It’s a tour de force every time the
Mannish Boys sit
down to record a record. It’s not enough that the
core band of Sugaray Rayford, Randy Chortkoff, Kirk
Fletcher, Frank Goldwasser, Willie J. Campbell and
Jimi Bott get together in the studio; Randy
Chortkoff always makes sure to sprinkle in a few
guests along the likes of Monster Mike Welch, Kim
Wilson, Candye Kane, Laura Chavez, Steve Freund and
others to ensure an amazing project. Wrapped Up and
Ready is just that, another amazing record from the
Mannish Boys on Delta Groove, so let’s give it a
listen.
The band kicks off with a tune by Monster Mike Welch,
with Sugaray at the vocals for “I Ain’t Sayin.”
Mike’s guitar leads are tasty and Sugaray is making
sure the object of his attention is aware of his
interest. “Take my word…take my hand…take a walk
with me sometime…I will show you pretty baby…what I
have on my mind…I ain’t sayin, girl…that you could
use a man like me…if you talk to me baby…I know I
can make you believe.” Sugaray’s pretty persuasive
and I’m sure he’s got this well in hand. Kid Ramos
is next up on guitar as the band tackles a Roy Brown
classic, “Everything’s Alright.” “I’ve got a whole
lotta money….God knows I’ll treat you right….Baby,
everything’s alright...you can get a lot of loving…
both day and night.” Sugaray’s in love and he’s
determined to keep this girl and treat her right.
Franck Goldwasser takes the microphone for the next
cut, a tune he wrote called “Struggle in My
Hometown.” “I went back to my hometown…I tried to do
better for myself…my whole family won’t accept me…my
old friends…have put me on a shelf.” Franck’s not
respected in his hometown and it’s always been a
struggle for him to succeed there.
The title cut, “Wrapped Up and Ready,” is next with
Kim Wilson on the harp and it’s a tune Sugaray
wrote. “I’m wrapped up and ready…come down and get
me….I’m ready for your love.” It’s his girl’s
birthday and Sugaray’s more than eager to present
her with the present he has in mind, in fact, he’s
wrapped up and ready to go. We move on to a tune
Randy wrote, “It was Fun,” and Sugaray remains at
the microphone for the vocal. “You are a real good
woman… thought we could make a run…but it was too
much work, baby…but baby, it was fun.” Sugaray
thought he had a keeper but it was too much work to
please her and it’s time to move on.
Kirk Fletcher’s
guitar intro leads us to another Chortkoff tune, “I
Can Always Dream.” “Aint no big time lover…but I can
play a long, long time…if I don’t drive them crazy…I
can pacify their mind…I ain’t no big time
playboy…but I can always dream.”
Candye Kane and Laura Chavez are the next guests to
appear on Wrapped Up and Ready as Candye tackles the
vocal on an Ike Turner tune, “I Idolize You.” “All I
want baby…is just a touch from you…just a little
attention…is going to see me through…you know you’re
my kind…I want you to realize…I idolize you.”
Laura’s tasty licks compliment Candye’s soulful
vocals perfectly, and it’s an astute song choice for
them to perform on this disc.
Fred Kaplan’s on the
keys front and center for our next cut, “You Better
Watch Yourself,” and I’m assuming its Randy’s harp
I’m hearing as well though I’m losing track on my
scorecard. Sugaray’s vocals on this tune are spot on
and it’s pretty clear, “you’d better watch
yourself.” Robert Ward’s “Something for Nothing” is
the next cut Sugaray and the band tackle, and it’s
Kim’s harp I’m hearing as Monster Mike Welch’s
guitar fills in the blanks. As Sugaray sings, “When
I come home in the morning…my days at work were
never through…well, I had to cook my own food,
yeah…and then I go out…and look for you…I love you
baby…but nobody does something for nothing for
love.” Sugaray’s woman needs to straighten up or
he’s bound to cut her loose and move on.
Randy’s back at the microphone for another of his
original tunes, “Can’t Make a Livin’.” It’s a fairly
up-tempo tune that has Randy lamenting his
misfortunes. “Can’t make a livin’….no matter how I
try…times are really hard…I’m going to make it bye
and bye.” We’ve all gone through times like this and
Randy’s no different. He’ll figure out a way but
it’s not easy. Steve Freund makes a guest appearance
next, singing and playing the lead guitar on a song
he wrote, “The Blues Has Made me Whole.” “Sometimes
I wonder…what am I doing here…but I pick up my old
guitar…the answer’s very clear…I used to walk the
street…I had no purpose to my soul…I was just a half
a man…but the blues has made me whole.”
“I Have
Love” is the other track that Mike Welch contributed
to this Mannish Boys disc, and Sugaray is eager to
tell us just how he feels. “Well, you know I have
love, baby…and nothing else…I’ve got nothing for you
baby…nothing but myself.” Bob Corritore is adding
some tasty harp to this cut and I’m convinced that
Sugaray by himself is probably just enough.
“Troubles” is the final tune that Sugaray wrote for
this disc, and Kim’s harp is at the forefront as Sugaray shares his misery with us. “As I sit in my
room…staring at these four walls…something’s stuck
in my throat, baby…makes my skin begin to
crawl…things have gotten so wild, baby…I can’t get
next to you.” I’m hoping Sugaray will figure it out
but he’s definitely depressed over the current state
of affairs with the woman in question.
He seems to
be happier on the next track, “She Belongs to Me,”
and it sounds like his woman problems are over.
“Everything about you is so sweet and I’m glad…so
glad…that you belong to me.” The Mannish Boys close
out Wrapped Up and Ready with another Goldwasser
tune, “Don’t Say You’re Sorry” and the instrumental
“Blues for Michael Bloomfield”, composed by Kirk
Fletcher. Franck’s adamant his woman isn’t at fault,
“Don’t say you’re sorry, baby…you didn’t do no
wrong…I brought in on myself…I didn’t treat you the
way you ought to be…don’t say you’re sorry…cause you
didn’t do no wrong. Kirk’s tribute to Michael
Bloomfield is at once emotive and thoughtful and his
playing reflects the deep appreciation he has for
Michael’s legacy to the Blues. It’s definitely a
very satisfying ending to another great recording
from the Mannish Boys.
The Mannish Boys have established an almost
impossible to reach bar for their work and still
continue to reach and surpass it. Their last disc,
Double Dynamite, won the Blues Music Award for
Traditional Blues Album of the Year and I would
expect Wrapped Up and Ready to receive the same
consideration come nomination time. Sugaray Rayford
has clearly taken over the vocal reins from Finis
Tasby and Johnny Dyer, and his vocal style clearly
fits in the tradition of all the great Mannish Boys
front men. Throw in stellar guest appearances from
Kim Wilson, Candye Kane, Laura Chavez, Steve Freund
and Monster Mike Welch; what more could a Blues fan
ask for?
The Mannish Boys will be touring all summer
in support of their new disc, so grab a copy from
them on the road or through the Delta Groove
website. Wrapped Up and Ready is another outstanding
release from the Blues force we know as the Mannish
Boys, so get ready.
---
Kyle Deibler
Ho-hum…..another year, another fantastic release
from the Mannish Boys. Wrapped Up and Ready (Delta
Groove Music) offers up 16 tracks of pure blues
heaven featuring the core group (Sugaray Rayford –
vocals, Randy Chortkoff – harmonica/vocals, Kirk
“Eli” Fletcher – guitar, Franck “Paris Slim”
Goldwasser – guitar, Willie J. Campbell – bass, Jimi
Bott – drums) along with a huge list of guest stars
that includes Candye Kane, harmonica aces Kim
Wilson, Bob Corritore, and teen phenom Jacob
“Walters” Huffman, guitarists Steve Freund, Kid
Ramos, and Monster Mike Welch, and piano man Fred
Kaplan.
Having shared the lead vocals on the previous
release, Double Dynamite, with Finis Tasby, who
suffered a debilitating stroke in late 2012, Sugaray
Rayford takes the lion’s share of the vocals this
time around and anyone who heard his work on that
previous release (or his own 2013 solo effort for
Delta Groove, Dangerous) knows that he is more than
up for the task and he proves it on tracks like the
strong opener, “I Ain’t Sayin’,” the Roy Brown
cover, “Everything’s Alright,” the rollicking title
track, the Robert Ward tune, “Something For
Nothing,” and the Magic Sam standard, “She Belongs
To Me.”
Rayford gets help in the vocal department from
fellow Mannish Boys Chortkoff, who tears up his own
composition, the blues rocker “Can’t Make A Livin’”
(with vocalist Trenda Fox), and Goldwasser, who ably
handles the jumping “Struggle In My Hometown” and
the uptempo “Don’t Say You’re Sorry.” Blues belter
Candye Kane joins the fun with a very nice vocal
turn on Ike Turner’s “I Idolize You,” which also
prominently features her guitarist Laura Chavez, and
Freund turns in a solid vocal on his own
Chicago-styled “The Blues Had Made Me Whole.”
