The Crown Prince of Soul,
Charles Wilson, has been
performing since the tender age of seven, but the
nephew of blues/soul legend Little Milton Campbell
has maintained a pretty busy recording schedule
since the early ’90s, recording for Ichiban, Ecko,
CDS, Traction, Delmark, and Severn Records over that
time span. Recently, Wilson teamed up with another
soul blues notable, Travis Haddix, a collaboration
that should have happened years ago. On Sweet & Sour
Blues (Blues Critic Records), Wilson covers 11 Haddix originals, with the man himself providing
guitar throughout and co-producing with Wilson.
Most of the songs are from Haddix’s most recent
releases, and they include favorites such as the
up-tempo “Good Ole Monday,” the slow burners “Sweet
& Sour Loving” and “Dinner With the Devil,” “2 Steps
From A Lie,” “Six Women In My Life,” and saves his
best for last on the disc closer, “Love Coupons.”
Wilson’s version of these tunes is smoother than
Haddix’s growling delivery, but is just as edgy in
their own way. He actually brings a whole new
dimension to several of the tunes with his more
vulnerable presentation.
It doesn’t hurt to have Haddix backing him on guitar
for sure. His crisp leads and fills are an added
bonus for listeners. Having listened to both artists
for a long time, I tend to think that both artists
are underrated in their own way. Haddix has
maintained an amazing level of consistently fine
recordings for nearly 30 years and is an
excellent live performer, while Wilson is clearly
one of the finest soul/blues artists currently
recording. For years, he offered great performances
on his albums, with his vocals making even the most
mediocre material stand out. This time around, he
got a great set of tunes to work with and great
support from a soul/blues legend (not to mention a
powerhouse band), resulting in quite possibly his
best release yet.
---
Graham Clarke
Part of Leo “Bud”
Welch’s deal with Big Legal Mess Records was that if
he got to record a gospel album, 2014’s Sabougla
Voices, he would then do a blues album. The
83-year-old Welch grew up playing music (guitar,
harmonica, and fiddle) at picnics, parties, and
eventually juke joints and clubs, but he never quit
his regular job, working on a logging crew for many
years. He eventually began playing in church,
retaining the blues sound similar to his
contemporaries R.L. Burnside and Junior Kimbrough,
but with the gospel message. His debut release won
praise from blues fans for its rawness and urgency,
who eagerly anticipated his follow-up release.
The follow-up, I Don’t Prefer No Blues (Big Legal
Mess Records), is as raw and urgent as its
predecessor, only on the secular side. There are a
couple of exceptions, one being the opening track,
“Poor Boy,” a haunting, drum-driven track in the
North Mississippi tradition that forms a bridge of
sorts between Welch’s previous release and this one.
Welch’s world-weary vocals are strongly backed by Sharde’ Thomas’, and it makes for a haunting effect.
“Girl in the Holler” changes the pace considerably,
however, with its buzzing electric guitars (courtesy
of Welch and Jimbo Mathus) and swampy rhythm. The
raw and ragged rocker “I Don’t Know Her Name”
continues along the same lines.
Though “Goin’ Down Slow” eases the pace a bit, it’s
no less intense, with that grungy guitar and Welch’s
desperate vocal seemingly working in unison. The
loose-limbed “Cadillac Baby” has plenty of swing and
swagger, and “Too Much Wine,” with its wah wah
guitar, organ, and ragged background choir, is
almost psychedelic in feel. “I Woke Up” is more of a
Chicago-styled romp at the beginning, but turns into
a rollicking jam by the time it approaches the end
of its nearly five-minute run, though it sounds like
it was still going strong at the fade.
“So Many Turnrows” starts out stripped-down, with
just Welch, his guitar, and his footstomp, but
slowly builds in instrumentation and intensity.
“Pray On” returns to the theme of Sabougla Voices,
but it’s the rockingest call to prayer you’ll ever
encounter, with Welch’s growling vocal, his
cranked-up electric guitar, and Mathus’
special-effects-laden guitar in the background. The
album closes with one of the best tracks, a spot-on
reading of Robert Nighthawk’s “Sweet Black Angel.”
The only issue with
I Don’t Prefer No Blues is that
there’s not enough of it…..it clocks in at 35
minutes. However, it’s the best 35 minutes a fan of
the down-home, rough-and-tumble, ragged-but-right
Mississippi Blues will ever spend. We should be
grateful that Big Legal Mess (a subsidiary of Fat
Possum Records) was able to track him down.
Hopefully, he has a few of these left in him.
---
Graham Clarke
In recent years, you’ve probably heard
Omar Coleman’
s harmonica, either as a guest on an album (Mike
Wheeler, Toronzo Cannon, to name a couple, plus
Severn’s 2005 collection Chicago Blues Harmonica
Project and the Louisiana Swamp Stomp benefit album)
or performing around the country at festivals or
clubs. Born in Chicago in 1973, Coleman was exposed
to the music of many Windy City blues artists like
Muddy Waters, Buddy Guy, and Junior Wells as well as
soulful singers like Bobby Rush, Sam Cooke, O.V.
Wright, and James Brown.
Taking a bit from each of those artists and
constructing his own unique band of blues, Coleman
began playing harmonica in public in 2003,
eventually becoming lead vocalist and harmonica
player for the Sean Carney Band, with whom he toured
Europe. He’s also headlined the Chicago Blues
Festival, performed on the European Blues Cruise,
and worked as a studio musician and songwriter.
Recently, Coleman signed with Delmark Records and
released Born & Raised, his debut for the label, and
second overall. With a rock-solid Chicago blues band
(Pete Galanis – guitar, Neal O’Hara – keyboards, Ari
Seder – bass, Marty Binder – drums/percussion) and
guest appearances by Cannon, Wheeler, and guitarist
Dave Herrero, Coleman shows that he will be a force
to be reckoned with on the blues scene for a long
time to come.
Coleman wrote or co-wrote all but a couple of the
14 tracks on Born & Raised, and these tunes
show roots in not only the traditional blues sounds
of Chicago but also southern soul and funky R&B.
