George Bowman
is in the Arizona Blues Hall of Fame and rightfully
so. He traces his Blues roots all the way back to
Edwards, Mississippi, the place of his birth and
continues today to carry on in the traditions he
grew up with. His self-produced CD, All I Wanna
Do (Sing the Blues), is a keeper and I’m glad I
have a copy to call my own. George surrounded
himself with some of Phoenix’s finest players:
guitarists Scotty Spenner, Paul Robinson, Kenny
Brown; David Bedell on drums; Lawrence Ross on
keyboards; Mike Black on bass and Chris Skowron who
contributed his tenor sax and the other horn parts
found on this disc.
The result is a disc
that takes me back to the days of the classic
singers I love --- James Carr and Bobby “Blue” Bland
--- to name a couple. Let’s throw this disc in and
hear all that George has to offer up for our
listening pleasure.
All of the tunes on
the disc are Bowman originals, and we open up with
“You With My Wife.” George comes home from work,
ready to crash and finds his good friend, sleeping
with his wife. “When I walked through the door, saw
clothes on the floor, I knew something was
wrong….saw my friend…and my wife…getting it on, I
presume.” His friend, of course, blames George’s
wife and lost all resolve when she took off her
clothes. Needless to say, George is crushed and not
sure where to go from here.
David’s backbeat
kicks in and we move on to our next cut, “Better Not
Be Lyin’ To Me.” George is an old-fashioned man and
he’s going to hold this one to her words. “You told
me…that you love me…and your heart…belongs to
me….well, I’m gonna….hold you to it…cause, that’s
the way I do it…you’d better not be lyin’ to me.”
George wasn’t necessarily looking for love but since
it’s crossed his path he’s going to walk down that
road and she’d better be good to him. Things don’t
always work out that well, though and George covers
this topic in our next track, “Feel Sorry for the
Next Man.” “I’m sick and tired…of your cheating
ways….I’ve gone through hell with you baby…for days
and days…woman, I don’t understand…and I sure feel
sorry for the next man.” At least Georges realizes
this one isn’t worth keeping and he’s ready to move
on from her.
Lawrence’s keyboards
and Chris’s sax provide the introduction to “So Many
Ways,” the first ballad on the disc. Again, the
topic here is love and the fragility of it all. “I
wish I could find…a love that’s true…that’s a love,
baby….that I had for you…all these lonely
nights….and these blue, blue days…love comes and
goes, yes, it does…in so many ways.” A beautiful
ballad and definitely one of my highlights on this
disc. We move back up-tempo as George tells us all
about the “Trouble in My House.” “I got trouble in
my house…bad things going down….going down for
sure.” George can’t seem to please the woman in his
life and if he can’t figure it out, she’s bound to
leave him with the wandering eye she seems to have.
Good luck with this one George.
Our next tune, “All I
Wanna Do,” has a classic Memphis soul feel to it and
I’m really appreciating the talents of all the
players involved. George is working a 9 to 5 here
and dreams of the day he can put that job behind
him. “Want to sing in the bars and clubs all over
town…all I wanna do is sing the blues…and lay it
down…you know it makes me feel so good…I love the
blues and its understood…cause I sing the blues and
that’s all I wanna do.” There’s some beautiful
fretwork in this tune and I can’t get enough of it.
George’s passion for
his music is clearly evident and he continues to
share that with us in “Man With A Dream.” “I’ve had
the blues…for so many years…and I’ve cried…so many
tears…when I hear the blues on the radio…I don’t
know which way to turn…or which way to go…but it’s
my dream…to make the blues scene.” In our next cut,
“Ain’t Got No Money Honey”, George is forced to
disclose to his woman that he doesn’t have a dime to
his name. “You know the money I had…when I met you
baby…it was borrowed, yes, it was.” George’s
deception caught up to him with this one but at
least he’s man enough to tell her the truth. What
happens next is anybody’s guess. Chris is blowing a
mean sax solo that is probably George’s version of
an apology to this high maintenance woman of his.
We move on to “Three
O’clock in the Morning” and I’m again reminded of
some classic times back in the day at the Old Bombay
Bicycle Club in Scottsdale. It’s late at night and
George’s woman is just finding her way through the
door. “I ain’t even going to talk to you about it
now, baby…I don’t even wanna know…where the hell
have you been.” Out that late on her own, it’s not a
wonder George is not happy with his wife. While
she’s obviously in the wrong, she’s not repentant
for her bad behavior either and George is going to
have to decide where the future of this relationship
is going to go.
I’m particularly
enamored with “White Pork / Thunderbird.” George is
a creature of habit and losing some of his bad
habits is proving hard to do. “My biggest problem…is
keeping my word…drinking White Pork and
Thunderbird.” His affinity for cheap liquor will be
the end of his current relationship for sure; it’s
keeping him from being responsible to his woman,
like he’s supposed to.” Some tasty guitar licks
present themselves and we traverse to the next cut,
“Stickin’ Yo Nose in My Business.” Someone is
getting in George’s affairs and he’s not liking it.
“You keep tell people I’m pimpin’…you know damn well
you’re a lying man…you keep running at the mouth…and
now it’s all out of hand. You keep stickin’ yo nose
in my business….I’m going to hit you in your mouth.”