There’s also plenty of great musicianship on
Wrapped
Up and Ready, as has come to be expected on any
Mannish Boy release. Fletcher’s “Blues For Michael
Bloomfield” is a tribute to the late guitarist and
Fletcher really captures his sound well on this
extended instrumental, which also features Wasserman
and Welch solos, bringing a spectacular disc to an
appropriate close.
Simply put, if you happen to see a new Mannish Boy
release, whether online or in a record store, you
can rest assured before you even hit “Play” that you
are getting the blues at its very best, played by
some of the genre’s finest musicians. Wrapped Up and
Ready continues that tradition…..one that we hope
doesn’t end any time soon.
---
Graham Clarke
Ronnie Earl & the Broadcasters have set the standard
for instrumental blues bands for over 25 years. Earl
(guitar), Lorne Entress (drums), Dave Limina
(keyboards), and Jim Mouradian (bass) have developed
an almost seamless rapport, which enables them to
play their brand of the blues (mixing in a healthy
dose of jazz and soul) in a style that’s endlessly
inventive and intense.
For their eighth album on Stony Plain Records,
Good
News, Earl and the band invited a few talented
guests --- singer Diane Blue and guitarists Zach Zunis
and Nicholas Tabarias. The guitarists show up right
away on the opening cut, “I Met Her on That Train,”
engaging in a good-natured cutting contest as each
takes a sweet solo over the propulsive train rhythm.
The other originals include the title track, a
gospel-inspired romp penned by Earl and Limina, both
of whom are showcased, and the minor-key “Marje’s
Melody” features Earl and Tabarias.
“Blues For Henry” is a heavenly slice of Chicago
blues (written by Earl and the late Hubert Sumlin),
and “Puddin’ Pie” explores the Windy City side of
the blues further. Both feature some great interplay
between Earl and keyboardist Limina. Neal Creque’s
“Time To Remember” finds the band exploring the jazz
side of the blues with excellent results.
Blue, who appeared on Earl’s previous release,
Just
For Today, shares her lovely, soulful vocals on
four tracks, notably a standout take on Sam Cooke’s
“Change Is Gonna Come,” where she more than holds
her own. She also shines on the exquisite slow
blues, “Six String Blessing,” and the Buddy
Guy/Junior Wells composition, “In The Wee Hours,”
though the bulk of that 11 minute piece is
devoted to Earl and Zunis’ expressive fretwork. The closer, “Runnin’ In Peace,” is a
mournful blues with a great, mournful vocal from
Blue and some piercing guitar from Earl.
Ronnie Earl recently took home the Best Guitarist
award at the Blues Music Awards in May, and there
are few who are as deserving as he was. He has
compiled a body of work over the past 30 years
as a solo artist and previously with Roomful of
Blues that puts him in the upper echelon of blues
guitarist. Good News is indeed that for Ronnie Earl
fans and blues guitar fans.
---
Graham Clarke
Too Slim and The Taildraggers roared out of the
starting gate 28 years ago and they haven’t eased up
on the throttle very much since, gaining a huge
number of fans in that time span based on their
relentlessly energetic shows and 18 uniformly
excellent recordings. Too Slim (a.k.a. Tim Langford)
is a triple threat with his rugged, passionate
vocals, his often-brilliant songwriting, and his
dazzling guitar work.
For the past 15 years, Slim and company have
recorded on the Underworld Records label. The
recently released two-disc set, Anthology, features
the best of his work for Underworld, 31 total tracks, plus three new tracks, produced by
Grammy-winning producer Tom Hambridge (Buddy Guy,
George Thorogood, Joe Louis Walker), who also was
behind the helm for Slim’s previous release, 2013’s
Blue Heart.
I like the way the set is split up, with the first
disc focusing more on harder, more rock-edged fare,
and the second disc taking a more serene approach
with an acoustic and bluesier edge. The 17
tracks on the first disc include a pair of new
tracks…..”Wishing Well,” a sweaty, atmospheric
rocker, kicks off the disc in great style, and the
boogie shuffle, “Little Gun Motel,” gives Slim ample
space to stretch out on slide guitar. The previously
released tracks, like “Stoned Again,” “Mexico,”
“Devil In A Doublewide,” “Wash My Hands,” and “Been
Through Hell” rock hard and relentlessly, both
musically and lyrically, but the last two tracks on
the first disc, “Wish I Was Fishin’,” and “She Sees
Ghosts,” are a bit lighter sort of set the pace for
the next disc..
Disc two begins with the uplifting “Everybody’s Got
Something,” with an inspirational lead vocal from
Curtis Salgado. Some of the other highlights on this
disc include the incredible acoustic instrumental,
“La Llourna,” which features Slim solo for three
minutes of slide guitar heaven……if this gorgeous
track doesn’t raise goose bumps, check your pulse.
Jimmy Hall contributes lead vocals on the slow
blues, “Good To See You Smile Again,” and the gospel
tune “The Light” features a stunning vocal turn from
Lauren Evans, as does the third new song is on disc
two, the haunting ballad “Big Ole House.”
Anthology is loaded with top notch performances, no
question about it. However, the one thing that it
really shows well is just how versatile an artists
Too Slim really is. These songs run the gamut from
blues to Americana to rock and a whole lot of soul
and it all blends together seamlessly, thanks to the
amazing talents of Tim Langford and his always
excellent band. Longtime fans will love it because
it features so many favorites on one collection and
newcomers will certainly get their ears full and
will be wanting to hear more when they’re done.
---
Graham Clarke
Andy T & Nick Nixon’s debut release,
Drink Drank
Drunk, made several Top Ten lists for 2013, and it
was well-deserved. Guitarist Andy Talamantez’s crisp
guitar and Nixon’s powerhouse vocals, plus peerless
production from Texas guitar legend Anson
Funderburgh made that disc one worth seeking out as
a prime example of great contemporary blues that
didn’t turn a blind eye to the original source. Now
the duo has returned for their second effort on
Delta Groove Records, Livin’ It Up. Funderburgh also
returns as producer this time around, but there’s
more of a focus on original tunes, with ten new
songs along with three covers.
Funderburgh is an appropriate fit for this pair
because their approach is very similar to the
Funderburgh/Sam Myers combination that was such a
formidable pairing for over 20 years. Talamantez’s clean and crisp fretwork, paired with
Nixon’s robust vocals are a potent combination.
Nixon wrote or co-wrote most of the original tunes,
including the rousing opener, “Baby Right Now,” the
Jimmy Reed-based “Best In Town,” the downhome “Back
Down South,” “Snake In The Grass,” and the
supremely soulful “Love At First Sight.” Other
originals include the Texas blues ballad, “Good
Man,” and the swampy “Last To Leave.”
The three cover tunes include the Delbert McClinton/Gary
Nicholson title track, which features a sharp vocal
from Nixon, “My Baby Is Now On My Mind,” a T-Bone
Walker track from his early ’50s Imperial Records
days, and a strong take on Alvin “Shine” Robinson’s
“Whatever You Had You Ain’t Got No More,” which
features some stinging guitar and a ragged, but
right vocal from Nixon.
Throughout the disc, Andy T lays down some of the
tastiest guitar work you’ve heard in awhile, never a
note out of place, just where it needs to be. The
player he most reminds me of is Clarence Hollimon
with his sharp, economical leads. His playing is
standout from start to finish, but he really gets to
take center stage on the cool, calm, and collected
instrumental, “One Note Shuffle,” duking it out with
Larry Van Loon on B3 and Dana Robbins on sax.
Livin’ It Up will certainly please those who enjoyed
Andy T and Nick Nixon’s previous release. With its
solid set of original tunes, a dynamic lead singer
and guitarist, and excellent production from Funderburgh, chances are good you’ll be hearing more
about this release during Awards time at the end of
the year.
---
Graham Clarke
The Andy T – Nick Nixon Band were recently here in
Colorado and I headed down to catch them perform a
complete show for a change. Their new disc, Livin’
It Up (Delta Groove Records) had just come in
the mail and I used that as an opportunity to tease
them. Given that their last disc was entitled
“Drink...drank...drunk,” I thought the appropriate
name for this one should be “Throw up…get up…do it
all over again.” Andy, Nick and I shared a good
laugh over that and then they proceeded to tear the
roof off of the Boulder Outlook. Nick has one of the
great voices in Blues today and Andy T’s guitar
playing is beyond reproach. Let’s give their new
disc a spin.
The band kicks off with the up tempo “Baby Right
Now” and Nick’s voice is front and center. He’s in
love and having a tough time living without her.
“Come back baby…I’ve got to see you…all I do…is weep
and cry…come back baby…baby right now.” Andy’s
guitar kicks in and I can tell by his fretwork that
I’m in for a treat. Having seen the band live, I
know how tight they are and I’m happy to be along
for this ride. Christian Dozzler adds his harp to
the mix and Nick delves into the virtues of a
dishonest woman as he segues into “Best in Town.” “I
tried to leave you…and forget you…I tried real
hard…to put you down…but I stick with you,
baby…cause…you’ve got the best in town.” I think
we’ll leave it at that but needless to say, Nick is
at least happy for the moment anyway..