Tracks like “Sit Down Baby,” “I Don’t Want No
Trouble,” and “Lucky Man,” are seeded with Bobby
Rush’s “Folk-Funk” style, and Coleman shows that
he’s also well-versed in R&B ballads with a strong
vocal performance on “I Was A Fool” and “One
Request.”
There’s plenty of straight and solid blues, too,
with tracks like “Tryin’ To Do Right,” “Wishing
Well,” “I Know You Been Cheating,” “Raspberry Wine,”
and the slow burner “Tell Me What You Want,” while
“Man Like Me,” “You Got A Hold On Me,” and the title
track groove relentlessly.
Coleman is an ace on the harp, but his vocals are
just as strong, if not stronger. He moves
effortlessly from the down-home gritty blues to the
smooth soul ballads to the funky rockers. Trust me
when I say that you will be hearing much more from
Omar Coleman soon. Born & Raised provides ample
evidence of this and is as good a release as you
will hear this year.
---
Graham Clarke
Beth McKee’s latest release,
Sugarcane Revival
(Swampgirl Music), is her best and most personal
disc to date. The singer/songwriter goes back to her
musical roots of Louisiana, Texas, and her native
Mississippi with 13 compelling original
compositions, the common theme of many of them being
restlessness or discovery, and she sounds marvelous
doing it, securing her place in the process as one
of the finest, most naturally gifted vocalists
currently performing.
The opening track, “Long Road Back,” kicks things
off with a Louisiana flair, while the funky and
defiant “Break Me Down” sizzles and percolates with
a nice dose of Memphis grease. “Promised Land” is a
standout tune and it’s topic is one we can all
relate to…..searching for our place in the world
only to find out that we were there all along…..but
her vivid lyrical imagery raises it far above
standard fare. The meditative “Right At The Gate”
finds McKee at a crossroads, but determined to find
her own way on her own terms.
A Latin rhythm (complements of McKee’s husband,
drummer Juan Perez) propels “Nobody Knows Like Me,”
which also provides a wonderful showcase for one of
McKee’s most potent vocal performances. On “A Place
For Me,” the sense of loneliness is almost palpable
in her singing. To paraphrase the late Bum Phillips,
Beth McKee may not be in a class by herself as a
vocalist, but based on just these two tracks, it
sure wouldn’t take long to call roll.
That theme of loneliness and longing for a place
continues in “Abraham and Alice,” a powerful song
about looking for a place to belong, with a great
line asking whether we’re wandering like Abraham or
seeking Wonderland like Alice. Great stuff. “And
Everything Changed” is a rollicking journey through
Biblical times, with more great Latin-styled
percussion as a backdrop. “Trouble the Waters”
continues on a spiritual theme, encouraging us to
make a difference in other’s lives where we can.
McKee, who shines on piano and
accordion, is backed
by an outstanding group of musicians, including
Perez, guitarists Tony Battaglia, Tommy Malone of
the subdudes, and Tim Lee, fiddler Jason Thomas, and
Rhonda Lohmeyer of Evangeline on mandolin. McKee
went the Kickstarter route on Sugarcane Revival, and
as a result was able to do things the way she wanted
them. Her fans and contributors will be pleased
because the result is her best album to date and one
of the best releases of the year.
---
Graham Clarke
Guitarist Travis Haddix has been playing the blues
since the ’70s, but only began recording in the late
’80s. The Ohio resident has been prolific since
then, releasing around 20 albums for a variety
of labels, all of which feature his fine guitar
playing and his songwriting, which is always
inventive and entertaining. Most recently, Haddix
issued a collection of some of his finest songs on
It’s My Time Now: The Best of, an 18-track set that
mixes four newly recorded tunes with 14 of his
best-known songs.
The previously released material goes all the way
back to the early ’90s with a pair of tracks from
his 1991 Ichiban Records release Winners Never Quit
(the humorous “Bag Lady” and the encouraging title
track). While it would have been nice to have a
couple more tracks from Haddix’ Ichiban days (the
label is no longer in print), these tracks are a
very good representation of his style of blues and
his songwriting.
From there, things fast forward to the late
’90s/early 2000s with tracks from Haddix’s own
Wann-Sonn label (“You’ve Got Another Thing Coming”
from 1998’s Signs Of The Times, “The Dip” from his
live 1999 disc, Shootum Up, “Job Close To Home” from
2000's Old & Easy, “Catch You In The Truth” from
2001’s Milk & Bread, the title track from 2002’s
Company Is Coming, “Acute Blues Syndrome” from
2004’s Blues From Staghorn Street, and “Dick For
Dinner” from 2007’s Mean Old Yesterday).
After a brief stop at Earwig Records (represented by
“Good Buddy Blues” from his lone Earwig release,
2008’a Daylight At Midnight), Haddix settled in with
Benevolent Blues. That tenure is represented by four
outstanding tracks (“Don’t Get Too Comfortable” from
2009’s If I’m One, You’re One Too, “First Thing
Tuesday Morning” from 2010’s live A Dozen Times,
“Cialis Before I See Alice” from 2011’s Old Man In
Love, and “Doctor Doctor” from 2013’s Ring On Her
Finger, Rope Around My Neck).
The four new tunes are the salacious entries “Two
Heads Are Better Than One” and “Put Your Finger In
It,” the slow blues title track, and the
inspirational “Go On From There With Prayer.” What’s
remarkable about this collection is the amazing
consistency Haddix has maintained over this 25-year
period. His songs continue to be interesting and
entertaining, he sounds just as good on guitar and
vocally as he ever has……even better, and he moves
effortlessly from urban blues to downhome blues to
soul/blues.
Travis Haddix is one of the unsung heroes of the
modern blues era…..an artist who had built a big and
loyal group of fans despite never recording for a
major label, depending on word of mouth, the body of
his work, and his live performances. If you’ve not
experienced his music, It’s My Time Now is a
fantastic place to get started.