Lawrence Ross also
put together the arrangements for all of George’s
tunes and he’s back at the keys for our final cut,
“Merry Christmas to You.” “Merry Christmas baby, you
sure have treated me right…and all the Christmas
presents I got for you, baby…Santa Claus will cling
to you tonight.” I’m guessing there’s some fine
lingerie and other assorted goodies in the presents
that George will help her open on Christmas night.
I’ve enjoyed George
Bowman’s disc tremendously. Having lived in Phoenix
for many years I’m familiar with most all of the
players and they did a tremendous job in supporting
the record George wanted to make. This is an
excellent disc and one I will come back to many
times this year for another listen. George’s website
is
www.geobowman.com and I’m thinking you can order
a copy of the disc from George there. It’s the wrong
time of year, but as George himself would say,
“Merry Christmas Baby.”
---
Kyle Deibler
Mikey Junior’s
new disc, Traveling South, was another item
that made its way into my CD player on the road to
Memphis and helped me pass some time away. As I
write this, Mikey and his wife Katie are celebrating
the birth of their first son, Michael Grayson, and
my congratulations go out to the proud parents. Back
in the day there was a time when it seemed like
Mikey Junior was ubiquitous, everywhere you turned
in Memphis there he was, hustling his music during
the IBC, and I remember a scintillating set he did
at the Heritage Music Blues Festival that my good
friend Bruce Wheeler put on. Dave Gross produced
Mikey’s new disc and it’s a good one, so let’s give
it a listen.
A deep-toned harp
intro leads Mikey and the band into the title cut,
“Traveling South.” “I’m traveling south Mama…if you
will go my way…cause yesterday’s gone and tomorrow’s
another day.” Things weren’t working out for Mikey
up north and so he’s packing up his gear and heading
down south. He’s hopeful the woman in his life will
go with him but he’s definitely got his sights set
on “traveling south.”
Mikey Junior’s got a
great band behind him and I’m hearing some upright
bass from Matt Raymond in my ears as Mikey tells us,
“Nobody Does It Like Me.” Mikey’s got the magic and
his woman is definitely having a tough time escaping
the grip he’s got on her heart. “So you came
back…like I knew you would…you said you’d stay
away…if you only could…your heart is hooked…and it
ain’t hard to see…nobody…does it like me.” That’s
the Mikey Junior I know, supremely confident and
sure of himself. Michael Bram’s drumming sets the
tone for our next tune, “Morning on My Way,” and
Mikey is finding out the woman he loves isn’t true.
“You’re a mean mistreater…you don’t mean me no
good.” Mikey Junior’s harp is wailing and he’s well
on his way to setting this woman free.
The tempo slows down
a bit on our next tune, “Mill Tavern,” and Jeremy
Baum’s piano is at the forefront. Mikey Junior’s
woman is out of town and he’s having a tough time
behaving on his own. “It’s getting dark again…the
day turning into night…my mind won’t settle down…I’m
wondering…who’s she with tonight…I see that sun
going down…I ain’t got nobody…you know my baby’s not
around.” Mikey’s struggling with his demons and it
isn’t a pretty sight to see.
“Katie Lynn” I’m sure
is written for Mikey’s wife and his love for her
obvious. “Katie Lynn…when can I see you again…if it
ain’t tomorrow…let me know just where and when.”
There’s a strong bass line in my earphones and Mikey
Junior has just the right hint of desperation is his
harmonica playing to do “Katie Lynn” justice. I’m
guessing it's Dave Gross’s guitar providing the
intro to our next cut, “Bad Time Blues,” and Mikey
Junior is lamenting the loss of the love in his
life. “One minute you’re up…the next you’re
down…everyone on my block…see’s me hanging around…it
ain’t hard to tell…I’ve been drinking…I got the bad
time blues.” Another man stole his woman and all
Mikey Junior can do is drink his pain away.
Up next is “The
Cheat” and Mikey Junior has this woman’s act down
pat. “Well now…the first time I caught you
cheating…I walked in and saw with my own eyes…deny
til I die must be your motto…because I slipped and
fell between your thighs…you’re just as evil as any
woman can be…now look what you have done.” There’s
no denying she’s got a hold on Mikey Junior, but I’m
sure he’ll see the light of day soon enough. Bad
luck with women is the continued theme of the day
and Mikey Junior confronts another bad woman in
“You.” “All I can say baby…is baby, goodbye.” Mikey
Junior knew all she wanted to do was cut his heart
out and he’s smart to move on from her as soon as
possible.
I particularly like
the line, “She’s good at being bad…the best
girlfriend I never had,” in Mikey’s next tune,
“She’s Good at Being Bad.” Sometimes the fire burns
bright, you get just enough taste of the flame to
get burned and you’re smart enough to walk away.
That’s not always the case, but Mikey Junior managed
to do so this time.
The shoe’s on the
other foot in our next tune, “Please Come Back.”
Mikey Junior truly loves this woman, and for a
change she just doesn’t trust him. Staccato guitar
notes emphasize Mikey Junior’s desperation. “I don’t
know why…you felt you had to go…but I got one
thing…I need you to know…I want you back…I need you
back….Mama, please come back.” He’s trying hard to
plead his case, but it doesn’t sound like she’s
going to change her mind. “Wrong Number” continues
the theme of Mikey Junior being in the wrong as he
hopes the woman in his life comes back to him. “Here
we stand now…face to face…and I know you want and
need me, baby…you just got to get out of this
place…but before you go…I want you to know…I thought
it was you…must have been a wrong number.”
