threat
characterizes the band’s live shows, and it is
particularly on display in the CD’s dynamic final
song, “On The Move,” in which bassist Stiff and
drummer Cazorla essentially share the role of
primary instrumentalist, augmented by Vos’ harmonica
and powerful vocals. As a debut CD, Superdead
shows The Record Company as an accomplished,
emerging band.
---
John Gadd
There
are days when the only thing that will get me moving
is some rock-based blues guitar, played at the
appropriate level to garner my attention and keep it
there. Today was a day like that, so I threw in
Walter Trout’s latest release on Provogue
Records, Luther’s Blues, a tribute to his
friend, the legendary Luther Allison. A dream
project of Walter’s, this recording has been
simmering on the backburner’s of Walter’s brain
since the day Luther died in 1997. It’s a helluva
project, so let’s give it a listen.
Almost immediately, Walter hits the
frets of his Strat as the band bursts into the intro
for “I’m Back.” “I’m back…I know I’m a natural born
bluesman…and that’s a fact…I’m back!” A nice, tight
opening song and I’m aware that this is going to be
an interesting ride. Walter then moves on to “Cherry
Red Wine” and lets us know he’s got his eye on
someone on the eve of personal destruction.
“Watching you baby…just watching you all the
time…watching you destroy yourself, woman…all you do
is sit around and drink some wine!” Luther obviously
loved this woman very much in the original version
and I’m sure Walter’s fretwork on this one is
matching the intensity of Luther’s agony back then.
This isn’t going to end well and it’s a sad thing
she can’t kick her addition to “cherry red wine.”
Up next is more of Walter’s fretwork
in “Move From the Hood.” Here we find the impact of
the neighborhood is having an adverse effect on
someone close to him. “You’ve got to move…move from
the hood…tell all your no good friends…that life
ain’t just that good!” Hopefully a change will do
them good and they’ll get moving in a positive
direction again.
“Bad Love” is a power ballad that
continues this theme of self destruction. Luther’s
woman is hiding an affair from him and it’s obvious
what’s going on. “Bad love…and misery…bad love…and
secrecy…this bad love…is killing me!” Things get a
little funkier as Walter moves on to Luther’s tune,
“Big City.” More guitar pyrotechnics fill my ears as
Walter sings, “Sun sinking deep…fire burning
down…it’s hard to see the moon…when the smoke is all
around…I live in the big city…and they tell me we
all are free…I hear babies crying…there’ll be
killing in these streets.” The “Big City” is a
dangerous place to live and everyone needs to know.
“Chicago” is up next and the funk factor increases
geometrically. “Back in Chicago…Chicago…that’s my
town…Chicago…I’ve been away too long!” Luther loved
living in Chicago and you can hear it in Walter’s
voice.
“Just as I Am” is up next and this
beautiful ballad is a refreshing change from the
intensity of the earlier cuts on the disc. “And will
you promise…to be honest…will you promise…to cross
your heart…when I’m hurting and don’t give a
damn…will you love me…just as I am?” It only takes a
second and Walter’s ratcheting the intensity back up
in “Low Down and Dirty.” “I’m low down…low down all
the time….I’m low down and dirty babe…low down’s on
my mind!” “Pain in the Streets” finds a beautiful
tone emanating from Walter’s Strat as the tempo
slows slightly and the emphasis for this song is the
emotion of it. “If pain was money…don’t you know I’d
be a rich man…it be like living in the desert…don’t
you know my house…would be full of sand.” Walter
portrays Luther’s pain succinctly through his
fretwork and the mournful tones of his Strat are
hauntingly beautiful in this tune.
Up next is Walter’s version of “All
the Kings Horses,” and the band’s intensity rises to
meet the occasion. “All the king’s horses…all the
mama’s mules…they can’t even stop you…from giving me
the blues…there’s a wrong…Luther, you’re wrong…you
got my mind messed up darling…you’re going to make
me leave our happy home!” Not sure what was causing
the conflict between Luther and the woman he loved
but it was evidently enough to cause her to move out
and move on.