---
Graham Clarke
You may not know who
Rick Vito is, but if you’ve
watched TV or listened to the radio over the past
four or five decades, you’ve heard his splendid
guitar work. He served as lead guitarist for
Fleetwood Mac in the late ’80s/early ’90s, replacing
Lindsey Buckingham. He’s also played with Bob Seger
since the mid ’80s……that’s his distinctive slide
guitar on “Like a Rock.” He also backed Bonnie Raitt
in her touring band through the ’90s, and has
numerous other rock and blues artists such as John Mayall, John Fogerty, Jackson Browne, Rita Coolidge,
and Maria Muldaur. His 2010 CD/DVD collaboration
with Mick Fleetwood, Blue Again!, was nominated for
a Grammy in the Best Traditional Blues category.
Based on the above credentials (I didn’t even
mention the many TV shows and films that have
featured his music), you might say that Rick Vito
knows his way around a guitar, right? Well, if there
are any remaining doubters, they are strongly
encouraged to check out his latest solo release,
Mojo On My Side (Delta Groove Music) for some of the
finest lead and slide guitar playing they will
likely encounter. Vito offers up 14 marvelous blues
and roots tracks, 11 originals and three covers, with
stalwart backing from Jim Hoke (sax), Dan Serafini
(HammondB3), and Charles “Mojo” Johnson or Rick Reed
(drums).
Highlights include the moody title track, which
percolates and simmers with swampy funk and some
cool slide, the old-school romper “Pretty Woman,”
“Missy Brown,” which combines Delta boogie with an
irresistible rhythm, “Femme Fatale,” which showcases
Vito’s slide over a gritty Memphis backbeat, the
Windy City-based “Who Were You Thinking Of” and the
rowdy “House Party,” with some positively smoking
slide.
Also noteworthy are “She’s Got It All,” which
ventures toward the jazzy side of blues, “Help Me
Lord” is a gospel-flavored acoustic blues, and the
toe tapper “You Can Run.” The closing instrumental,
“River of Blues,” has an Eastern Indian feel. Vito
easily handles the cover tunes, from a swinging
version of Magic Sam’s “Easy Baby,” to the New
Orleans R&B classic “Life Was Just a Struggle”
(penned by Chris Kenner), to the
dead-on-the-heavy-funk reading of the Dyke & the
Blazers’ classic “Let A Woman Be A Woman.”
Though he’s best known for backing other musicians,
Mojo On My Side proves without a doubt that Rick
Vito could definitely fill the front man position at
any opportunity. This dics is a must-buy for guitar
fans.
---
Graham Clarke
300 Miles To Memphis, the latest release from the
rocking blues trio Mississippi Fever, alternates
between smoking, smoldering, and burning.
Singer/guitarist Brent Barker, bassist Ted May, and
his brother, drummer Tom May, offer up ten masterful
tracks of blues and rock with eight original tunes
and a pair of interesting covers. The trio has been
playing since the ’70s, but joined forces as
Mississippi Fever in 2009.
The trio’s original songs range from the funky
opener “I Feel Like Superman” to the steamy shuffle
“Steal Away Your Love” to the hard chargers
“Downtown Train” and “Till the Sunrise.” “Black
Dress” pumps up the funk again, with some tasty
wah-wah effects from Barker, who also fills “Out All
Night,” a splendid slow blues, with excellent lead
work.
The restless rocking title track features Memphis
harp ace Brandon Santini and “The Devil’s Got You
Now” is a churning rocker with some nice work by the
rhythm section. The two covers are Robert Johnson’s
“Traveling Riverside Blues,” transformed into a
rousing shuffle, and an impressive take on ZZ Top’s
“Jesus Just Left Chicago” that closes the disc.
I really like the interplay between the trio,
Barker’s weathered voice and versatile guitar work,
and the rock solid rhythm section. Mississippi Fever
knows how to deliver the goods and 300 Miles To
Memphis will provide blues fans with a lot of
enjoyable listening.
---
Graham Clarke
Lazer Lloyd is a singer/songwriter/guitarist who’s
considered to be Israel’s blues-rock king. Growing
up in Connecticut, Lloyd (a.k.a. Lloyd Paul Blumen……his nickname is a combination of his Hebrew
name, Eliezer, and his English name) began playing
in night clubs at age 15, studying music at Skidmore
College, and eventually joining the psychedelic jam
band Reva L’Sheva and later forming the roots rock
band Yood. His music is influenced by blues, gospel,
and southern rock and by artists as diverse as Jimi
Hendrix, B.B. King, Wes Montgomery, Son House,
Lightnin’ Hopkins, Buddy Guy, and Santana.
His
latest self-titled disc (on Lots of Love Records)
offers a dozen songs….11 originals and one
cover.
The guitarist shows a lot of versatility, obviously
he’s played a lot of styles over his career. The
opener, “Burning Thunder,” has a droning Hill
Country feel to it. On “Suffering,” he draws the
listener in as he gives/raps a harrowing account of
life on the road and the incessant loneliness that
sometimes goes with it. “Rockin’ In The Holy Land”
is an interesting twist, his account of how he ended
up in Israel, on old time rock & roll, and “Never
Give Up” is an inspiring and honest message of
determination. “Out of Time” is a blistering blues
rocker, and “Broken Dreams” is a searing slow blues
with some great guitar.
“Set My Soul Free” combines the best of Jimi Hendrix
and Stevie Ray Vaughan. The lyrical structure brings
to mind a Hendrix tune and the guitar work brings it
together. The quirky “Moroccan Woman” has a funky,
spicy, swampy quality with its funky rhythm and busy
guitar. The closing three tracks, as indicated by
the titles, “Love Yourself,” “TimeTo Love,” and
“Whole Heart” focus on love and togetherness,
presented with honest and powerful words, and some
muscular blues rock fret work. The album’s lone
cover is Otis Redding’s “(Sittin’ On) The Dock of
The Bay,” presented as a spare, slow and vulnerable
ballad with a heartfelt vocal.
Recorded in Tel Aviv, Lazer Lloyd is joined by Moshe
Davidson (bass), Elimelech Grundman (drums) and Kfir
Tsairi (keys). Blues rockers will savor every note
of Lazer Lloyd’s guitar playing, but will be drawn
in closer by his highly personal and honest
songwriting and gritty vocals. Lazer Lloyd is an
excellent showcase for this gifted performer’s
talents.