The disc closes with
“Trying to Do the Best I Can,” and Mikey Junior is
in competition for the affections of the woman he
desires. “Well, I got me a woman…she got herself
another man…she don’t love me…I’m trying to do the
best I can.” Good luck with this one Mikey Junior,
but it’s pretty clear this one ain’t happening.
Traveling South
is an impressive disc from Mikey Junior and he’s
come a long way since those early days at the IBC in
Memphis. Dave Gross coaxed a great record out of him
for Vizztone and I’m sure with the arrival of
Michael Grayson, Mikey Junior is a man on a mission.
This is a very polished disc and I’m sure Mikey
Junior’s live performances reflect his growth as
well. His website is
www.mikeyjunior.com and that’s the best place to
grab a copy of his new disc. With his East Coast
schedule this summer, he won’t be hard to find out
that way. So go see him and enjoy. Mikey Junior has
always been a great showman and he’s definitely one
of the hardest working performers I know.
---
Kyle Deibler
Bob Corritore
has assembled an all-star cast of players to play
behind him on his new record, Taboo, for
Delta Groove Records. It’s a testament to the
friendships Bob’s developed over the years to have
folks like Junior Watson, Jimmie Vaughn, Papa John
DeFrancesco, and so many more play with him on an
all instrumental disc. Kudos to Bob for his
arrangements that serve to highlight the players as
well as his harmonica so well. I’m still not sure
how I’m going to be able to convey the feeling of
this record but I’m about to try. Let’s hit play and
get to it.
The first cut up is
“Potato Stomp” and I’m hearing Junior Watson’s
guitar in the mix as Bob conveys a slight tone of
desperation with his harp. Doug James kicks in with
his saxophone and with Fred Kaplan on piano as well,
the mix for this tune is very relaxed and enjoyable.
“Many a Devil’s Night” has a more somber feel to it
as Junior’s guitar and Fred’s Kaplan’s keyboard work
compliment the dark tones of the evening from Bob’s
harmonica. The feeling reminds me of a dark night in
the Delta and we’re probably lost somewhere around
the intersections of Highway 61 and 49 without
knowing it. Junior lends his fretwork to the mix and
I really appreciate this tune a lot.
“Ruckus Rhythm”
starts out with a wicked acoustic bass line by Kedar
Roy as the band warms its way into the mix. Bob’s
harmonica is front and center here to great effect
and Bob is definitely working his magic with this
tune. Though fairly laidback, “Ruckus Rhythm” is
again a perfect showcase for the interplay of all
the performers on this track. We move onto
“Harmonica Watusi” and I’m reminded of the ’50s
dance shows you used to see on TV. Bob is blowing
some lower notes on his harmonica and the interplay
between him and Fred Kaplan’s piano really does a
nice job of conveying a dance feel to this tune.
The title cut,
“Taboo,” is up next and it manages to convey a
fairly intense mideastern feel to my ears. Bob is
blowing some very delicate notes on his harmonica
while Todd Chuba’s percussion work in the background
perfectly complements the feel I’m sure Bob was
working to convey. The band heads up-tempo on “Harp
Blast” and Bob is working hard on this one to keep
the flow going and it’s the first tune so far that
really has the harp as the lead throughout the tune.
“Mr. Tate’s Advice”
pays homage to one of Bob’s early mentors in the
Phoenix music scene, the late Bob Tate, and Papa
John DeFrancesco joins the fray on his B3 for this
one. Dowell Davis is behind the drum kit for this
one and his light touch on the cymbals is
appreciated as Jimmie Vaughn plays a very expressive
lead solo as well. “5th Position Plea” refers to 5th
position playing on the harmonica and Charlie
Musselwhite is a better expert than I to pontificate
on this tune when he says, “Great to hear some 4th
and 5th position harp playing.” What Charlie says is
good enough for me and I’m enjoying Bob’s
performance on this tune as well.
Kid Ramos’s health
issues have been well chronicled over the last 18
months and it was great to see him onstage at the
BMA’s performing with the Mannish Boys and extolling
the virtues of the Blues Foundation’s Hart Fund. Out
next cut, “Fabuloco” is dedicated to Kid and has
that upbeat Latino feel that celebrates Kid’s
culture and his life. “Shuff Stuff” has that real
shuffle feel to it and is a brilliantly coordinated
effort by Bob, Brian Fahey on drums with a little
bit of Papa John on B3 for good measure. Doug James
returns on the sax as well and lends his perfect
flair to the tune.
Fred Kaplan’s light
touch on the keyboards provides the jump feel
required to get “T-Town Ramble” moving into high
gear. Richard Innes is keeping the back end steady
while Bob’s harp features some very expressive tone
to compliment Fred’s piano stylings. Mournful, deep
tones emanate from Bob’s harp as the band heads into
the final cut of the disc, “Bob’s Late Hours”. The
feel reminds me of the Old Bombay Bicycle Shop back
in the day in Scottsdale when Francine Reed used to
rule the roost. Some of the best pizza in town and a
couple of very cold beers were often enjoyed as the
end of the evening drew nigh, and that’s the feel I
hear from Bob’s harp intonations --- the end of the
evening is indeed drawing near.