“Freedom” is the last song on the
disc that Luther wrote and reflects upon his
experiences in South Africa. “We fought for self
respect…and we fought for equal rights…and we’ve
known for a long, long time…that discrimination just
ain’t right…talking about freedom!” Luther’s
concerns for the rights of his brethren were more
than justified and he was spot on. “Discrimination
just ain’t right!”
Luther’s Blues closes with a
short recording of Luther, “I don’t need fans…I want
friends…let’s make friends, fans…if I see you
today…I want to see you tomorrow…that’s where I’m
at.” Walter then moves on to his tribute to Luther,
“When Luther Played the Blues.” “When Luther played
the Blues…it came from way down, deep inside…you
fell every time he knelt…you fell…every time he
cried!”
This disc is Walter’s first
recording of all cover tunes and I’m guessing it
will probably be his last. It’s obvious that his
friendship with Luther Allison and their
conversations had a huge impact on Walter’s life.
He’s put together an amazing tribute to his friend
and we’re all the better for it. Grab a copy of this
disc when you see Walter on the road or order it
from his website,
www.waltertrout.com. It’s an essential addition
to your collection of Walter’s recordings and it
won’t disappoint!
--- Kyle Deibler
I
had the opportunity to see Cassie Taylor here
in Fort Collins at a local club called Road 34. An
alt indie group from Denver, In the Whale, opened
for her and I was left scratching my head…wondering
what the hell I’d gotten into. Then Cassie took the
stage and proceeded to convert everyone into the
club to Blues fans. She laughed, she cajoled them
and at times even talked some serious trash, but by
the end of the night everyone loved her. We talked
between sets and she proudly told me that her new
disc, Out of My Mind, is “all mine” and
deservedly so. It was the last disc I played before
I rolled into Memphis for the BMAs and its time to
give it a spin.
Cassie opens her disc
with the two-part tune, “Ol’ Mama Dean,” a song
about domestic violence inspired by a documentary
that Cassie had watched on television. Here we find
Ol’ Mama Dean in prison serving time for murder.
She’d ultimately killed her husband rather than
suffer any more abuse. “Didn’t try to run…she just
sat down on the porch…and she stuck to her
story…didn’t have no remorse…she won’t see the light
of day…until she’s dead and buried…that’s the
story…of poor Ol’ Mama Dean!” A tragic situation but
one that Mama Dean came to grips with as a
consequence of her actions.
A heavy bass line by
Cassie provides the intro to our next tune, “Spare
Some Love.” “I’m down and out…not a penny in
change…I should leave this place…ain’t no use in
staying…my soul is weary…my heart is worn…ain’t
slept in days…no house and no home…well, my coat is
torn…seams come undone…my cup is empty…can you spare
some love?” Homelessness is a cause near and dear to
Cassie’s heart, and hopefully this song will help to
raise some awareness for the homeless. Next up is a
more positive tune, “Out of My Mind.” This tune has
its roots in a conversation Cassie had with her
sister-in-law who talked her ear off for a couple of
hours over a new guy she was dating. Upon further
reflection Cassie realized she’d experienced the
same feelings falling in love with her husband,
Chuck Haren, and the result is this tune. “Let fools
rush in…let the blind lead the blind…I just can’t
get him…out of my mind!”
There’s no doubt that
Otis and Carol Taylor have raised quite the
daughter, and she pays her respects to them in our
next cut, “Lay Your Head on My Pillow,” a tune she
wrote for them in honor of their 23rd wedding
anniversary. “It’s been a long life…children are all
grown…days are getting cooler…nights are getting
long…and I’m going to lay my head…on your
pillow...and drift asleep.”A really beautiful tune
and one I’m sure Cassie’s parents appreciated
tremendously. Moving on to Louisiana, up next is
“New Orleans.” New Orleans is like no other city and
one of Cassie’s favorite places to visit. “They
say…be careful what you wish for…cause dreams ain’t
often come true…so I’m going down...down…down to New
Orleans!”
Up next is a tune
that Chuck is probably tired of hearing, “No Ring
Blues.” Poor guy endured this tune for several
months on the road before he finally broke down and
bought the ring that according to Cassie “made me
his bride!” They’re a great couple and I’m glad that
Chuck finally got Cassie’s not so subtle hint!