---
Graham Clarke
The Lucky Losers, Cathy Lemons and Phil Berkowitz,
appear to have struck gold with their brand new,
appropriately-titled release A Winning Hand (West
Tone Records). Produced by guitarist Kid Andersen at
his Greaseland Studios, the new release features a
dozen outstanding tracks of blues and R&B, evenly
split between originals and cover, with appearances
by guitarists Andersen, Steve Freund, and Ben Rice.
Lemons has been a blues-singing legend in the Bay
Area for the last 25 years, with three albums to her
credit (including the acclaimed Black Crow from
2014), and a resume’ that includes performances with
Anson Funderburgh, Stevie Ray Vaughan, John Lee
Hooker, Tommy Castro, and Ron Thompson.
Singer/harmonica ace Berkowitz has been dazzling Bay
Area audiences for nearly 20 years with his
energetic shows and recordings, and has previously
collaborated with Billy Branch and guitarists Danny
Caron, Duke Robillard, and Sean Carney.
Lemons and Berkowitz contributed three songs apiece.
Lemons’ tunes include the soulful title track (nice
guitar work from Freund), “Suicide By Love,” which
leans toward the jazz side of blues, and the solid
boogie rocker “Detroit City Man.” Berkowitz’s
compositions (co-written by Caron) are the funky
opener, “Change In The Weather,” “Long Hard Road,” a
smooth R&B burner, and the ballad, “Don’t You Lose
It,” which benefits from the Wurlitzer piano from
Chris Burns.
The covers include a raucous take on the Sam & Dave
classic “I Take What I Want,” a swinging remake of
Jimmy Rogers’ “I Take What I Want,” and a funkified
reworking of Bob Dylan’s “What Was It You Wanted.”
Allen Toussaint’s “What Is Success” combines
Crescent City swagger with some fine slide guitar
from Rice, and their interpretation of Brook
Benton/Dinah Washington hit “You Got What It Takes”
is a winner, too.
In addition to Andersen, Freund, Rice, and Burns,
the band includes guitarist Marvin Greene,
keyboardist Keith Zuffi, bassists Steve Hazleood and
Steve Evans, drummers Robi Bean and Jay Hansen, and
a horn section that includes Tom Poole (trumpet) and
Michael Peloquin (tenor/baritone sax).
Lemons and Berkowitz’s vocal styles match up nicely
and they are equally comfortable in the wide variety
of blues styles represented. They are respectful of
the traditional sounds, but they also have an eye
(or ear, if you will) to modern blues as well. A
Winning Hand is an impressive debut for The Lucky
Losers. Hopefully, we will hear more from them in
the near future.
---
Graham Clarke
Australian blues man
Sugarcane Collins traveled
between Cairns, in Queensland, Australia,
Clarksdale, Mississippi, and New Orleans to record his latest
release, Going Back To Clarksdale. Collins’ previous
U.S. release, Way Down The River, still gets regular
play on the Satellite Radio channel Blueville nearly
nine years after it’s release, and the guitarist/singer
(a 35-year music vet who was selected 2014
Australian Male Blues Singer of the Year) has played
many U.S. festivals over the past decade, and has
built an impressive base of fans here as well as
Down Under.
Going Back To Clarksdale offers
11 tracks, eight
covers of some of Collins’ favorite blues standards
and three original tunes. Stylistically, there is a
mix of traditional urban blues tunes that employ
horns and Delta-styled acoustic fare that includes
some interesting instrumentation at times, too. Of
course, Collins writes and sings just like he’s a
lifelong resident of the southern part of the U.S.,
which was one of the selling points of his previous
release for me……he “gets” this music more so than
many native to the region.
The first track, Big Joe Turner’s “Flip Flop Fly,”
has an easy, almost jazzlike, swing with horns and
Bill Malchow’s percolating keyboards serving as a
backdrop. The standard “Trouble In Mind” teams
Collins’ acoustic guitar with Paul Green’s electric
and Ruedl Hornberger’s saxophone. Next is a gentle
reading of Mississippi John Hurt’s “Creole Belle,”
featuring Collins’ acoustic guitar and Kirk Steel’s
accordion, followed by a ghostly, atmospheric
reading of “St. James Infirmary.”
The title track, written by Collins, was recorded in
Clarksdale and describes the journey from New
Orleans with a nod to the late Frank Ratliff, owner
of the Riverside Hotel (which is pictured on the
album cover). Clarksdale regulars Stan Street
(harmonica) and Lee Williams (drums) chip in on this
enjoyable romp. Collins stays in Clarksdale with
Street for a dandy take on the Mississippi Sheiks’
“Sitting On Top Of The World.” For the rollicking
Blind Willie McTell rag tune, “Baby It Must Be
Love,” Collins teams up with mandolinist Peter Ella
and Hornberger on clarinet.
The next two songs are both Collins originals:
“Hungry, Broke and Blue” is a tranquil swinger and
“Blind Willie” is a nice solo tribute to Georgia
blues man McTell. Son House’s mournful classic
“Walking Blues” gets an impressive modern
reconstruction with Street on harmonica, Williams on
drums, Ella’s mandolin, and Green adding some tasty
slide, and the Leroy Carr number, “Memphis Town,”
closes things out on an upbeat note.
Collins’ easygoing vocals and his acoustic guitar
are always right on time, and I really like the
combination of instruments on these songs. It puts a
fresh coat of paint, so to speak, on these tunes,
some of which have been covered numerous times by
others. Going Back To Clarksdale is a first-rate and
imaginative set that will please blues and roots
fans.
---
Graham Clarke
The JC Smith Band is one of the West Coast’s finest,
winning the Bay Area Blues Society West Coast Blues
Band of the Year in 2006 and the 2012 Metro
Newspapers’ Best of Silicon Valley “Best
Original/Local Band.” One listen to their fourth and
latest CD, Love Mechanic (Cozmik Records), and it’s
easy to understand. The new disc offers up a dozen
potent tracks that mix West Coast Swing with the
urban sounds of Chicago blues and the downhome
sounds of the South with additional dashes of R&B
and funk thrown in for good measure.