Taboo is
probably considered a very risky project by many, me
included, but kudos to Bob Corritore for pulling it
off. The veteran experiences of all the players
involved were seamlessly added into the mix and the
result is a nice change of pace to my ears. Some
great harp from Bob and stellar work from everyone
else really brought his vision for Taboo into
focus.
The easiest place to
grab a copy of Taboo is on the Delta Groove
site and you can learn more about Bob at his own
website. Taboo is best enjoyed late in
the evening with either a glass of wine or a cold
beer …but isn’t that the point? It’s the time of the
night when we’re all up to no good and trouble
abounds.
---
Kyle Deibler
I’m
so used to seeing Terry Hanck performing at
the Blues Music Awards as part of an ensemble cast
of players that it dawned on me when his new disc,
Gotta Bring It On Home To You, arrived in the
mail that I’d never seen him play live with his
band. Unfortunately for me, Terry’s based out of
Florida and doesn’t get up here to Colorado that
often. While I ponder my future Terry Hanck
sightings, let’s give his new record out on Delta
Groove a listen. It’s a disc that definitely caught
my attention, for sure.
Terry and the band
open up with their version of an Elvin Bishop tune,
“Right Now is the Hour,” and Terry’s tenor sax is at
the front of the bus. Terry played with Elvin for a
number of years and this is a tune that’s always
stuck with him. “Baby, give love one more chance, I
know you would if you could…life is getting
shorter…better get it while the getting is
good…right now…right now baby.” Terry continues his
impassioned plea for love with a blistering guitar
intro from Johnny “Cat” Soubrand on “Whole Lotta
Lovin.” “So good looking baby, honey you fill up
from the ground…every time I see you darling…you
know my love come tumbling down.” This woman
definitely has Terry’s eye and he’s pursuing her
with a vengeance.
Up next is an up
tempo number with a Latin feel, “Pins and Needles.”
Terry finds himself tiptoeing around this beautiful
woman and he’s not sure what to do next. “Walking on
pins and needles…watching everything I do…walking on
pins and needles…honey, I’m so scared of you.” Kid
Anderson is lending some tasty guitar licks to this
tune and I’m not convinced that Terry’s going to be
able to close the deal this time around. Soulful
notes from Terry’s sax lend its flavors to his next
tune as Terry tells us about his “Peace of Mind.”
“Been, all over the world…you know I had my
fling…without a little piece of mind, people…it just
don’t mean a thing…you know I finally found me…a
little piece of mind.” Terry’s priorities are in
order while Cat’s back on the guitar lead and his
fretwork is just killing it on this tune. “T’s
Groove”, an instrumental, is a tune Terry wrote back
in the ’90s and decided it was time to dust it off.
Anyone listening to the tune will quickly understand
why Terry has won the Blues Music Award for horn as
he just amazes me with the passionate feel he’s able
to convey on his tenor sax. Throw in a taste of
organ from Lorenzo Farrell and it’s easy to see why
this tune came down off the shelf.
“My Last Teardrop” is
another tune that came down off the shelf and I love
the doo-wop feel of this song. “You’ve taken
everything from now, baby…and you turned my heart to
steel…I’ve cried my last teardrop for you.” Good for
you Terry. Our next cut, a remake of the Ronnie
Milsap tune “No Getting’ Over Me,” is a curious
choice but I find that Terry and the band more than
do it justice. While his sweet sax definitely
conveys the sentiment of Ronnie’s song, I’m
surprised to see that Kid Anderson is playing organ
on the tune with Bob Welsh covering the guitar
licks. Very interesting indeed.
“Jam Up”, a Tommy
Ridgley tune is up next and Doug James brings his
baritone sax to the mix while Bob Welsh’s keyboard
work on the ivories is outstanding. I particularly
love the dueling saxophones in this track and it’s
great to just sit back and let the band roll on
another great instrumental. I was fortunate enough
to meet Terry’s lovely wife Vera in Memphis this
time around, and our next track, “Gotta Bring It On
Home to You,” is a tune that Terry wrote especially
for her. Debbie Davies sits in on guitar and vocals.
“But I know where I’m going….cause I know where I’ve
been…I know our love will see me through…still my
heart is aching…cause I know you’re back there
waiting…gotta bring it on home to you.” Being the
wife of a touring road musician is tough at times
and I appreciate the love Terry conveys for Vera in
this tune.
Another blistering
guitar intro from Cat and Terry’s wailing tones lead
us to the last tune on the record, “One Horse Town.”
A tune by Bobby “Blue” Bland, Terry and the band
have been playing it live for the last 12 years in
their road show and I’m glad that Terry decided to
get it down on disc for all of us to hear. “I’m
going to send you back, yea…to that one horse
town…too many bright lights…you’re just pulling me
down…you’re going back to that one horse town…back
where you belong.” Sounds like this is one woman who
has definitely worn out her welcome.
Terry and Kid
Anderson produced this record and it cooks from
beginning to end. Terry’s been a bandleader for over
25 years now and his core band of Cat Soubrand on
guitar, Tim Wagner on bass and Butch Cousins on
drums have his back covered in fine fashion. Throw
in a wealth of special guests and the playing on
this record is outstanding. Look for Terry on the
road with his band and grab a copy of this disc from
him on his website,
www.terryhanck.net. You’ll be glad you did. In
the meantime, I’m going to hit play and start the
party over.