Another heavy bass
line from Cassie provides the intro to our next cut,
“No No.” Evidently the byproduct of a bad
relationship, “No No” gives Cassie an outlet and
release from the situation. “Cause you don’t want to
give me…your love…no…no!” “Forgiveness” is another
ballad from Cassie and focuses on the joy of
forgiving someone for the way they’ve treated you.
“Bad days…aren’t hard to find….you’ve had yours,
girl…and oh, I’ve had mine…patience can be found…if
you take your time…I said forgiveness…is hard to
come by!”
“Gone and Dead” is a
tune Cassie wrote for her father, Otis. “Lay your
head on my grave…hear the words that I sing…throw
your hand… now that I’m gone…it’s my legacy…so don’t
forget…don’t regret…this is all you have left!” This
tune was inspired by a conversation that Cassie had
with Otis regarding the death of his friend, Gary
Moore. Otis indicated to Cassie that he’s bought a
parcel of land to build a monument for his fans to
visit when he’s passed on. As for Cassie and her
sister, Otis says, “When I’m dead you’ll still have
the music.” It’s definitely his way and Otis is
leaving the girls an amazing legacy when that day
comes.
Out of My Mind
closes with two more tunes, “That’s My Man” and
“Again.” “That’s My Man” is a tune Cassie wrote to
compliment Chuck on the way he treats her in their
relationship. “I have a man…he treats me good…he
treats me nice…like a real man should…cause that’s
my man!” “Again” slows the tempo down, with Cassie
on the piano while Owen Tharp plays the bowed bass.
A tale of forbidden love, Cassie finds herself in
competition with a married woman. “Oh and you…you
make it hard on me baby…so…here I go again.”
Crossing the line will do nothing but end badly and
I’m afraid that Cassie will come up empty here.
Out of My Mind
features a number of well-crafted tunes that have
enabled Cassie to catch the attention of her
generation as well as the rest of us “old folks.”
Her show at Road 34 was impressive in that she spoke
the language of her peers, never backed down and
truly showed the universal nature of the Blues for
all ages. Cassie Taylor is bound and determined to
convert them all, one audience member at a time. So
catch Cassie and her amazing band (Steve Mignano on
guitar with Larry Thompson on the drums) at some
point this summer, and grab a copy of this disc from
them. It’s a good one!
---
Kyle Deibler
Austin
Young is living large these days. He just
graduated from high school in Colorado Springs,
earned an academic scholarship to prestigious Denver
University and he has the support of the Vizztone
Label Group behind his new release, Blue As Can
Be. Austin’s disc showcases an array of all
original tunes, so let’s give it a listen.
Tim Young’s kick drum
drives the intro of our first cut, “Thunderhead,” a
song dedicated to all of the good folks rebuilding
in the aftermath of the storms that hit Joplin,
Missouri. The mythical “Thunderhead” represents a
destination and place of growth for Austin. “Got to
choose your own path, son…that’s what my mama always
said…well, I’m going way down south…all the way to
Thunderhead!”
Up next is “Blue As
Can Be,” the title track and Austin’s homage to the
playing of Muddy Waters and other champions of
dirty, electric blues. “I’m a hard working man…as
blue as I can be…well, it must be some evil
devil…chasing on after me!” Austin’s working hard to
support his baby and the devil’s influence is trying
to work its spell on him and get in the way. I’m
pretty sure Austin will survive this round in good
shape. “Disappearing Railroad Blues” is a tune
written by Austin and his bass player Noah Mast
along with Noah’s father, Steven. A ballad and a
love song, here we find Austin missing his girl,
every time the train takes her away. “Got them
disappearing railroad blues…every time she goes….got
them disappearing railroad blues…only heaven knows!”
It’s a struggle to make this relationship work and
Austin seems to have endured his share of heartache
with this girl.
The band lets its
rock ‘n roll side out with our next cut, “Signal.”
Here we find Austin looking for a signal to know if
the girl that’s caught his eye is interested or not,
“Green or go….red or stop…send me a signal before I
reach the top!” Hopefully she likes Austin and sends
him the “green” signal! “Springtime Snow” is a
ballad written by Austin and his dad, Tim. A much
mellower tune than Austin is noted for; “Springtime
Snow” features some fine organ playing by Tom Tapec.