The 12 tracks include five Smith originals. The
energetic “Jump for Joy” kicks off the disc and
challenges you to stand still. “Come On Home To Me”
is a smooth Memphis-styled soul ballad, and the
title track is a solid and spicy blues rocker. The
other original tunes are “Bad, Bad Feeling,” a
country romper, and the funky “Ring Around The Tub.”
The seven covers include a version of James Brown’s
“Cold Sweat” that transforms the funky soul original
into a slick blues shuffle. Smith covers two Elmore
James songs, which is never a bad thing in itself,
but neither are routine remakes. “Yonder Wall” gets
a rocking blues remodel and his “Talk To Me Baby”
swings hard. Little Walter’s “Last Night” is
recreated as a sultry slow burner, as is Eddie
Boyd’s “Five Long Years.” The band also covers Colin
James’ swinging “Rocket To The Moon” and closes with
a rocking take on Toronzo Cannon’s “Ain’t No
Stranger.”
The band (Smith, Robert Green – bass, Abraham
Vasquez and David Sandez – sax, Donnie Green –
drums, Tommy Maitland – trumpet, Todd Reid – keys,
and Gene Reynolds – trombone) is joined by guest
Chris Cain (guitar), Richard Palmer (keys), Jeannine
O’Neal (guitar), and Sid Morris (keys) on various
tracks, and they provide first-rate backing to
Smith, who proves to be a fine and versatile
guitarist and vocalist.
With smartly-crafted original tunes, cleverly
refurbished cover tunes, and overall excellent
performances, Love Mechanic should be a real crowd
pleaser for blues fans.
---
Graham Clarke
Singer/songwriter Diane Durrett has performed with
Sting, The Indigo Girls, Gregg Allman, and others,
and contributed vocals on multiple recording
sessions. She’s opened shows for Tina Turner, Faith
Hill, Little Feat, Delbert McClinton, and Derek
Trucks, and she’s as highly regarded as a composer
as she is for her soulful vocals. Since the early
’90s, she’s released seven of her own albums,
including her most recent release, Soul Suga’ &
Diane Durrett (Blooming Tunes Music), an outstanding
11-song set of blues and soul that mixes sweet
and spicy in equal portions.
Durrett wrote or co-wrote ten of the tunes. They
range from the steamy opening soul blues of “Show Up
Sexy” and “Butter in the Skillet” to the poignant
ballads “All Is Well” and “I Know Your Nothings” to
the upbeat R&B of “Be Somebody’s Angel” and “Bright
Side” to the funky dance tracks “Push the Push Back”
and “Let Go & Let Groove.” The blues is
well-represented by the swinging tale of “Sassy
Larue,” and the risque “Woohoo,” which features
guitar from Tinsley Ellis. The album’s lone cover is
Lennon & McCartney’s “Let It Be,” which is given a
gospel polish, complements of Randall Bramblett’s
piano and sax solo and Durrett’s heartfelt
interpretation.
In addition to Ellis and Bramblett, Durrett is
assisted by a huge cast of Georgia’s best musicians,
including drummers Yonrico Scott and Melissa
“Junebug” Massey, bassists Charlie Wooton, Ted
Pecchio, Gregg Shapiro, and Chris Price, guitarist
Markham White, Oliver Wood, and Critter Critendin,
keyboardists Yoel B’nai Yehuda, Eric Frampton,
Brandon Bush, and Ike Stubblefield, Morris Baxter
(DJ), and Jon Maret and Daryl Dunn (sax), Jonathan
Lloyd and Joe Burton (trombone), Kathie Holmes
(flute), Miko Bowles (trumpet), Dub Hudson
(clarinet) and backing vocals from Adam McKnight,
Caroline Allen, Deborah Reese, Peggy Still Johnson,
and Sassy Singers.
Based on the evidence presented by her latest
release, Diane Durrett’s voice is one that deserves
to heard by many. Soul Suga’ & Diane Durrett is a
sweet and sultry mix of blues and soul.
---
Graham Clarke
It’s rare to see a new blues recording feature
acoustic guitar work exclusively, but that’s just
what singer/guitarist/songwriter Mitch Mann does
with his new release. A resident of Muscle Shoals,
Alabama, Mann has contributed guitar and vocals to music
from The Fiddleworms, Yellowhammer, Blackwater Toad,
The Mojo Mixers, Donnie Fritts, and others. For this
release, Blackwater Creek (Crazy Chester Records),
Mann presents 11 tracks, seven original tunes
and four covers that move from the blues to
Americana and back.
The opener is the old blues classic, “Goin’ Down The
Road Feelin’ Bad,” and it features a hearty vocal
from Mann with support from Andreas Werner on
resophonic Tele. “Baby Don’t Forget” is a catchy
toe-tapper, and “Crows” is a countrified blues with
harmonica from former Wet Willie frontman Jimmy
Hall. There’s also a splendid reworking of “St.
Louis Blues,” with Charles Rose on trombone. “Make
This Minute Last” is a sweet ballad with Mann really
shining on vocals and guitar, and “More Than I Could
Ever Show” continues that theme.
“Sometimes a Rock” picks up the tempo with tenor sax
from Harvey Thompson, deftly mixes R&B with country,
and is a nice lead-in to the title track, a lovely,
upbeat instrumental. “Detour You” is a bluesy
original from Mann, a song about moving on to the
next town and relationship, and “Hold Her While You
Got Her” is another “leaving” song, but from the
opposite point of view. “Tom Clark” is a story song
about an evil local character, which is a smooth fit
with “It’s Time,” a gloomy song about death. The set
closes on a more optimistic note, however, with the
hopeful “Good Things.”
I really liked Mann’s nimble fretwork throughout
this disc, but I think his down-to-earth vocals are
as big a selling point for Blackwater Creek as his
guitar. In addition to Werner, Hall, Rose, and
Thompson, he gets some standout support from Donna
Jean Godchaux, Buzz Cason, Russell Melford, and
Scott Boyers (harmony vocals), and Mickey Buckins
(percussion). This is a low-key, understated release
that will appeal to blues, folk, and Americana fans.