His tone
changes as he tells us about a woman he’d be happy
to be without in “Livin’ It Down.” “She’s living it
up…and I’m trying to live it down…just when I got it
together…it’s all about to come unwound…she’s out
there living it up…and I’m trying to live her down.”
Andy jumps in with a nice solo and Larry Van Loon
chimes in on his keyboards while I’m really hoping
Nick finds his way out of this mess he’s in.
The shoe is on the other foot and Nick’s in love
this time as the band tackles “My Baby is Now on My
Mind.” “She’s been gone four weeks today….at some town
in Tennessee…I wish I was somewhere, baby…where I
could get you back to me.” It sounds like she’s left
for good this time and Nick is missing her big time.
We move on to “Good Man” and Andy starts us off with
a very passionate guitar solo as Nick chimes in,
“Going fine…going fine…get yourself a good man…catch
you when you fall…come when you call…go and find a
good man.” Good men are hard to find and Nick is
telling the woman in question to be selective and
find herself a good man to hang onto.
Larry Van
Loon’s at the B3 this time with Dana Robbins on the
sax as the band segues into the instrumental “One
Note Shuffle.” This is a veteran band that’s been
together awhile now and their musicianship really
shines through on “One Note Shuffle.”
The tempo slows down a tad and Nick is telling us
about his decision to go “Back Down South.” “It
ain’t nothing wrong…with living up North…down South
is my real home….you, know the blues took me away
from there…and now it’s taking me back to where I
belong.” Nick’s true roots are in the South and he’s
very happy to be heading back home.
Larry’s back
pounding the keys and Nick decides to tell us about
the “Last to Leave.” “First to walk in…last to
leave…everybody’s wondering…what’s he got up his
sleeve.” The “first to walk in” doesn’t always get
what he wants but at least the good folks in the
club are talking about him. The band moves on to
“Let’s Say It’s For Good” and Nick is admonishing a
woman for always envying the grass on the other
side. “There’s something you ought to consider…as
you cakewalk…into town…you think you done
caught…something a little bit better…baby, I think
you should…but every time you leave…you say it’s
forever…this time, let’s say it’s for good.” Nick’s
had enough and she can go check out the greener
grass on the other side for all he cares.
This theme of manipulation continues as Nick sits
down to tell us about the “Snake in the Grass.”
“He’s waiting in the weeds…he’s got his eyes on
you…his blood is cold…he’s the Devil’s son…when you
see him coming…you’d better run…he’s nothing but…a
snake in the grass.” Wise words from a man who’s
seen it all and you’ll listen if you know what’s
good for you. Nick moves on to wrestle with what to
do with his woman in “Whatever You Had You Ain’t Got
It No More”. “You don’t love me no more…that’s why,
baby…you’ve got to go…whatever you had…child, you
ain’t got it no more.” Nick’s woman is messing
around, lying to him and whatever the attraction
was…she aint’ got it no more.
“Oh Baby” finds Nick
back in love and he’s sharing it with the world.
“Oh, baby…I miss you…oh, baby…I need you here by my
side…I think of other things to do…so my mind won’t
be on you.” Nick’s got it bad and when his woman is
gone…he’s beside himself until she returns.
The
final cut on the disc is a nice, slow, piano driven
ballad entitled “Love at First Sight.” “Sit right
down beside me…whisper in my ear…tell me that you
love me…that’s what I like to hear…there couldn’t be
nothing better bout you…because you look so good to
me…they say…looks sometimes will fool…I just love
you…can’t you see…it was love…at first sight.” A
true love song and I find it interesting that my
favorite tune on the disc ends up being the last
one.
I can’t say enough about the musicianship and vocals
that exist on this record from the Andy T – Nick
Nixon Band. They’re a veteran unit and their
familiarity with each other and the style in which
they blend everything together is impeccable. Nick’s
a living legend going all the way back to the days
of the Imperials and Andy T can play guitar with the
best of them. Throw Anson Funderburgh back into the
mix as the producer of this disc and it’s another
fine release from the Andy T – Nick Nixon Band.
They’re touring all year in support of Livin’ It Up
and I highly recommend you catch them live. It was a
real treat for me and I’m sure it will be for you as
well.
---
Kyle Deibler
Alabama-born boogie-woogie piano man
David Vest has
been playing professionally since the late ’50s,
touring at 17 with Jerry Woodard and the Esquires
(some of whom went on to became members of the
Muscle Shoals Rhythm Section and Horns), backing Big
Joe Turner at 21, working the southern gospel
circuit, writing Tammy Wynette’s first recorded
songs, touring with Faron Young and Red Foley, and
much later sharing frontman duties in the Paul DeLay
Band. You might say he’s covered a lot of musical
ground in his lifetime.
Now based in Canada, Vest has released
Roadhouse
Revelation (Cordova Bay Records), an outstanding
collection of boogie-woogie and blues piano. Backed
by The Willing Victims (Gary Kendall – bass, Teddy
Leonard – guitar, Mike Fitzpatrick –
drums/percussion), Vest tears through a dazzling set
of ten irresistible originals and one well-chosen
cover.
Trains are a familiar theme in boogie-woogie piano,
and Vest revisits the theme with a couple of tracks,
the aptly-titled opener, “Freight Train Rolling” and
the relentless instrumental “Santa Fe Steamer,”
which gives a nod to boogie-woogie keyboard pioneers
like Meade Lux Lewis, Pete Johnson, and Albert
Ammons. “Stand Your Ground” is a crunching
blues-rocker, and the live track, “Heart Full of
Rock and Roll,” follows that same rocking vein.
For R&B fans, there’s the tender ballad “You Came
Through,” a nice showcase for Vest’s vocal talents,
the lovely “Streetcar,” and the Crescent City-styled
“Gone Too Far,” and “Crooked Politician,” a song
Vest started co-writing with DeLay and later
completed after DeLay’s death. Vest also shows he
can play the blues on a couple of great tracks, a
wonderful cover of Hank Williams’ “Ramblin’ Man,”
and his own “That Happened To Me,” a standout
autobiographical country blues. The closing track,
“Pretty Things For Anne,” is a brief jazzy
instrumental that you’ll wish lasted a bit longer.
Roadhouse Revelation is a wonderfully diverse set of
boogie-woogie, rock & roll, blues, and R&B that will
prompt listeners to hit “Replay” a few times. It
looks like fifty-plus years of plying his trade is
starting to pay off for David Vest and the rest of
the world is catching up to his musical gifts.
---
Graham Clarke
David Michael Miller grew up in Buffalo, New York, raised
in the church singing gospel music, though he was
also inspired by blues and soul music as well. In
the mid ’90s, he began playing gospel music with a
band called Painted by Moses, before venturing into
roots music, first with a band called Beautiful
Bones, and most recently with the band Dive House
Union, which has built a big local following and
competed in the I.B.C.
Miller has a voice that just oozes with soul and is
a fine guitarist and songwriter as well. For his
debut solo release, Poisons Sipped, he ups the ante
by adding the Campbell Brothers (guitarists Darick
and Chuck and drummer Carlton) to the proceedings,
along with keyboardist Jim Ehinger (Bonnie Raitt,
Taj Mahal), and several other noteworthy musicians
from the Buffalo and Rochester areas. The result is
an album that powerfully blends soul, R&B, gospel,
and blues in equal doses.
The opening track, “Hand Me Downs,” features some
sizzling lap steel guitar from Darick Campbell and
Miller’s gritty vocals are complemented well by the
backing vocals by Serena Young and Jasmine Neeley.
“Edge Of The End Of The World” is a smooth R&B track
augmented by saxophone from Barry Abrogast. “Memphis
Belle” is a real highlight, a stunning slow blues
track with an amazing vocal from Miller and sweet
pedal steel work from Chuck Campbell.
“Hope Finds A Way” is a blues rocker with some nice
guitar work from Miller, and “Moonshine” is jazzy
R&B with a strong Miller vocal and a breezy rhythm.
The rocker “Spent” brings back Chuck Campbell and he
really helps make a great track even greater with
his pedal steel. “Carolina Steel,” a lovely ballad,
teams Miller’s soulful vocals with Darick Campbell’s
understated lap steel. “Careless” is an acoustic
effort that gives Miller an opportunity to strut his
stuff on guitar, with accordion backing from Ron
Davis, and “Diggin’ On Bill” features jazzy
keyboards from Ehinger and horns from Abrogast and
Stephen Jacob Mclean, Jr, along with some stinging
lead work from Miller.
“Once” turns on the funk and should get a listener
or two moving on the floor or in their seat. “Movin’
On” is a pretty straight blues rocker with a
relentless beat, and the closer, “Extraordinary,”
sounds like ’70s era R&B, with a emotional vocal
from Miller.
Trust me, if you’re a fan of blues or soul music,
then you pass up Poisons Sipped at your own peril.