“Dreams…they come and go…just like the springtime
snow…then the sun will shine…just hope it comes in
time…for me.“
"Magdalena” continues
to showcase Austin’s softer side and is the result
of collaboration between Austin and one of his
earliest influences, Jim Adam, of Colorado Springs.
Jim sings background vocals on this tune while
Austin plays the melody on Jim’s National Steel
guitar. A really beautiful tune, Austin does this
one justice and he sings of trying to find his way
back to the lovely Magdalena. I’d have to say that
“Magdalena” is definitely one of my favorite tunes
on the disc.
The liner notes
instruct us to turn up the volume for “Not As
Strong” and it’s not a bad recommendation. Tim and
Noah are holding down the back end while Austin
displays a bit of vulnerability while letting his
Stratocaster get a work-out. “I’m not as strong as I
used to be…now that you know my name…now that you
placed your bet on me…life won’t ever be the same!”
A new girl in his life seems to be giving Austin a
reason and a determination to move forward.
It’s not clear to me
who’s playing the piano on our next tune, “Who’s
Coming Out,” but what is clear is Tim’s drumming
driving this song. “Who’s Coming Out” is definitely
a party tune guaranteed to get you off your chair
and onto the dance floor. “Who’s coming…party til
your leaving…is what this tune’s about!” Moving on,
“It’s hard to remember….anything I did right…it’s
hard to remember…any of the faces in the fight…got
to lift your spirit up and let your heart touch the
sky…oh yea…running on borrowed time…doesn’t make the
best of what we’ve got!” This lyric is from the tune
“Borrowed Time” and reflects the fact that the only
day we’re promised is today, so make the best of it
because tomorrow isn’t promised to any of us.
Our next tune,
“That’s It,” has a Stray Cats feel to me. Here we
find the girl moving on and leaving Austin behind.
“You could have told me you were leaving…the love
you lack…is causing my heart bleeding…that’s it…baby
I quit!” We slow the tempo way down for “Give Me One
Good Reason” as the band works its way back to the
basics of its old blues roots and Austin’s guitar is
at the forefront for us to hear. “Give me one good
reason…give me one good reason to stay…my life was
fine without you…now I can’t live another day!” You
can hear the pain in Austin’s guitar work and
there’s no doubt he’s ready to leave this girl
behind.
This despair leads to
optimism in our next cut, “Walking Through” and we
find Austin’s mood reflected in his fretwork. “I’m
wired for sunshine…on a cloudy day…my heart is
jumping…though the clouds are gray….aint gonna let
nothing….turn that smile into a frown….I’m walking
through sunshine….rain all around!”
Blue As Can Be
closes with an appropriate tune, “Miss You Moore,”
that started out as a tribute to Gary Moore but
became the band’s tribute to all the great musicians
who’ve recently left us. Austin, Tim and Noah are
all great students of the bluesmen and women who’ve
come before, and this moving instrumental is a great
way to round out the disc.
I’ve enjoyed this
disc tremendously. Austin is a favorite son here in
Colorado and has caught the attention and affection
of many. As time goes on, his voice will deepen, his
life experiences will give him many more topics to
write about, and hopefully his roots will remain
deeply steeped in the Blues. The band is on the road
here in Colorado and at select events around the
country, so catch them if you can. You can check
their schedule and order their record at
www.austinyoungband.com.
This Colorado Bluesman is definitely on the rise!
---
Kyle Deibler
I vaguely remember
Long Tall Deb Landolt as part of the Vizztone
showcase this year in Memphis at the IBCs, but days
roll into nights and back again so I’m happy to have
a copy of her new record, Raise Your Hands,
to refresh my memory. Deb has surrounded herself
with a who’s who of Blues talent and produced a very
fresh sounding disc. She’s a blues woman on the rise
so let’s give her a listen.
Up first is “What
Would a Good Woman Do?” Deb manages to wrap a sweet
vocal apologizing to her man around a conversation
with Phillip Pemberton as her foil dealing with the
everyday struggles between a man and a woman. It’s a
classic. Deb asks Phillip “Baby, do these jeans make
my butt look big?" To which Phillip replies, “I’ve
got one word for you --- Pilates” Deb’s quick retort
is, “And I’ve got two words for you, too ---
sit-ups!”