---
Graham Clarke
8 O’Clock In The Afternoon is a tribute to British
and American blues and rock guitarists who
influenced musicians on both sides of the globe. The
album was a labor of love for Pennsylvania
singer/guitarist Jim Singleton. An army brat who
grew up all over the world, Singleton grew up
digging the work of artists like John Mayall,
Fleetwood Mac, and Pink Floyd, but discovered during
his travels in England that the folks over there
were listening to Muddy and the Wolf and the old
blues guitarists like Charley Patton and Robert
Johnson.
The festivities begin with a scorching cover of
Peter Green’s “Rattlesnake Shake,” and moves to a
slower, more sedate pace with “Nothing to Do with
Love,” usually associated with Kenny Wayne Shepherd.
The ballad “Don’t Take” was written by guitarist
Gary Vincent, who guests on the tune, a
heart-breaker that blends acoustic and electric
guitars. Vincent also contributes “Heart With A Mind
of Its Own,” a simmering country rocker. Singleton
also covers a pair of Rory Gallagher tunes, the
rocker “What’s Going On” and the power ballad “A
Million Miles Away,” which features some pretty
impressive string bending and vocalizing.
Speaking of power ballads, Singleton also covers the
’80s Whitesnake hit, “Here I Go Again,”
reinterpreting it into a kinder, gentler acoustic
version, with original co-writer Bernie Marsden
helping out on guitar. Another Marsden composition,
“Place In My Heart,” features the harmonica of blues
legend Charlie Musselwhite. The last two covers are
particularly noteworthy, as Singleton hits all the
right notes on Gary Clark, Jr.’s rowdy “Don’t Owe
You A Thing,” and turns in a marvelous performance
on Chris Isaak’s haunting “Wicked Game.”
Recorded in Clarksdale, Mississippi, the album also features
an impressive array of musicians in addition to Musselwhite, Vincent, and Marsden, including Jack
Thurman, Nicky Moroch, and Fiona Boyes (guitars),
Joe Osborn (bass), Mark Yacovone (keyboards,
accordion), Michael “The Professor” Hensley (Hammond
B3), Lee Williams and John Martin (drums), Daddy
Rich (bass, harmonica), and Lauren C. Mitchell
(vocals).
8 O’Clock In The Afternoon focuses primarily on rock
and country-styled rock music, but the session has a
solid blues feel to it, probably due to location and
some of the musicians present. Singleton has the
spirit of the blues in his guitar playing and his
soulful vocals, and his covers of the Gallagher and
Clark tunes are first-rate, making this a nice
tribute to the blues and the influence it has had on
other genres.
---
Graham Clarke
I’ve been aware of
Amanda Fish since her early days, performing
under the name Amanda Wish, and looked forward to
getting a chance to hear some of her music. So I was
happy when her debut release for Vizztone, Down
In the Dirt, came in the mail. I expected it to
be raw, perhaps a bit wild, but in the end her
collaboration with Stone Cutters Union frontman Sean
McDonnell is a breath of fresh air and certainly
indicative of an artist with a bright future. Let’s
hit the “Play” button and give it a spin.
Amanda and the band
start out with “I’mma Make You Love Me” and already
she’s in my ears, demanding attention. “I’m going to
whisper sweet things…until I make you my own.”
Amanda is nothing if not determined, and the man in
her sights will acquiesce soon. Brody Buster is
playing some sweet harp on this cut and I hear the
steady backbeat of Kris Schnebelen on the drum kit
with Derek Tucker playing bass on this cut. The band
segues on to “Player Blues” and this tune has a bit
of a vaudevillian feel to it. Here, Amanda is the
other woman, enjoying a few stolen moments with her
lover before he returns home to his wife. “And
everything I am…is in the palm of his hand…and he’s
never going to love me back.” Amanda’s clear in
regards to her bedroom politics but letting this one
go is tough. Sean McDonnell lays down a sweet guitar
riff indicative of the pain Amanda is experiencing
as she’s close to reaching her breaking point. No
matter what you do, Amanda, this is one you’re
better off letting go of. “Wait” is our next cut and
Matt Peters has my attention with his fretwork on
the tune as Amanda sings another tune of love lost &
gone. “Well, if you think it’s going well…you can’t
see that far down the range…oh,
wait…wait…wait…that’ll change.” There’s always
another woman in the picture and this one is well
aware of the stakes in play.
Jacob Hiser plays some sweet fiddle on the next
track, “Guess I’ll Lay Down,” a tune with a
decidedly country waltz feel as Sean McDonnell sings
a duet with Amanda all about the love they have for
each other. “I guess I’ll lay down…and try…not to
dream of you.” The romance is killing both of them
as it begins to fall apart and that’s all they can
do, “Lay down…and try not to dream of you.” Liam Goodrick lends his keyboard magic to the mix of the
next tune Amanda tackles, “Prisoner of Your Touch.”
Sean echoes her feelings as well, “When you give me
everything…you know it’s not enough…cause I’m a
prisoner of your touch.” Like moths drawn to a
flame, their love for each other creates a deadly
set of conditions that could lead to both of them
getting burned.
“Boots on the Ground” finds Amanda
coming to grips with a relationship ending and
finding the strength to proudly move on. “I begged
and lied…and stopped and stole…just to escape from
your control…not one to do what I’ve been told…I’ll
take my chances in the cold…no telling where my feet
are bound…once I get my boots on the ground.” Good
for you, Amanda.
Cole Dillingham’s bass is the central focus as
Amanda and the band tackle “I Don’t Need It,” and
here we find Amanda seeing her relationship for what
it is, and more importantly, what she intends to do
about it. “Been waiting for your call…only silence
on my phone…tell me that you love me…but you leave
me all alone…you know you’re going to lose me…you
won’t put up a fight…I don’t need that kind of
bullshit in my life.” Her man doesn’t want her help
and Amanda’s best to kick him to the curb and just
move on. Brody is again blowing some killer harp to
compliment Amanda’s defiant attitude and it all
works for me.