David Michael Miller will impress with his grasp of
soul and blues vocal styles and while the presence
of the Campbell Brothers on several tracks doesn’t
hurt one bit, it’s quite clear that Miller is more
than capable of carrying the show himself. This is a
blues and soul tour de force and deserves to be
heard.
---
Graham Clarke
For blues-rocker Dudley Taft’s third solo release,
Screaming in the Wind (American Blues Artist Group),
the guitarist traveled to Nashville to work with
producer Tom Hambridge, who has had the magic touch
working with artists like Buddy Guy, George
Thorogood, Susan Tedeschi, and Johnny Winter.
Hambridge co-wrote a couple of tracks with Taft and
played drums as well. Taft also recruited former SRV
keyboard player Reese Wynans to play with his
regular band members John Kessler (bass) and Jason
Patterson (drums).
The disc opens with a scorching cover of Skip James’
“Hard Time Killing Floor Blues,” one of only two
non-originals. The other is the second track, a
funked up version of Freddie King’s “Pack It Up,”
featuring the Muscle Shoals Horns in support. The
blazing “Red Line” is next, showcasing some
excellent fret work from Taft. The ominous title
track started out as an instrumental track Taft
composed for the American Blues Scene website, but
Taft and Hambridge added lyrics with impressive
results.
With its rock melody, “3DHD” has a bit of a
’60s
feel, but Taft really soars on guitar. “I Keep My
Eyes On You” is a funky rocker, and “The Reason Why”
is a strong ballad with strong guitar and nice
keyboard backing from Wynans. “Rise About It” is a
gritty blues-rocker with a Southern Rock edge to it.
“Barrio” is a mellow tune that Taft sings with a lot
of soul and complementary vocal backing from the
McClary Sisters. “Sleeping In The Sunlight” has a
country rock swagger to it, and the final two
tracks, “Tears In The Rain” and “Say You Will,” are
a bluesy ballad and mid-tempo rocker, respectively.
Dudley Taft has taken in a lot of music styles over
his career, growing up in the Midwest listening to
rock, blues, and country, playing hard rock and
blues rock with a number of bands, and mixing those
styles into his own unique brand of blues, along
with enough Seattle-styled grunge and grit to make
things interesting. Screaming in the Wind should be
required listening for any blues rock fan worth his
salt.
---
Graham Clarke
For Planet Full of Blues’ second release,
Hard
Landing, the group recruited Jim Gaines to produce
and engineer the project, which is never a bad idea.
This blues-rock trio previously gained a lot of
attention with their 2008 self-titled debut, and
this follow-up should garner even more notice. This
time around, there’s a more basic focus, featuring
only the band itself (Johnny Ray Light –
guitar/vocals, Brock Howe – drums/vocals, Ron Dameron – bass/backing vocals) in a stripped-down
setting.
Light provides the bulk of the vocals, ranging from
the opening track, “Big Mouth, “a solid
blues-rocker, “So Special,” “So Special,” a modern
blues track with a deep funky backdrop, the Windy
City blues-styled “Mashed Potatoes and Gravy,” “Open
Your Eyes,” an up-tempo R&B track, the slow blues,
“I Had A Dream,” and the hill-country rocker, “Snake
Lady.” He demonstrates some impressive vocal range
and guitar work as well.
Howe’s vocals include “Busboy,” a Texas-flavored
rocker, “Big Bright Light,” best described as a
country-soul tune, and “Felt Like A Tourist,” a
straight-up rock & roll track. The hard-driving
instrumental, “Shugrue Shuffle,” closes the album on
a high note.
All in all, Hard Landing is an
exceptional sophomore effort for Planet Full of
Blues, featuring some great tunes and performances.
---
Graham Clarke
Colleen Rennison has been acting since she was a
child, appearing in various movies and television
series since the mid ’90s in the U.S. and Canada.
More recently, she’s served as lead singer for the
Canadian band, No Sinner, noted for their frenetic
live performances, and Rennison’s raw, raucous
vocals. However, her debut solo recording, See The
Sky About To Rain (Black Hen Music), is a definite
change of pace from her previous musical forays,
with the talented singer threading her way through a
wide range of musical styles.
Rennison has an amazing voice that is as comfortable
doing Stax-based soul (Robbie Robertson’s “All La
Glory,” replete with Wurlitzer and three-piece horn
section), bluegrass (Townes Van Zandt’s “White
Freightliner”), and country (“Whiskey, Whiskey,” and
Bobbie Gentry’s “Fancy,” channeling Patsy Cline on
the Leonard Cohen tune, “Why Don’t You Try”). She’s
an ideal mix of tough and tender on these tracks,
doing a standout job on Tom Russell’s “Blue Wing,”
and “Stage Fright,” another Robertson cover, and a
daring re-do of Joni Mitchell’s “Coyote.”
Not that Rennison needs a lot of help with the set
of pipes she’s packing, but several tracks also
feature the lovely backing vocals of the McCrary
sisters (you wonder if they ever sleep these days),
and Steve Dawson serves as producer and
plays…..let’s see…..electric and acoustic guitars,
baritone guitar, National Steel, dobro, electric
slide guitar, pump organ, banjo, pedal steel,
mellotron, weissenborn, and mandotar throughout the
disc. As on his own release, using vintage recording
equipment gives the disc a warm and comfortable feel
and is the perfect background for those wonderful
vocals.
See The Sky About To Rain was part of an ambitious
week-long session by Dawson that will eventually
yield five different albums for five different
artists, and also features the musical talents of
Darryl Havers (keys), Geoff Hicks (drums), and
Jeremy Holmes (bass). If you were, like me, pretty
impressed with Colleen Rennison’s contributions to
No Sinner, prepare to be blown away by her
performance on this outstanding solo effort.
---
Graham Clarke
Kelley Hunt’s roots are showing on her sixth
release, The Beautiful Bones (88 Records). The
Kansas City singer/songwriter/keyboardist grew up
listening to blues, jazz, soul, R&B, pop, and gospel
records, and some of her influences include Ray
Charles, Aretha Franklin, Jimi Hendrix, Wanda
Jackson, Professor Longhair, Ruth Brown, and Chuck
Berry. Berry’s piano player Johnnie Johnson took
young Hunt under his wing when they began sharing
concert bills in the ’90s. One hears a lot of these
influences on the 12 tracks featured here, in
the performances and the songs themselves.
The upbeat R&B of “This Time” opens the disc in
great style, and “Golden Hour” has a gospel flair to
it as Hunt’s robust vocals are complemented by the
backing vocals of the McCrary sisters. “Let It Rain”
is a dreamy R&B track with a strong vocal. “Release
And Be Free” is pure gospel soul, with more great
backing from the McCrarys, and Hunt’s performance
would surely make Aretha proud.
The title track is a lovely R&B ballad, with an
excellent vocal turn from Hunt. “Gates of Eden” has
a southern soul feel, with some shimmering guitar
work from former Bob Dylan guitarist John Jackson.
The ballad “I Want You There” features a great
heartfelt vocal from Hunt and a nice pop-styled
melody with a sax solo from Mitch Reilly for good
measure. The disc ends as strongly as it began with
“The Sweet Goodbye,” an outstanding slice of Memphis
soul with Hunt’s vocals and piano front and center.
In addition to the McCrarys, Jackson, and Reilly,
Hunt gets first-rate support from drummer Bryan
Owings, B3 players Mark Jordan and Tony Harrell,
bass player Tim Marks, and trumpeter Jon-Paul
Frappier. I love it when an album comes out of
nowhere and blows me away and that’s what The
Beautiful Bones did. It will do the same for you and
rest assured that you will want to hear more from
Kelley Hunt.
---
Graham Clarke
The Nighthawks, now in their fifth decade of
performing and recording, find themselves on a new
record label, EllerSoul Records. Their formula for
success hasn’t changed, however. 444 offers a great
mix of originals and covers that span the blues,
rock & roll, and Americana. Longtime fans are
familiar with the line-up --- drummer Mark Stutso is
the “newbie” with five years of service, guitarist
Paul Bell and bassist Johnny Castle are decade-plus
veterans, with founding member Mark Wenner still
going strong at well over 40 years.
The opening cut, the Du Droppers’ “Walk That Walk,”
is a marvelous surprise, mixing rock & roll and
doo-wop for a cool change of pace. The Nighthawks
all pitch in on the vocals here and it’s a lot of
fun. There’s more rock & roll in the Elvis Presley
vein, as the band covers a pair of Presley movie
tunes, “Got A Lot of Livin’” and a swampy take on
“Crawfish,” and the Everly Brothers’ “Price of
Love,” presented here in a rocked-up version with
some sizzling slide guitar from Bell. The title
track also rocks hard.
Of course, the blues are never too far away from the
scene with the Nighthawks. “Livin’ The Blues” is a
laidback blues shuffle, and “Nothin’ But The Blues”
is a splendid slow blues. “No Secrets” is a fiery
blues-rocker with more great slide work. The group
also turns in an acoustic cover of Muddy Waters’
“Louisiana Blues,” that will remind listeners of the
band’s award-winning release (Last Train To Bluesville) from a few years ago.