---
Kyle Deibler
Giles Corey’s blues
credentials are obvious. Since the tender age of 18,
he’s played with a host of Windy City bands,
including Scotty and the Rib Tips, the Chi-Town
Hustlers, Syl Johnson, Billy Branch and the Sons of
Blues, Otis Rush, and Mississippi Heat. Since 2001,
Corey, drummer Rick King, and keyboardist Marty
Sammon have also played in the
rock/funk/blues/jamband Lubriphonic, which proves
that the guitarist/singer/songwriter is not limited
to being impressive in just one genre.
The trio has joined
forces with bass player Joewaun Scott to form
Giles Corey’s Stoned Soul, which is also the
title of their debut release on Delmark Records, an
inspired set of modern blues. Each of the 13 tracks
presented here, ten originals and three covers, mix
the blues with rock, soul, and R&B, and should prove
to be one of the most unique, and entertaining
releases you’ve heard in a while.
The opening track,
“Oh, Mademoiselle,” is a funky blues rocker with a
definite Southern Rock vibe behind it, and “Morning
Train” is a boogie rocker punctuated by Pat Otto’s
mandola (which is featured on several other tracks,
too). On a marvelous cover of “Don’t Let The Green
Grass Fool You,” Corey and his backup singers (Diane
Madison, Mae Koen, Nanette Frank) blur the line
between soul and gospel. “Time Flies When You’re
Drunk” is a relatively laid-back track with Otto
guesting again on mandola, that features some clever
wordplay from Corey.
The loose-limbed
funky rocker “Pork & Beans” is a wild, relentless
ride, and is followed by a subtle reworking of Gary
Clark, Jr.’s “Bright Lights” that is as effective as
the original. “Rita,” another funk-fueled rocker,
allows Corey to showcase his slide guitar skills,
and “Right On!” has a jazzy, lilting rhythm that
reminds me a lot of early Santana with the harmony
vocals, and positive message, effectively delivered
by King. The easygoing “It’s All Been Said Before”
has a country feel, and “Watch Myself Go Crazy,”
sung by Sammon, is reminiscent of the jazz/R&B/pop
music of the ’70s.
Corey and band also
cover Cedric Burnside’s “That Girl Is Bad,” knocking
this rocking track out of the park. “Home Is On My
Mind” revisits the Southern Rock department with
some splendid slide work, and the closer is a
soulful “Every Time I See Your Face.”
As impressive as
Corey’s fretwork is, I’m even more impressed with
his vocal talents. He covers a wide range of styles
here, and doesn’t sound out of place with any of
them. Sammon, who played keyboards for years with
Buddy Guy, is the secret weapon of this disc, and
the Scott/King rhythm section is standout from
beginning to end.
Blues fans young and
old are strongly encouraged to check out Giles
Corey’s Stoned Soul. You’ll find yourself coming
back to it again and again. This is proof positive
that the future of the blues is in good hands.
--- Graham Clarke
Blues and rock fans
owe an overwhelming debt to John Mayall, not
only for his 50-plus years as a performer, but also
for serving as mentor for to scores of rockers such
as Eric Clapton, Peter Green, Mick Taylor, John
McVie, Mick Fleetwood, Jack Bruce, and numerous
others. At 80 years of age, Mayall is still a
formidable talent in his own right, recently issuing
A Special Life (Forty Below Records), his
first studio effort in five years.
Mayall and his
excellent band (guitarist Rocky Athas, bassist Greg
Rzab, and drummer Jay Davenport) have been together
since his previous studio album, 2009’s Tough,
and the five years of performing together have paid
off, judging by their sparkling interplay here. A
Special Life consists of 11 tracks, six covers
and five originals, that focus primarily on
traditional blues and blues themes.
The original
compositions range from the topical “World Gone
Crazy” to the autobiographical title track to the
wistful “Just A Memory.” Rzab and Athas contribute
the rugged “Like A Fool.” Mayall also reworks
“Heartache,” a track that originally appeared on his
debut album in 1965.
Mayall’s taste in
cover tunes remains superb, as he breathes new life
into tracks like Jimmy Rogers’ “That’s All Right,”
Albert King’s “Floodin’ In California,” Eddie
Taylor’s “Big Town Playboy,” and a fiery “Speak of
the Devil,” penned by Sonny Landreth. Zydeco star
C.J. Chenier guests on two tracks, singing and
playing accordion on a dandy cover of his father’s
“Why Did You Go Last Night,” and sharing vocals with
Mayall on a rollicking take on Jimmy McCracklin’s “I
Just Got To Know.”
Produced by Eric
Corne (Walter Trout), A Special Life is an
ideal John Mayall disc. It serves as a very nice
introduction for new listeners and should be
must-listening for his many fans.
---
Graham Clarke
Albert Castiglia
has developed into one of the blues most consistent
performers over the past couple of decades. The
former Junior Wells sideman has released six albums
over the past ten years, each one improving upon its
predecessor. Castiglia’s latest release, Solid
Ground, is his first for Ruf Records, and it
sets the bar pretty high for future releases from
the dynamic guitarist, with a 14-song mix of
impressive originals and well-done covers.
Highlights include
the solid opening track, “Triflin’,” a fine showcase
for Castiglia’s fretwork and soulful vocals, “Keep
You Around Too Long” which has a loping Texas swing,
and Castiglia duels with fellow guitarist Dave
Gross, “Have You No Shame,” a devastating slow
blues, and “Put Some Stank On It,” which features
some great interplay between Castiglia and
singer/guitarist Debbie Davies.