Another heavy bass intro leads the
band to “Hard Walkin’ Blues” and here we find Amanda
wandering aimlessly in the world. “You took my
money…I took the bread…ain’t got a dollar…left to my
name…but I’ve been happy…since you put me out…now
I’ve got nothing…to talk about.” All that’s left to
do is some “Hard walking” and Amanda is more than up
for that to move on with her life. Cole’s bass
continues to impress as Amanda discusses the
attraction that men have for her as a “Lady of the
Night.” “I can bring you some comfort…when your day
can’t get any worse…I’m a lady of the night…I’m the
one you’re going to call….I’m a woman of beauty and
grace…and we’re going to have a ball.” Amanda’s got
a 45 in her purse so you’re best not to mess with her, but if you’re in need of some real company
she definitely is a “Lady of the Night.”
“Breaking Me Down” is the first real ballad on the
record and Amanda is vulnerable here to the man that
she loves and a relationship she wants to work.
“Hold me close…while you warn me once more…in a sea
of you…I can not find the shore.” Amanda’s
definitely all in and “every beat of your heart…is
breaking me down.” Tyson Leslie’s organ makes an
appearance in the intro for our next cut, “Watch It
All Burn,” and Amanda is still standing strong in
the face of a toxic relationship coming to an end.
“Well…I was made to fall…on my knees I crawl…you
stood strong and tall…I watched it all…burn away.”
Amanda trusted this man and others tried to warn her
that not all was as it seems. Sean’s incendiary
fretwork echoes the intensity of this breakup and
whether we like it or not, sometimes it just
happens.
The final cut on the disc is the title
track, “Down in the Dirt,” and a solo guitar intro
starts the tune off before Kris comes in with a
heavy kick drum. “Dirty old man…don’t care what I
have to say…he don’t want to hear…the songs I have
to play…he judges my worth…by the length and width
of my skirt…I keep them down in the dirt.” While I
don’t know the complete depth of Amanda’s back
story, there’s enough information in the
accompanying notes to her disc to tell me this is
the tune that’s her anthem, her voice of defiance at
all the world has thrown at her and her song of
survival. No matter what her life may bring her or
what she’s been through, Amanda has enough of
herself safe, “down in the dirt” to handle whatever
comes.
Down in the Dirt
is definitely raw and I’m impressed
by the quality of this debut recording from Amanda
Fish. She’s paying her dues, winning fans one gig at
a time and this disc will do nothing but help her
accomplish that. The band launched a new website,
amandafishband.com, and you can learn more about
Amanda and her band there. They play a lot in the
Kansas City area and the time will come when we’ll
start to see her more and more on the blues highway
we all love to travel.
---
Kyle Deibler
I’ve been a fan of local Fort Collins band,
Three
Shots, since the first time I judged them in the
Colorado Blues Challenge. And while I’ve given them
a ton of grief over the years, at the end of the day
they are a very tight band with a high ceiling as
they hone their craft.
Their first disc is entitled
I Shoulda Listened and it’s an upbeat disc that
showcases the songwriting talents of lead vocalist
and
guitarist Andrew Tatro as well as the instrumental
expertise of fellow band mates Collin Sitgreaves on
vocals and drums, Tom Surace on bass and Jordan
Coulter on keyboards and harmonica. There isn’t any
truth to the rumor I spread that the band wrote the
songs for I Shoulda Listened around a still
somewhere in the wilds of Red Feather Lakes, but it
makes for good copy so let’s give their disc a spin.
Jordan’s keys and a bit of harp provide the intro for
our first tune, “Ol’ Scratch,” and here we have
Andrew reflecting on one of many mistakes he’s made
in his life. An encounter with a fellow named
Scratch is the equivalent of Robert Johnson’s deal
with the Devil at the Crossroads and Andy’s having
second thoughts. Jordan’s blowing a mean harp as
Andrew realizes the error of his ways, “I should
have read that fine print…cause the Hell Hounds have
my scent.” Andrew survives and hopefully he’s
learned his lesson. It’s Andrew’s guitar the leads
us to our next cut, “Wanna Know Your Name”, and here
we find a woman has caught his eye and he’s trying
to be real about it. “I’m not the kind…to use a
cheesy pick-up line…I just wanna know your name….and
how long have you been around?” He’s not looking for
a one-night stand or a long-term relationship though
it does seem here that he’s shooting for a happy
middle ground as he pursues the girl that caught his
eye. A heavy backbeat from Tom on bass and Collin’s
drum work complete the picture as Andy tries to keep
it cool.
This theme of physical attraction continues
in “Skinny Women” and here Andrew is at least
defining what his ideal woman would look like. “I
like women…yes, I do…but if I have my pick…I like my
women thick.” The winters aren’t that cold here in
Colorado but Andrew still likes a woman with a
little meat on her bones. Jordan’s playing some
wicked organ in the background and I like the beat
of this tune.
Some frenetic fretwork from Andrew leads to our next
cut, “Riled Up,” and here we find Andrew recognizing
the inherent risks of pursing the next woman to come
along. “You’re the cutest thing I’ve ever seen…and I ain’t just saying that…you got a pretty little
body…and a shy, little smile…but there’s some things
I would add…you need caution tape wrapped around
your hips…and a warning light taped to your
lips…cause when light turns to dusk…you got me riled
up.” Needless to say, she’s definitely got Andrew’s
attention and that’s all we need to know.
“To Whom
It May Concern” is our next tune and features a
beautiful piano intro from Jordan as Andrew tackles
the first ballad on their disc. “Yeah, them
blues…it’s a feeling that comes from deep in your
soul…them blues…it’s a feeling…and it ain’t no dog
and pony show…yeah, I got the blues, man…just listen
to me.” Andrew’s pretty clear, regardless of who it
may concern, that he’s a Bluesman through and through,
and that’s just the way it is. More fretwork from
Andrew finds him telling us about the new girl in
his life and the “Happiness” he’s found. “I found
happiness…down in Lousiville…she could stop your
heart with a smile…or speed it up…with a wink of her
eye…I found happiness…down in Louisville.” This one
ended badly as Andrew realized he was out of the
girl’s league and it just wasn’t meant to be. Oh
well, at least for a moment, Andrew found some
“Happiness” down in Louisville.