“Hush Your Mouth”
finds Deb in a reflective mood about her
relationship and needing some time to think. “Since
I’ve had time to clear my head…sat and focused on
the things you said…I understand now…I need to say
goodbye!” At least her head's clear and she’s making
a healthy decision to leave this man. There’s a
swing feel to our next tune and we find Deb ready to
take a trip in “Train to Tucson.” “When that lonely
whistle moans…I feel it in my
bones….five-fifteen…train to Tucson!”
The soulful tones of
John Popovich on the Fender Rhodes provide the
background to “Let’s Get Lost,” a ballad that finds
Deb deep in love. “Let’s get lost…how does that make
you feel…is this the real deal…I do what I can…to
make you feel like you should…tell me…does that make
you feel real good?” Deb is definitely motivated to
make this relationship work and she’s pulling out
all the stops. We segue into another slow tune, “The
Last Time.” Here we find Deb reflecting on her life
and the meaning of it all. “Gave all I had…to a
thankless job…just doesn’t seem to be…what I signed
up for!” Change is in the air and Deb is in search
of a more meaningful life than the one she has now.
“Coa Breeze” stays in
the same vein and finds Deb in need of re-charging
her batteries. “Wait for the night…to swallow me
whole…as I gaze out at the lights…across the
water…mondavi boats float slowly by…I’m in no hurry
to get home…and won’t answer if they call…this Coa
breeze blows softly through my mind!” I don’t know
exactly where Coa is, but it definitely sounds like
paradise.
Tempo and intensity
pick back up as the band tackles “Married to the
Blues.” Deb’s mom is a lot like mine was, “honey,
when are you going to find someone nice and settle
down?" Deb has the perfect answer, “I say…don’t
worry mama…I’ve already set a date…she said, you
make me oh so happy…tell me, what’s his name? …mama,
his name is the blues!” I’m sure Deb’s mother wasn’t
very happy with that answer, but Deb seems to be
perfectly content hanging out with the blues!
“Finally Forgot Your
Name” is another slow ballad and here we find Deb
stepping out. “Put on my red dress…and I went on the
town…had fun for the first time…since you put me
down…now it seems…you want me to come back to
you…now what makes you think…I’d be such a
fool…because tonight, tonight….I finally forgot your
name!” Deb’s finally on a healing path and moving on
from being mistreated is the only way to go.
The title cut, “Raise
Your Hands,” is up next and here we find Deb
struggling in the machinations of everyday life.
“Raise your hands, people…raise your hands,
people…try to break away…but still living on your
knees…say, I think I like the living but I’m not
afraid to die!”
Sean Carney and Bart
Walker both play guitar on “Muddy Jesus,” a cover of
an Ian Moore tune. “Mother Mary said…your time has
come…for the rivers but can be fought and won…for
the very love of God and man…Jesus crossed the Rio
Grande!” Jesus is evidently a drug runner trying to
make it across the border between Juarez and El
Paso! Sad to say he didn’t make it.
I’m sure its Colin
John’s slide work providing the intro for our next
tune, “To Find His Home,” and here we find Shaun
Booker on the lead vocal. “I’ve been trying…to find
my way home!” A beautiful spiritual, Shaun’s vocals
are powerful and spot on.
Raise Your Hands
closes with a Tom Waits tune, “New Coat of Paint.”
Beautiful piano from John Popovich provides the
distinctive backdrop to Deb’s version of Tom’s song.
“Let’s put a new coat of paint…on this lonesome, old
town…you set them up…and we’ll be knocking them
down…I’ll wear that dress, Baby…you wear that
tie…laugh at that bloodshot moon…and that burgundy
sky!”
I have
to admit that Long Tall Deb’s disc surprised me a
bit. Her vocals are very strong and the list of
folks who played on Raising Your Hands is too
long to mention. But if we judge Deb by the company
she keeps, then she’s doing very well indeed. I’m
sure her disc will get some consideration in the
nominating process for the Blues Music Awards and
one would think that Long Tall Deb has a very bright
future in front of her. I hope to see her on the
road soon. In the meantime, take a stop by her
website at
www.longtalldeb.com.
This is an artist worth taking note of.
---
Kyle Deibler