The Nighthawks always provide listeners with an
excellent survey of American music and its myriad
sources and influences. Bum Phillips once said of
Earl Campbell, “He may not be in a class by himself,
but it don’t take long to call the roll.” The same
applies to the Nighthawks, and 444 is the latest in
a long line of top notch releases. They just keep
getting better and better.
---
Graham Clarke
The Alastair Greene Band has backed a number of
blues artists in the studio and on stage since their
formation in 1997, notably James Harman, Mitch Kashmar, and Franck “Paris Slim” Goldwasser.
Guitarist/vocalist Greene has also backed Alan
Parsons since 2010, and has appeared on recordings
by Aynsley Dunbar and Glen Phillips (Toad the Wet
Sprocket). The band has also released five albums
(four studio, one live) of their muscular blues-rock
since 2002. Their latest, Trouble at Your Door, is
their first for Eclecto Groove Records.
The disc offers a dozen tracks of high-energy
blues-rock, with Greene’s superior guitar work front
and center. On tracks like the searing opener,
“People,” “Back Where I Belong,” and the southern
rocker “First Born Son,” his slide guitar work is
superlative. On other tracks like the James
Gang-styled title track, the countryish “Love You So
Bad,” the hard-charging “Last Train Around The Sun,”
“The Sweetest Honey,” and “Make The Devil’s Day,”
Greene’s fretwork is equally strong.
For a change of pace, there’s “Red Wine Woman,”
which finds Greene tearing up a National Steel
guitar, “Calling For You,” a moody ballad,
complemented by Erik Norlander’s fluid keyboards,
and the funky “Pretty Price To Pay.” The album’s
lone cover is a good one, an intense version of
Michael Burks’ “Strange Feeling.”
After a few years of transition, the AGB seems to
have settled into the trio of Greene
(guitar/vocals), Jim Rankin (bass), and Austin Beede
(drums). Norlander plays Hammond organ on a pair of
tracks, and Sean McCue lends harmony vocals on “Make
The Devil’s Day.” Trouble at Your Door and Alastair
Greene have plenty to offer blues-rock fans with
this excellent new release.
---
Graham Clarke
On Call Me Later, the third release from
The
Christopher Dean Band on Lost World Music, the
singer/guitarist continues his dynamic exploration
of traditional Chicago blues and Southern
soul/blues, a combination that you rarely see with
up and coming artists these days, who tend to stick
to the more rock-edged blues sounds. Dean, who
worked with Big Jack Johnson in the mid to late
’90s, really demonstrates his versatility as a
singer and a guitarist on 14 tracks, four
originals and ten covers.
As on his previous releases, Dean’s choices in cover
tunes range from the Southern soul/blues of Mel
Waiters (“Got My Whiskey”), Johnny Rawls (“Red
Cadillac”), and Omar Cunningham (“Hell At The
House”), to the funky R&B of Van McCoy (“On And
Off,” a hit for David Ruffin), to straight
traditional blues from Muddy Waters (“Crosseyed
Cat”) and Willie Dixon (“Same Thing”). He handles
all of these styles with ease and charm.
This time around, however, Dean ups the ante a bit
by including several acoustic tracks into the mix.
He recreates the old Bobby “Blue” Bland hit, “Share
Your Love,” on acoustic guitar accompanied by Jess
Wilkes on flute, and breathes new life into classic
blues tunes from Lonnie Johnson (“Get Yourself
Together”), Robert Johnson (“Honeymoon Blues”) and
Blind Blake (“Leadhearted Blues”).
Dean also contributes four original tunes, including
the soulful and touching “Fall Never Came,” the
R&B-fueled “Now I’m Glad,” the funky “Woman On
Loan,” and “Believe For Just A Day” has a pop/soul
feel.
Call Me Later will certainly charm fans of
traditional blues and soul/blues with it’s diverse
mix of well-chosen covers and solid originals. It’s
obvious from his performance that Dean loves the
material, and you will feel the same way after
listening.
---
Graham Clarke
Late last year, Michael Packer
released I Am The
Blues – My Story, a mixture of songs and narrative
that told his personal story, including his early
recording career in the ’60s and ’70s and his
subsequent fall from grace due to drug addiction,
which resulted in prison time and homelessness.
Packer has been clean for nearly 20 years and has
become a respected member of the NYC blues scene,
having been inducted into the NY Blues Hall of Fame
in September of 2011.
Recently, Packer released Volume 2 of I Am The Blues
– My Story, which is now collected with Volume 1 as
a double CD set from Iris Music Group. Packer picks
up the story at the time of his release from Riker’s
Island Prison and recounts his time living on the
streets in Staten Island, sleeping on the Ferry at
night, and his subsequent rescue and resetting of
his life and musical career.
He also discusses his long friendship with Honeyboy
Edwards, and his role as New York ambassador to the
Blues Hall of Fame striving to get recognition for
many other New York blues artists that are equally
deserving. From listening to Packer, it’s obvious
that he realizes he was able to get a second chance
that many others like him didn’t get or didn’t take
advantage of, and he’s determined to make the best
of it, both for himself and for others. He says in
the introduction of Volume 2 that he’s not telling
his story to romanticize any of it, but to serve as
a warning for others in the hope that they will
avoid the path that he took.
As on the first volume, the new disc mixes music
with narration very effectively, with original songs
from Packer and his band, Free Beer, and his Blues
Band that fit closely with the stories being told,
including a couple of highly personal tunes,
“Recovered Soul” and “Good,” describing his
spiritual rebirth. He also covers the B.B. King
standard, “The Thrill is Gone,” following his
narrative of the events he witnessed during 9/11,
and a wonderful duet with Edwards, “61 Highway.”
In closing Volume 2, Packer reprises his “Mr
Packer,” which opened Volume 1, reasserting that he
does indeed have a right to sing the blues. Once you
listen to both volumes of I Am The Blues – My
Story ---and if you’re a blues fan at any level, you
should --- you will agree that he does. His life is a
story of struggle, survival, and revival.
---
Graham Clarke
Shawn Amos, the son of Wally “Famous” Amos and R&B
singer Shirlee May, grew up in L.A. in the ’70s,
when his dad, also an agent for William Morris, was
booking popular R&B acts of the period. He grew up
to produce and perform with artists like Solomon
Burke, John Lee Hooker, and Johnny “Guitar” Watson,
and releasing his own recordings as well. He was
bitten by the blues bug and has recently issued a
six-song EP called The Reverend Shawn Amos Tells It
(Put Together).
Amos, who is an ordained minister in the Universal
Life Church, sings and plays harmonica and is backed
by Don Medina (drums), Chris Roberts (guitar), and
Ed Terrio (bass), with help from Anthony Marinelli
(B3), and Gia Ciambotti and Kim Yarbrough (vocals).
The six tracks consist of four covers and two
originals written by Amos --- "(The Girl Is) Heavy,” an
interesting track that moves from hard rocker to
funky shuffle, and “Sometimes I Wonder,” a nice R&B
track with a strong vocal from Amos.
The covers include a smoking version of Junior
Wells’ “Hoodoo Man Blues,” that even has guitarist
Roberts playing through a Leslie a la Buddy Guy, and
the Who’s “I’m The Face,” which reinterprets the
rocking original into a classic Chicago-styled
burner. An ethereal take on Elmore James’ “Something
Inside of Me” showcases some shimmering, stinging
guitar from Roberts, and Amos channels Wells once
again on a fun reading of “Good Morning Little
Schoolgirl.”
Indeed, the Reverend Shawn Amos does “tell it” on
this release. The only complaint about this album is
that there’s not nearly enough of it. Hopefully,
we’ll get a full taste of the good Reverend’s
testifying very soon.
---
Graham Clarke
All The Right Moves (ELROB Records) is an
appropriate title for the latest release from Little
Mike & the Tornadoes. The new album reunites Little
Mike with the original incarnation of the Tornadoes,
guitarist Tony O, bass player Brad Vickers, and
drummer Rob Piazza. All have gone on to make their
own mark in the blues genre, but it sure sounds
great to have them back in the same studio again
(along with piano man Jim McKaba), doing what they
do best --- playing those old-school blues in the
classic Chicago style.
The Windy City vibe is present from the very
beginning with the opening cut, “Hard Hard Way.”
“Since My Mother Been Ill” is a slow blues burner
with some great guitar from Tony O and a nice vocal
turn from Little Mike, “(I Got) Drunk Last Night”
has a strong West Side feel, and “Sam’s Stomp” is a
torrid instrumental with some fiery harp from Little
Mike. The title track is Chicago through and
through, with some solid interplay between Little
Mike, Tony O, and McKaba.
There’s also “So Many Problems,” which is Chicago
with a touch of Excello rhythm, and “Blues Is
Killing Me” an excellent boogie track. “All The
Time” is a change of pace with its funky backbeat
(compliments of Vickers and Piazza) and Little
Mike’s playful vocal, and “I Won’t Be Your Fool” is
a relentless jump blues with some scorching harp
from Little Mike. The closer, “Close To My Baby,” is
a groovy slice of Jimmy Reed-styled blues.