Unrequited love continues to be the theme of the day
and Andrew addresses it again in “Hard Luck Woman.”
“You’re a good looking woman…though, the truth be
told…love you give…is just way too cold…Lord, have
mercy…on your hard luck soul.”
The final cut on I Shoulda Listened is the guitar-driven “Blues in My
Veins,” and here Andrew addresses the music that
inspires him to play. “Grew up on the legends…of six
string soul…like Jimmy, the Kings…and T-Bone…yeah,
they all paved the way…but I got to make it on my
own.” Jordan’s blowing some wicked harp in the
background and it’s refreshing to hear Andrew
acknowledge that he’s got to bring his own vision of
Blues to the table to really have an impact.
Three Shots have put out a nice debut album with
I Shoulda Listened and I look forward to seeing what
the future holds in terms of Andrew’s songwriting,
expanded Blues themes in his lyrics and the
continued expansion of the band’s catalog. The four
of them --- Andrew, Collin, Tom and Jordan --- have been
together for awhile now and we’re probably due for
another visit to that still out in Red Feather Lakes
here very soon. The band’s Facebook page is probably
the best place to find out what they’re up to and
I’m looking forward to catching a live performance
here in Colorado soon.
---
Kyle Deibler
Over the last couple of years here on the Front
Range, Mojomama has evolved into one of the premier
bands in Colorado. Their new self-titled release
showcases just how tight the band has become with
the addition of Paul Christiansen on the drums to go
with lead singer Jessica Rogalski, her husband Paul
on bass and Bob Murnahan on guitar. Their talent is
undeniable and their new recording is outstanding.
Paul lends a greasy bass intro to our first cut,
“Lying in the Dark,” and here we find Jessica
contemplating the effect of a relationship ending on
her heart. “You’ve got me lying here in the dark,
baby….all I can feel is my broken heart.” A sweet
solo from the magic fingers of Bob Murnahan and
we’re off to a great start. Our next cut,
“Eternity,” finds Jessica again contemplating the
love in her life with a much better outcome.
“Promise me that you’ll never leave…without the
flame that burns for me…cause the only light you’ll
see…we’ll love into eternity.”
Ann Harris lends a
delicate touch on her violin to “Eternity” and I
appreciate the tastefulness of her performance. Love
continues on to our next cut, “Dig Deeper,” with the
advice being to be present in the moment. “But,
you’re going to be the one on top…you might just be
the one that lasts…dig deeper next time.” Sage
advice if he wants to stay in the game.
“Tell It Like It Is” finds Jessica asking for
complete honesty. “Don’t sugarcoat the words…oh,
no…you’ve got to tell it like it is…cause when you
get the final word…you’ve got to tell it like it
is.”
We move on to Mojomama’s homage to the Blues
heroes and heroines that have come before them with
the tune, “Be a Legend.” Janiva Magness makes a
guest appearance here and the vocal interaction
between her and Jessica work to make the song come
alive. “Be a legend…be a legend…oh, Janiva Magness…got
her mojo working all the time…be a legend.” We segue
into “Fool For Your Love” and Bob lends some
intricate fretwork to the intro as Jessica
contemplates her luck with Love. “The odds were in
our favor…started off red hot...but that love
couldn’t last…it’s just a shot in the dark.” Jessica
normally has her ducks in a row but this time “I’m
just a fool…a fool for your love. Baby.” Anguished
tones from Bob’s guitar augment Jessica’s tormented
journey down this particular path and you can’t help
but root for her success.
Intricate fretwork from Bob and a solid bass line by
Paul take us to our next cut, “Liberation.” “So go
tell your friends…to come along…stepping to…my
beating drum…there ain’t nowhere…you can hide…I feel
it grooving…right down my spine…that’s liberation.”
All you have to do is follow Jessica and she will
lead you to the groove that liberates your soul.
“Forbidden Love” is the next tune in the mix and
here we find Jessica being very clear in what she
needs, “you’ve got forbidden love under your skin…oh
come on, let me in…baby, give me one kiss…I’ll seal
it…oooh, baby…just one kiss.” “Complicated Love”
finds Jessica dealing with a difficult man in her
life and this love isn’t easy. “The dreams we
have…they’ve become a nightmare…and we never seem to
get anywhere…it’s a complicated love…running through
these veins…all we need is a little harmony…before
we go insane.” Ain’t that the truth!
The next cut on the disc is “Love Hangover” and here
we find Jessica contemplating the difficulties of a
love she cherishes. “Now give me a reason to put up
with you…you never do a thing I want you to…but the
way you love me, I can’t complain…you’ve given me
something I just can’t explain…. no matter how hard
I try…you’re still a sweet thorn in my side…love
hangover.” Jessica is hoping a heartfelt
conversation will solve most of the issues she’s
feeling but you just can’t be sure that will cure
her “love hangover.”
Sweet notes from Bob’s guitar
provide the intro for the final cut on our disc,
“Night After Night,” and here we again find Jessica
reflecting on the love in her life. “Now, those
clouds above us are heavy…. night after night.” You
can hear the confliction Jessica is experiencing in
her voice and one hopes she’ll be able to work
through the issues and come out the other side.
Mojomama, the disc, is very well done and more
than accurately reflects the vocal talents of
Jessica Rogalski as well as the amazing musicianship
of the three boys in the band: Paul Rogalski on
bass, Paul Christiansen on drums and the guitar
wizardry of Bob Murnahan. Fans of Mojomama will love
this disc and I strongly encourage music fans here
in Colorado to catch a live performance by the band
soon. Folks outside of Colorado can visit Mojomama’s
website at
www.mojomama.net to learn more about the
band and their music.
Mojomama is at the top of
their game right now and it doesn’t get much better
than this.
--- Kyle Deiber