“Love One Another” is
an enthusiastic pop/rock number that calls for all
the nations to settle down and get along before it’s
too late. Castiglia really shines on “Sleepless
Nights,” a slow blues burner with some really
intense guitar work. The old St. Louis Jimmy
classic, “Going Down Slow,” gets transformed into a
funky mid-tempo rocker driven by some exquisite
keyboards from Jeremy Baum and a fierce guitar solo
from Castiglia. “Hard Time” is an acoustic
country-flavored track, and “Celebration” has a real
Americana feel.
Good as Solid
Ground has been so far, it really kicks into
overdrive with the final four tracks, beginning with
a torrid cover of the Walter Williams classic, “Bad
Avenue,” moving to a soulful redo of the Rolling
Stones’ “Sway,” channeling Carlos Santana on the
wonderful instrumental, “Little Havana Blues (Arroz
Con Mango),” and teaming with Gross again on the
acoustic closer, “Just Like Jesus.”
There’s no question
that Solid Ground is Albert Castiglia’s best
release to date, with some of his best songwriting
to date, powerful and versatile vocals, and dazzling
guitar work. There’s a lot to enjoy on this new
release for blues and blues-rock fans.
---
Graham Clarke
Beginning in the mid
1990’s, the Asylum Street Spankers built a
large following with their eclectic brand of roots
music that blended traditional sounds of blues,
country, jazz, and swing with thoroughly modern,
occasionally counter-culture themes. They covered a
wide-range of territory over their 17 years
together, ranging from recording a children’s album
in 2007 and an “agnostic gospel” release in 2009.
The band decided to call it quits in 2011 and their
final performance consisted of a three-day series of
performances in Austin, Texas, the band’s hometown.
The highlights of
those performances have been collected in the band’s
final album release, on Yellow Dog Records. The
Last Laugh features songs that the band never
released anywhere else, and the band sounds
fantastic doing them. The Spankers open with a
stirring a cappella version of the traditional
gospel track, “Didn’t It Rain,” moving to a
wonderful Christina Marrs vocal on “Never Goin’
Back.” She also does an excellent job on tracks like
Tom Waits’ “Make It Rain,” “Ludicrous Heart,” and
“Coffee Grinding Blues,” the first song she ever
performed with the band and, sadly, the last track
the band will ever record. Marrs also plays the saw
on the lovely instrumental, “The Swan.”
Nevada Newman takes
the mic on several tracks as well, including a
wildly entertaining version of the classic “I’d
Rather Drink Muddy Water,” and the anti-labor tune,
“F*** Work,” which, naturally features the soloists,
well, refusing to solo). Charlie King contributes
the hilarious “She Texted Me Goodbye,” a fairly
profane take on the traditional “Don’t You Hear
Jerusalem Moan,” and the reflective “Savor Every
Day.”
For the record,
though the line-up changed throughout their history,
the final set of Spankers consisted of Marrs (lead
and harmony vocals, guitar, tenor guitar, tenor
banjo, ukulele, musical saw, percussion), Newman
(resonator and acoustic guitar, harmony vocals, lead
vocals, mandolin), King (mandolin, dobro, banjo,
harmonica, harmony vocals, lead vocals), Morgan
Patrick Thompson (string bass), Mark Henne (drums
and percussion), Shawn Dean (violin, fiddle), and
Trevor Smith (banjo, mandolin, guitar, harmony
vocals). A couple of tracks feature tuba from Will
Landon, harmony vocals from founding member Wammo,
harmonica from Guy Forsyth, and clarinet from
Stanley Smith.
Three years after
their demise, The Last Laugh will be a
pleasant surprise for the Asylum Street Spankers’
many fans. It also serves as a nice introduction to
the band’s music. Fortunately, Yellow Dog Records
has kept their catalog in circulation, so after new
fans start listening here, they can go back and hear
what they missed. This is essential listening for
fans of American roots music.
---
Graham Clarke
Guitarist Carmen
Grillo has been an in-demand session guitarist
for over 30 years, performing and recording with the
likes of David Foster, Smokey Robinson, Donna
Summer, Huey Lewis, Boz Scaggs, the Four Tops, and
Rita Coolidge, who he also toured and recorded with
during the early to mid-’80s. He also worked with
the legendary band, Tower of Power, for nearly ten
years as songwriter, singer, and guitarist.
Since the late ’90s,
Grillo has owned his own recording studio, serving
as producer and engineer. In his spare time, he
still performs as part of The Sons of Champlin and
The Max Weinberg Band. He also has managed to find
time to release a new CD, A Different World
(Big Surprise Music), which shows that all those
years of playing behind such a variety of artists
allowed him to develop a pretty impressive,
wide-ranging set of skills.
Grillo covers a lot
of ground on A Different World’s 12 tracks.
Multiple tracks, such as the swinging opener, “Come
and Gone,” the jazzy “Tryin’ To Make It Happen,” the
topical title track, the Crescent City-styled “The
Nature of the Beast,” and a funky cover of Johnny
“Guitar” Watson’s “A Real Mother For Ya,” recall the
glory days of Tower of Power with punchy horn
charts. On tracks like the ballad, “Sad State of
Affairs,” the Texas shuffle “Everything’s Gonna Be
Alright,” and the soulful acoustic closer, “You’re
The One,” Grillo shows that he knows his way around
the blues as well, bringing to mind the work of
Robben Ford with his vocals as well as on guitar.