If you’re a longtime fan of Little Mike & the
Tornadoes, you know what to expect from …All The
Right Moves --- a disc of exceptional, well-played
Chicago-style blues from a band of seasoned
veterans. However, this recording will appeal to any
fan of traditional Windy City blues. It’s great to
hear the original band making music together again
like they’ve never been apart.
---
Graham Clarke
Billy Pierce is a slide guitarist based in
Wilmington, Delaware. Now, you may not be familiar
with him, but his song, “Take Me Back To The Delta,”
won the Big City Rhythm And Blues Magazine’s first
round CD Sampler Contest in 2013. He also travels
with a pretty impressive group of friends, many of
whom are lending him a helping hand on his new CD,
also entitled Take Me Back To The Delta. They
include a host of New Orleans and Louisiana-based
artists such as fellow slide wizard Sonny Landreth,
Cajun fiddler Waylon Thibodeaux, Charlie Wooton of
Royal Southern Brotherhood, piano man Johnny Neel,
and the Bonerama Horns.
Pierce is a more than capable vocalist, but his
slide guitar playing is the real star of the show
here, as he blazes through 11 diverse tracks
that mix blues, rock, soul, R&B, and Zydeco.
Highlights include the rocking opening cut, “Happy
Home,” the rugged title track, which features Pierce
and Landreth in tandem, “Cajun Boy Blues,” the moody
“Rooster,” the poignant story song “Tojo,” and the
funky “Big Joe,” with it’s insistent second-line
rhythm.
Pierce also shows good taste in cover tunes, with a
really nice take on the classic “Key To The
Highway,” which includes the Bonerama Horns and
Johnny Neel on piano, the Hank Williams masterwork
“Jambalaya,” with Thibodeaux on fiddle and Henry
Ramato on accordion, Johnny Sansone’s “Give Me A
Dollar,” and Landreth’s “Zydecoldmobile,” with
Thibodeaux, Neel, and Steve Ruth on accordion.
Pierce also pays tribute to Landreth on the splendid
instrumental, “Song For Sonny,” another track with
Thibodeaux.
On Take Me Back To The Delta, Billy Pierce, with a
little help from his friends, successfully captures
the swampy feel and authenticity of the Gulf Coast
blues and R&B. This is the real deal, folks. The
only way it could be more real would be if it came
with a bowl of gumbo.
---
Graham Clarke
I find it interesting
that Dave Specter’s latest release on Delmark
Records, Message In Blue, is the label’s first blues
release on vinyl since the 1991 release of another
Specter record, Bluebird Blues. Dave is an extremely
talented instrumentalist who leaves the vocal work
on his disc to Otis Clay and Brother John Kattke.
The result is a tasty mix of instrumentals and
vocals with something for everyone. Let’s give it a
listen.
The first cut up is the guitar-driven “New West Side
Stroll.” Dave’s got a top notch band behind him and
I’m enjoying the rawness of his guitar work. It’s
got just the right amount of “bite” for me to
appreciate, and we’re off and running as Brother John
chimes in with some righteous B3. Otis is at the
microphone and the band gets after “Got To Find A
Way.” Otis is in fine form and I’m enjoying another
great vocal from one of the finest soul singers of
our time. “I can’t stand…being alone…without your
love…I can’t go on…but, baby…please hear my plea…and
bring your love on home to me.” Dave and Otis
definitely nailed a great version of this classic
Harold Burrage tune. Otis continues at the helm as
the band tackles “This Time I’m Gone For Good,” and
the tune is intended as a tribute to the late, great
Bobby “Blue” Bland. Dave’s intensely emotional
guitar playing echoes the pain in Otis’s voice and
the tune is a beautiful homage to Bobby.
The title track, “Message In Blue,” is the next
instrumental track on the disc and I find it to be
intensely passionate in a way that’s hard to
describe. Dave does a great job of conveying the
emotion intended for this track and I’m appreciative
of the outstanding instrumentalist that he is. Horns
come into play and Brother John is at the microphone
for “Chicago Style.” A European tour favorite,
“Chicago Style” pays homage to all of the greats
who have come before on the Chicago Blues scene.
“Muddy Waters…and Otis Rush…Sunnyland Slim, they had
the touch…Willie Dixon and Mighty Joe…there’s not a
song they didn’t know…from the west side…to the
magnificent mile…Blues had a soul…they called
Chicago style.” Up-tempo and aggressive, “Chicago
Style” is a great tune and much appreciated. Otis
is back on the vocals for an outstanding version of
Wilson Pickett’s “I Found a Love.” “I found a
love…that I need…oh, yea…I found a gift….that I just
can’t resist…I found a love…oh, that I need…Lord,
that I need.” This is Otis’s final vocal
contribution to Dave’s record and it’s another
great, impassioned performance from Otis.
“Funkified Outta Space” is the next instrumental
track on the disc, and this one is heavily influenced
by all of the great tunes from the Meters. It’s
catchy, the B3 is jamming and Dave is testifying. It
all adds up to a special cut and the band
absolutely flat nails it. The band moves on to a
Don Nix tune, “Same Old Blues,” and here we have
Brother John tackling the vocal with gusto. “I can’t
help…can’t help but thinking…when the sun used to
shine…in my backdoor…now, the sun…has turned
away…all my laughter…turned to pain…it’s the
strain…strain of the same old blues.” I’m
continually impressed by the band Dave has
surrounded him with and Brother John gives a
brilliant performance on this tune.
Up next is “The
Stinger” and Dave plays a slow, emotional intro
before the band turns the heat up with a Latin beat.
The tune rocks and I’m definitely thinking about
salsa dancing in my mind.
A very delicate intro is provided by Dave as the
band segues into “Jefferson Stomp,” and then takes on
a swing country feel as Bob Corritore joins the band
with his harp for this tune. Bob’s playing is
tasteful and a welcome addition to the band on this
cut.
A Lonnie Brooks tune, “Watchdog,” is up next
and Brother John is testifying. “Your little
brother…ain’t nothing but a watchdog…follows us
everywhere we go…tells everything he knows…he’s a
watchdog.” The date is obviously not going to go
well with her little brother running this kind of
interference so Brother John would probably be best
served by just leaving the girl at home. There’s
some serious saxophone at play as the band moves its
way to another Latin influenced tune, “The Spectifyin’ Samba.” I’m really loving the saxophone
and appreciating the slower rhythm found in this
instrumental.
Bob Corritore returns for the final tune, “Opus De
Swamp,” and here we find the influences of Pops
Staples tremolo-styled guitar on Dave. Deliberately
paced, I appreciate the diversity of all of the
instrumental cuts that Dave chose to include on
Message In Blue and the result.
Message In Blue
is Dave’s 10th release and its noted that he
considered singing a tune for the first time on this
disc. I honestly think he should have gone for it
since it’s the last frontier in terms of Dave’s own
personal contributions to his music. This is a very
strong recording and something new would have been
appreciated. Maybe on the 11th.
---
Kyle Deibler
Deanna Bogart was just here in Colorado, at Blues
from the Top in Winter Park, and I was struck by the
thought of how just two degrees of separation exist
between most of us in the Blues community. I met
Bobby Messano last May by virtue of Deanna joining
him for a couple of gigs here and Deanna met
producer Joe Michaels through Bobby. I met Joe
through my friend Andy Shaffner and on it goes. No
matter how you look at it though, Joe coaxed an
amazing record out of Deanna for Blind Pig Records
and I was more than happy to sit in the studio to
see some of the magic happen. The end result is
Deanna’s latest, Just a Wish Away, and it’s a good
one. Let’s give it a listen.
Deanna starts out with “If It’s Gonna Be like This,”
and we find her musing about the possibility that a
random inability to connect might lead to a missed
opportunity for a meaningful encounter. “Whiling
away the time and thinking…was I too late or too
soon…it’s a pity what we may miss…but it might just
be over…if it’s gonna be like this.” One never knows
and I continue to appreciate the muse of one Deanna
Bogart.
Much of this disc was recorded at Dockside
Studios in Maurice, Louisiana, and that may have provided
the impetus for our next cut, “Fine by Me Good
Bayou.” The Bonerama horns make an appearance here
that’s much appreciated as Deana spends time on the
levee. “Hey you…what is it that we do…lay
low…something only we do…say it ain’t so…Joie de
vivre and a mite taboo…it’s fine by me if it’s good
bayou.” The southern influence is good for Deanna
and I appreciate the beautiful duet with Cris Jacobs
that’s up next, “If You Have Crying Eyes.” It’s my
favorite tune on the disc and the tale of two lovers
caught in that space between wanting to stay and
wanting to go. “And if you still love me…I’ll be
around…Now, I can see by the look on you face…that
you hurt…guess you wouldn’t be here…if you
weren’t…it’s alright…cause you know it might be your
night…and then again,…it might be mine.” While the
question of the moment is never clearly resolved,
what’s apparent is the love they have for each
other, a feeling Cris and Deanna convey to
perfection.
Next up is “Back and Forth Kid,” and I find myself
pondering the sentiments behind the tune. It’s a
song of a mother’s love for her child who spends
time going back and forth with two divorced parents, a
feeling the mother never wanted her child to
experience since she was a back and forth kid
herself. “Back and forth kid…nothing you did…all you
wanted was someone wanting you…back and forth
kid…all I wanted…when our world slid…that yours
would never be…like when the back and forth kid was
me.” It’s never an easy life for a kid with divorced
parents and given that Deanna’s life as a single mom
is well-chronicled, I can’t help but wonder if this
is a song she wrote for her beautiful daughter, Alix.
The band segues into an instrumental, “Collarbone,”
and it’s a perfect interlude after the emotional
force I’m feeling from “Back and Forth Kid.” Joe
assembled an amazing array of musicians behind
Deanna for this disc and they more than do an
admirable job on “Collarbone.” In perfect Deanna
fashion we transition back into a tune with a
frenetic feel to it in “Tightrope.” Here D’s back on
the edge, trying to make it all happen and walking
the tightrope is her way of getting it done. Deanna
takes a wicked piano solo here and I’m appreciating
her genius on the keys as she lets us know, “Lookin
back in front of me…in the mirror’s grin…through the
eyes of love…I see I’m really looking at a
friend…we’ve all had our problems..that’s the way
life is…walking the tightrope…trying to make it
right…walking the tightrope…every day and every
night.”
A very delicate piano introduction by Deanna takes
us to “What Is Love Supposed to Do,” a tune that
ponders Love and what it really means. “From nowhere
she’d crossed his mind…wondering now that they’re
older…what it is his arms might find…if he chose to
play the part…where only he would hold her…what is
love supposed to do…take a dusty memory and make it
look new?” This theme of Love’s contradictions
continues on in another beautiful ballad by Deanna,
“Maybe I Won’t.” “Your hand is out there for me…but
do we want enough the same…gotta admit that I’m
pretty sure we don’t…so maybe I’ll write you…and
maybe I won’t.”
Up next is the enigmatic “Conversing
with Lincoln,” a song whose title was developed by
producer Joe Michaels. I’m getting to hear some of
Deanna’s beautiful sax work as she proceeds to relay
to us her conversation with Lincoln. “Wanna sit by
the water…in the sand by the sea…with the world in
order…if it ever gets to be.” The 24 dollar
question…will the world ever be in order? I’d like
to know the answer to that one myself.
Deanna’s back at the keyboards as
she and the band
tackle a Sylvester Stewart tune, “Hot Fun in the
Summertime.” The horns are back in full force as
Deanna sings on, “I ‘cloud nine’ when I want to…out
of school…county fair in the country sun…and
everything its true…hot fun in the summertime.” A
snare intro from Alvin Ford, Jr. and Deanna’s got
her sax in hand for our final cut, “Bye Bye
Blackbird.” Cris Jacobs contributes some very
intricate fretwork to the mix and the end result is
a very satisfying instrumental rendition of a
classic Ray Henderson tune.
I’ve enjoyed Deanna’s latest effort for Blind Pig
Records immensely. She continues to write some of
the most compelling lyrics out there as a songwriter
and I truly appreciate her musical genius, having
spent some time with her in the studio at Scanhope
Sound. It was a pleasure to watch producer Joe
Michaels work his magic as well and I thank both Joe
and D for the chance to sit in. Grab a copy of Just A
Wish Away either from Deanna’s
website or get her to sign one for you
on the road. It’s definitely a welcomed addition to
my CD collection, and it will be for you too.
---
Kyle Deibler
Through the years I’ve come to understand that my
friend Janiva Magness is a woman of many layers. The
extent to which she peels back the layers and shows
you the woman underneath is a measure of her faith
and
trust in you as a friend. I’ve been privileged to
share a few special moments of Janiva’s career with
her over the years I’ve traveled this Blues Highway,
and they’ve evolved into fond memories of a
friendship I’m blessed to have.
That said, I truly
understand the courage and trepidation Janiva faced
when she made the decision to part ways amicably
with Alligator Records and release her new disc, Original,on her own Fathead label. There’s
something about hanging your ass way out there that
is at once empowering and frightening at the same
time, a point I made to Janiva’s bass player, Gary
Davenport, at the recent Flagstaff Blues and Brews
Festival. Now that Original has seen the light of
day, Janiva can safely put her fears and anxiety
away. This disc is a leading contender, if not the
lead dog in the hunt, for record of the year and
deservedly so. Let’s give it a listen.
Janiva starts the record off with, “Let Me Breathe,”
a reflective tune on a relationship that ended
inadvertently. This man was everything to Janiva and
to see him walking out the door was a circumstance
she didn’t foresee happening. “Standing there…I felt
the air just leave the room…now I’m down here on my
knees…let me breathe…Lord, I can’t catch my breath
since the day he left…won’t you bring him home to
me.” Janiva then segues into a tune of empowerment
as she counsels a close friend in “Twice As Strong.”
“Oh, hold on sister…I know better times are
coming…and I swear it’s never hard as it might
seem…just lift your head…got to see where you are
going…and hold tight to all that you dream.” Life is
for the living and you have to believe in the power
of your dreams to carry you through the tough times.
Hopefully Janiva’s friend is able to hang onto
Janiva’s wisdom and grasp the lesson in hand.
This
theme of a promise not kept carries on in the form
of “When You Were My King.” “Sunday morning…you gave
no warning…that you would break your word.” Mournful
tone from Zach Zunis’s Strat echo the sadness in
Janiva’s voice as she wrestles with the letting go
of a man she loved so very much. “You swore you
would never just walk out…100 times…100 times…I
lived believing that our love would always keep us
bound…just like you said….100 times…Sunday
morning….you gave no warning….that you would break
your word…but under your covers…under your skin…when
we were lovers…when you were my king.” Moving on
from the loss of a relationship this heartfelt is
never an easy thing to do and Janiva’s grief over
the end of this one is both tangible and real.
We move on to the up-tempo “I Need a Man,” and Janiva
is on the prowl. “I swear I’m so tired…of ratting
with the rage…look real close…there ain’t no
doubt…you’ll see it on my face….give me one good
reason…I’m alone….I need a man…I just need a
man…just one good man.” Janiva’s a strong woman and
the man who can hold her hand and walk the road she
travels has a good chance of staying if he’s up to
the task.” The band is in high gear and Matt, Jim,
Zach and Gary don’t get enough credit for the
excellent unit they’ve evolved into. Jim’s keys are
in my ear as the band slows it back down and Janiva
settles in to tell her man “Everything is Alright.”
“Don’t you worry about wind or rain…or lonely
nights…just as long as you’re here with
me….everything’s alright.” Janiva’s a fighter and
regardless of the circumstances the two of them are
facing…their faith and persistence will see them
through.
I hear a strong bass line from Gary next in
the background as Janiva tackles the tune “With
Love,” a beautiful duet sung with Dan Navarro. “He’s
a sold out one-man show…he knows how to be
alone…still his hand is trembling…hoping she’ll pick
up the phone…and then she says hello…and the sun
shines through…and love…writes their name across the
sky.” Dan does a wonderful job of conveying the
anxiety of a man beginning a new relationship and
this duet with Janiva is one of my favorite tunes on
the new disc.
“Mountain” is the name of our next cut and Janiva’s
trying to face the potential end of her current
relationship head on if it is indeed ending. “Don’t
have to tell me your sorry…don’t want to hear that
no more….darling, please don’t lie…I could leave
with some piece of my pride…let me walk down this
mountain…before the mountain comes down. The playing
of Jim on keys and Zach’s guitar form the tender
context for the sadness of Janiva’s need to at least
salvage her dignity from the end. She doesn’t need
to hear the reason…doesn’t need to dredge through
the details…just let it go and walk away.
Janiva is
indeed a complex woman but one thing she isn’t is a
victim and we hear that loud and clear in the anthem
“Who Am I.” “Who are you to tell me I’m wrong…I’m
not wrong…who are you…you think that it’s up to
you…well, you’re not that strong…who am I…I’m just
the one who loved…the one who held you when you
cried…I was the one you felt there…by your side.” Janiva’s strength continues to shine as she puts a
man in his place in “Badass.” “Now, I’ve met a lot
of youse before…and I left a lot of youse…I guess
you’ll be one more…you think you’re badass….you
think I’m waiting around…but I’m not…no I’m not.”
Janiva’s empathy for the human condition continues
on as she looks to console a friend of hers through
the heartbreak she’s experiencing in “The Hard Way.”
“I’m here to tell you friend…that this is not the
end…even the strongest of hearts will break…there
will be those days…that feeling won’t go away…you
might need someone to talk to…well, just call me
anytime…baby, we can talk all night…baby, you know
I’ll always be here for you…some things you just
learn the hard way.” Very few things in life are
harder to deal with than the effects of a break up
on your heart and Janiva’s been there, done that and
willing to share the lessons learned with the
friends she care about.