There’s also plenty
of great guitar as well, as Grillo includes four
choice instrumentals as well, all of which are worth
the price of admission on their own. “I Got The
Sauce” is a slice of Memphis-styled blues with
Grillo’s stellar fretwork backed by some greasy
keyboards from Rob Mullins and Ruben Valtierra.
“Prototype” is a
jazz/blues track with Grillo being joined by Tom
Scott on tenor sax, while “Transatlantic Boogie” is
an electrifying funk workout, and the aptly-titled
“River of Molten Rock” keeps the funk going along
with some piercing string-bending from Grillo.
If you liked the
old-school R&B-based rock and soul of Tower of Power
back in the day, then you will absolutely love this
disc. Carmen Grillo shows that there’s still a lot
of great music left to be heard in that genre, but
he also shows that he’s more than capable of playing
the blues as well. Blues fans will definitely
appreciate his fearless guitar work as well.
---
Graham Clarke
Former Roomful of
Blues member Al Basile is celebrating 15
years on his Sweetspot Records with his tenth solo
release, Woke Up In Memphis. As the title
indicates, the singer/songwriter/cornetist takes his
inspiration on these 14 new original compositions
from the music of the Bluff City: blues, soul, R&B,
and gospel. As on previous releases, Basile is
joined by guitarist/former Roomful bandmate Duke
Robillard (who also served as producer), drummer
Mark Teixeira, keyboardist Bruce Bears, bass player
Brad Hallen, and a powerhouse horn section that
includes Basile, Rich Lataille (tenor sax), and Doug
James (baritone sax).
The band really has
the feel of the Memphis sound on these tracks,
particularly the horns, who really recapture that
classic Stax/Hi Records sound, and Bears’ keyboards
pack the appropriate amount of Memphis grease.
Basile’s songwriting, as always, is top notch, with
lyrics about everyday feelings and events that make
his songs relevant to most listeners. Standouts
include “Don’t Make Me Beg,” “One More Stone In The
Pitcher,” the upbeat title track (which has an
almost gospel vibe), and “Jimmy and Johnny,” a
poignant ballad.
Other keepers include
the soulful “Saved By The Blues,” featuring some
great horns along with nice solo work from Basile
and Robillard, along with the gospel track, “Make A
Little Heaven” (featuring guest vocalist Sista
Monica Parker), which is Basile’s first recorded
gospel composition. “Too Tough” is a swaggering
swinging blues track with an excellent solo from
Robillard, and Basile joins him with a great solo on
the closer, “Masked Man.”
Basile’s warm vocals
are a great fit with this material and he’s as
comfortable on the soul and R&B tracks as he is on
the straight blues numbers. Each of his albums finds
him trying new things and moving in different
musical directions, absorbing the influences from
his previous releases each time. This approach makes
for some interesting and compelling listening. In my
opinion, Woke Up In Memphis stands as his
best release yet, and I eagerly await his next
musical venture.
---
Graham Clarke
Suit Ty Thurrsty
is an eclectic NYC/Connecticut-based band that fuses
the blues with rock, funk, soul, and hip-hop.
Consisting of Tom “The Suit” Forst (vocals, guitar,
guitar synthesizer), Tyree “TY” Pope (vocals, bass),
and Pedro “Bigg Thurrsty” Johnson (vocals, drums),
the trio puts their genre-busting approach , along
with in a bit of social commentary on the side, on
full display with their new release, People In
The Street.
Whether it’s R&B like
the opening track (“I’m Never Gonna Leave You”), the
funky “You Make Me Real,” and the moody ballad “Mama
(What’s A Man?),” or searing blues-rock like “Same
Old Song,” “Darkest Before Dawn,” and “Drawers,” or
modern-styled hip-hop-flavored blues like “I Got The
Blues” and “I See Your Blues,” or even scathing
scorched-earth , take-no-prisoners takes on social
topics like “Diamonds” and “I’m Already Against The
Next War,” there’s plenty for fans of multiple
genres to appreciate.
This trio means
business, crossing over and blending the various
musical styles with ease. Each member takes several
turns behind the mic and all are strong vocalists.
Forst plays some fierce guitar and Pope and Johnson
are a powerhouse rhythm section. The songwriting is
superlative as well.
People In The
Street offers something for everybody who calls
themselves a music fan…..great original tunes,
excellent musicianship and performances. You’ll be
hearing more from these guys.
---
Graham Clarke
Gaetano Letizia &
the Underworld Blues Band mix the blues with
jazz and funk in equal doses. Guitarist Letizia is
based in the Cleveland area and has been playing
guitar since the age of 15, studying the music of
B.B. King, Eric Clapton, and Jimi Hendrix, but also
learning from jazz guitarists like George Benson and
Pat Marino as well. Voodoo Doll & Other Blues
Lessons is his ninth CD and it’s not a stretch
to hear the influence of these guitarists at
different times on the disc’s 12 tracks.
Letizia wrote all 12
tracks, and is backed by Larry Keller (bass), Steve
Renko (drums), Jake Tijerina (keyboards), and
vocalists Bobby Huszar and Ro Brown. All of the
instrumentalists shine on the opener, “Big Foot,” a
slick jazz/blues instrumental. Letizia proves to be
a very capable songsmith, with clever, sometimes
witty lyrics on tracks like the funky title cut,
“Kill My Confidence,” “Hurt Myself,” and the
autobiographical “Torture Me.”