Janiva continues to show the
strength of a woman who’s choosing to walk her own
path through this whole experience, and "Standing"
is a fitting
final cut on Original, a tune she wrote with
David Darling, “I am standing here…even
though I’m scared…if you’re coming back…I am
prepared.”
I said at the beginning that
Original is a leading
contender for record of the year and I truly believe
that. Rarely does an artist in the Blues genre take
the risks, both professionally and personally, to
expose as much of their heart and soul as Janiva
does on this disc. She had a hand in writing seven of
the 11 tunes, and all of the cuts on this disc are
original songs. I know personally how hard it is for Janiva to reveal this much of herself to the world,
but I’ve also seen firsthand in Flagstaff how
empowering it is for her to perform these songs for
her fans. She was more relaxed and in touch with the
hearts of her fans there in a way that empowered
Zach Zunis, Matt Tecu, Jim Alfredson and Gary
Davenport to comfortably play their best behind her.
Now that Original
has made it to the light of day,
all that’s left for Janiva to do is go out into the
world and play her songs. Enjoy your just rewards, my
friend. Lord knows, you’ve earned them.
---
Kyle Deibler
Damn, will someone please tell me what the hell got
into Selwyn Birchwood? I’ve followed his ascent in
the IBC to the point where it culminated in a band
victory in 2013, but I can honestly say there was no
way I was prepared for the aural assault that
greeted me when I hit “Play” to give his new disc on
Alligator Records, Don’t Call No Ambulance, a spin.
I can honestly say Selywn’s new disc blew all of my
expectations out of the water. It’s a credit to his
dedication to his craft and his stellar band behind
him that Selwyn produced this gem of a record. I’ve
honestly not been this surprised by a disc like this
in several years, and it was very astute of Bruce Iglauer to sign Selwyn to his label. But enough of
that, let’s get to it.
A blistering guitar lead from Selwyn takes us into
the first cut, “Addicted.” Selwyn’s got a love
problem and it’s not getting any easier. “Addicted
to your love, baby…I just can stop…can’t quit you
baby…you’re my favorite drug.” Given Selwyn’s
description of the girl, it’s easy to see why. “Knee
high boots…cherry lips…mini skirt….I just can’t
resist.” I’m guessing this is a drug problem that
isn’t going away any time soon. We move on to the
next cut, “Don’t Call No Ambulance,” and this tune
has a hill country feel reminiscent of R.L.
Burnside. “Lord, I feel so good baby…I feel like
falling down…don’t you call no ambulance…Lord, I’ll
find my own ride home.” Selwyn’s fretwork is spot on
and his hill country roots are real.
Our next cut,
“Walking in the Lion’s Den,” has a macabre sense to
it that gets my attention as a completely different
vibe from Selwyn and the band. “Lord, I’m walking in
the lion’s den…shaking the hornet’s nest…Lord,
rattling the tiger’s cage…and I ain’t done nothing
wrong.” Regi Oliver’s sax comes chiming in and lends
itself well to the tale that Selwyn is telling.
One of Selwyn’s mentors and friend, Joe Louis
Walker, lends his slide guitar to the mix in “The
River Turned Red.” “Well, I’m damned if I do…and I’m
damned if I don’t…I wonder if it’s still worth
fixing…or too far broke…we had a good thing…once
upon a time…but now that crystal clear water…is as
red as wine…the river turned red.” Not sure that
this woman is the one for Selwyn but he’s still
considering the option as he lays a blistering
guitar solo on us to enjoy.
“Love Me Again” makes
its appearance as the first ballad on Selwyn’s disc
and I appreciated the change. “I was a fool…in the
past…I didn’t know, Lord just what I had…but long as
you’re gone…and talk is cheap…spend my whole life
saying…I’m sorry…let the rain fall…so my tears don’t
show…can you find the strength…to love me again?”
It’s a beautiful song and Selwyn is doing the best
he can to win back the affections of this woman he
loves. Probably my favorite cut on the disc, and well
done, Selwyn. The band then cranks it back up and
Selwyn throws in some blistering lap steel in “Tell
Me Why.” “Why we fill our hearts with hatred…for our
fellow man…tell me why we pave the land with
blood….time and time again…tell me why…why…why.”
Some smooth harp from RJ Harman provides the intro
for our next tune, “Overworked and Underpaid,” a
condition most of us have experienced at one time or
another. “Labor til the evening…til all my energy
gone…double overtime…won’t pay me an extra dime…a
change has got to be made…I’m overworked and
underpaid.” Another ballad rears its head in the
form of “She Loves Me Not,” and Selwyn is definitely
in love with the girl in question. “Well now I
see…oh that you’re killing me…I can’t believe
that…that this is my reality…that she loves me…but
now she loves me not.” Regi Oliver’s saxophone is
back in the mix and he’s playing some tasty licks
that I really appreciate as Selwyn tells us his
current tale of woe.
The keyboard talents of Dash
Dixon are added into the mix and Selwyn’s guitar
provides the intro to the next selection, “Brown
Paper Bag.” A tale of despair, Selwyn’s problems can
all be traced to what’s in the brown paper bag.
“Wine and women…oh, my favorite sins….no I didn’t
realize…what kind of trouble I was in…I cashed my
paycheck…just to pay my tab…oh, the troubles that I
have…from that brown paper bag.” The brown paper bag
has done in many a man Selwyn and you’re not the
first, and you won’t be the last.
A funky beat leads us to our next track, “Queen of
Hearts,” and it’s a refreshing segue from “Brown
Paper Bag.” “Got me hanging on…by a silver
string…have me waiting in line…just to kiss your
ring…but I know I’m a joker…playing the fool…for the
queen of hearts.” Regi’s baritone sax is front and
center now and I continue to be impressed with the
talent that Selwyn has surrounded himself with in
his band.
Regi’s sax continues to figure prominently
in the mix as he provides the introduction to
“Falling From the Sky”. “Ain’t it a pity…when all
hope is lost…stand at the edge…and wish that you
would fall…with a handful of liquor…and a heart
that’s full of ache…with tears in your eyes…as you
make your way…Lord, you’re falling from the sky.”
“Falling From the Sky” is a true tale of despair
though it isn’t exactly clear who Selwyn is singing
about in this tune.
More lap steel guitar from
Selwyn provides the intro for the final cut on his
disc, “Hoodoo Stew.” “A full moon smiled on that
giant pot…oh, the smoldering fire…was bubbling
hot…the hoodoo man dancing round and round…that
hoodoo stew made of skull and bone.” That’s probably
all the ingredients anyone needs to know in terms of
the contents of the Hoodoo Stew and the important
thing is that Selwyn was able to play the Hoodoo Man
a tune and avoid being the final ingredient in that
bubbling pot.
Enough can’t be said about Selwyn Birchwood’s first
release for Alligator Records. He has an amazing
band behind him in the form of Curtis Nutall on
drums, Donald “Huff” Wright on bass, and Regi Oliver
on saxophone that can damn near play anything he
throws at them, and the songs on Don’t Call No
Ambulance prove it.
This is an impressive release
indeed for this Bluesman from Florida and I’m
looking forward to the next chance I get to see
Selwyn live, wherever that might be. In the meantime,
you can grab a copy from Selwyn on his
website or on the road given
that his
tour schedule is impressive. Well done, Selwyn. The
future of Alligator Records is in good hands with
the impressive talents of Selwyn Birchwood and label
mate Jarekus Singleton.
---
Kyle Deibler
Alvin Lee was already a legend in 1978, the
charismatic Ten Years After front man having taken
Woodstock and the music world by storm a decade
earlier with his breathtaking solo on "I’m Going
Home," also a highlight of this show. Preferring a
power trio as he did towards the end of his career,
Alvin teamed up briefly with the talented,
thunderous drummer Tom Compton and nimble, mesmeric
bassist Mick Hawksworth.
From the opening bars of
"Gonna Turn You On" from Live at Rockpalast 1978
(Repertoire), this electrifying three-piece, billed
here as Alvin Lee & Ten Years Later,
makes Cream sound like Peter, Paul and Mary. The
performance is a barnstorming avalanche of classic
songs including "Hey Joe," "Rip It Up," "Sweet Little
Sixteen" and "Choo Choo Mama," and features Lee’s
superb blues harp playing and swaggering vocals on
"Help Me."
Compton and Hawksworth deliver pyrotechnic
solos and Lee is the consummate showman throughout,
plucking his guitar strings with a drumstick using
the microphone stand to create slide effects. This
beautifully packaged, re-mastered DVD/CD set has
excellent sound and picture quality and is a fitting
tribute to Alvin who prematurely passed away last
year. Gibson had just nominated him the best ever
musician to play one of their guitars ahead of
Clapton, King and Berry. High quality releases like
this enhance Lee’s reputation even further and much
credit goes to his family, Evi, Jasmin and Suzanne,
for keeping his flame burning brightly, hopefully
for an eternity.
This review of Alvin Lee & Co's Live from
the Academy of Music, New York 1975 is unique because Alvin 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," and 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 was 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.
And 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