On tracks like “The
Devil Is A Nice Guy,” where he takes on politicians
and the like, “Sold My Soul,” “Bleed,” with its
vivid imagery, and the jazzy closer, “Big Secret,”
which takes on critics of his hometown, Letizia is
not afraid to step on toes or ruffle feathers. Not
all is heavy, however, as he ably handles the
acoustic flamenco track, “All I Need,” the upbeat
“Blow The Blues Away,” and the lovely instrumental,
“Orange Sunglasses,” with aplomb.
Voodoo Doll &
Other Blues Lessons is an outstanding release,
mixing blues with elements of jazz and funk, some
first-rate songwriting and performances, and
deserves to be heard.
---
Graham Clarke
The Blues is a genre
over saturated by the footsteps of the gods. SRV,
Eric Clapton, Muddy Waters, B.B King, Robert
Johnson. This is just to name a few. It's a dark,
soulful genre that cannot be imitated but lived. You
can hear that through the Tomas Doncker Band
as these romp and roll through ten tracks of soulful
blues hysteria in dedication to one of these
legends, Howlin’ Wolf, whose low end, croaked out
voice is one that resonates in the heart of the
blues world. A tribute to one of the greats is one
that cannot be taken lightly or done with a lack of
style or purpose. Tomas Doncker, head of True Groove
records, does this with a immense amount of both and
humble worship on Moanin' at Midnight: The Howlin'
Wolf Project.
The opening track,
“Evil,” brings the listener directly into Howlin'
Wolf's world with an upbeat pompous take on the
stripped down piano and harmonica classic. The
harmonica is still heavily incorporated but spaced
out guitars, burning solos and a punchy drum beat
have been added. A truly psychedelic trip into the
Wolf’s world.
Another classic
redone is “Back Door Man,” taken from his first
electric album. A gritty, stripped down effort, one
guitar clean and reverb heavy, straining to stay on
the neck through the Wolf’s abuse, the other
slightly distorted and used to make a repetitive
circular run through the blues scale. A bluesy
psychedelic masquerade. Doncker’s take with this one
is on point, with an added levels of volume and
keys. However, the same tones can be found and his
low end vocals match The Wolf’s nearly perfectly. A
modern take on a blues classic done perfectly.
The popular
“Smokestack Lighting” is taken on with expertise and
ease. A much heavier, more psychedelic version is
produced by Doncker and crew. Making heavy use of
fuzz and powerful rock drumming and a nice key
section featuring a quote from the Wolf himself is
featured in the middle of the tune. Guitars fight
back and forth as one dominates sparingly in the
rhythm section, while the other carries the melody
in a most fuzzed out manner. Doncker soulfully
strains out a “Why don’t you hear me crying /
Ooooooohhooooo,” nearly rivaling Wolf himself.
Tributes to classics
can be a complicated matter. When multiple artists
get together to pay tribute is one matter, but it is
a monster within its own when one artist does it.
Tomas Doncker puts a heavy twist on an already heavy
man and does so with style and soul.
---
Matthew Bartels
This review of
Alvin Lee & Co's Live From The Academy of
Music album is unique because Lee is the first
musician to feature on the innovative,
subscription-based
Digital White Label platform launched in May.
Over a 12-month period, a previously unreleased
collection of audio tracks is downloaded, alongside
a variety of other exclusive material accessible
on-line, all for the price of a single CD.
The first two songs
already released from this live gig are "Let’s Get
Back" and "Got To Keep Moving." Whilst they are both
from Alvin’s live In Flight double album of
1974, they are very different in this new format.
This is because these are extended, live
performances from what was clearly a memorable night
in New York, and the fact that the bass and keyboard
players for this 1974-75 world tour were the
sensational Steve Thompson and Ronnie Leahy,
respectively. Neither artist featured on In
Flight, but who can forget Steve’s thumping,
mesmeric riff on John Mayall’s classic blues/jazz
number, California? Leahy, of course, found fame
with Stone The Crows and Jack Bruce.
The band also
includes iconic former King Crimson members Mel
Collins on flute and saxophone and the late Ian
Wallace behind the drums. Thompson and Wallace are
in perfect rhythmic synergy on both tracks whilst
"Let’s Get Back" highlights Leahy’s exquisite
keyboard skills. Not surprisingly, in the 15 minutes
of music so far, Alvin’s powerful vocals and
trademark blistering, inventive and incisive guitar
solos steal the show.
This is just the
aperitif, as other tracks to be released include
"Time And Space" and "There’s A Feeling." The
prospect of hearing new versions of these with Alvin
and the band on fire is mouth watering.
Thanks to expert
mastering, mixing and executive production, the
original tapes are transformed into a crystal clear,
high quality recording which is superior to any live
album I have heard from that period. With more of
Lee’s personal drawings, newly released photographs
and memoirs to come, together with the ongoing
interactive blog, it is unlikely that owning a CD
will ever be the same again.
As one Alvin Lee fan
commented: “It is like celebrating Christmas every
month.” Given the outpourings of grief and universal
respect for the legendary musician who passed away
far too early at the peak of his creativity, this
commemorative package is an important legacy.
---
David Scott