Kudos to Debbie
Davies for her positive attitude and a
refreshing look at the Blues she loves so much. Her
new record on the Vizztone label, Love Spin,
takes an honest look at life, love and everything in
between with the goal of taking a second look and
allowing herself to put a positive “Love Spin” on
her perception. It’s a positive look on life and it
serves Debbie well on what is a very good record.
Let’s give it a spin.
Our first track,
“Life of the Party,” is dedicated to John “Juke”
Logan, and here we find Debbie feels like she is
“the life of the party,” particularly when she has
her guitar in hand. “You know we’re on a
mission…we’re going to make you smile…that’s my sole
ambition…mile after mile…life of the party…that’s
who I am.” “Life of the Party” is a jumping tune and
sets the tone for more to come, right out of the
box. The title track, “Love Spin,” is next and Paul
Opalach lends his lap steel to the mix as Debbie
educates us about the “love spin.” “You got to put a
love spin on it…and turn your life around.” No
matter what it is --- anger, disappointment or
resentment --- just take another look at everything
and put your own “love spin” on it. The second “Love
spin” look can go a long way toward improving our
perceptions and attitudes about whatever situation
we may find ourselves in.
Up next is a
beautiful ballad, “Let the Heartaches Begin,” and
Terry Hanck joins Debbie vocally and sonically with
his sax. “If little bitty teardrops must fall…the
sooner we start…the sooner we can cry it all…then
we’ll both be free to love again…so let the
heartaches begin.” Terry is lending a beautiful
sophistication to this tune with his saxophone and
Debbie’s fretwork is off the charts.Sometimes just
being consistent is the key and Debbie tells about
it in our next cut, “Don’t Change It Up.” “I love
what you’re doing, Baby…baby don’t stop…baby don’t
stop…don’t change it up.” Jay Stollman joins Debbie
on the vocals for this song and the best advice that
both of them can give is “don’t change it up.”
We segue on to “It’s
All Blues” and this is a classic song from Debbie.
Dana Robbins adds the delicate intonations of her
saxophone to this track as Debbie describes a number
of variations of the music we all love. “You can
make it raw…you can make it swing…you can make it
funky…do your own thing…anytime…. any place…long as
it sets your little soul free…it’s all blues…all
blues to me. Lenny McDaniels penned our next track,
“Talk Real Slow,” one of two non-original tunes on
Debbie’s disc and there’s a sense of sensual
understanding between a woman and her man with this
tune. As Debbie sings, “Baby, talk real slow…and I
won’t let go…I hope you get my message…I hope you
understand…Baby, talk real slow…and I won’t let go.”
Debbie knows what she wants and it helps to convince
her that your love is real, so Baby, “talk real
slow.”
The up-tempo “I’m Not
Cheatin’ Yet” makes its appearance next and here we
find that while Debbie might be tempted, she’s not
“cheating yet.” Dana’s back with her sax and Dave
Keys is twinkling the ivories on a piano as well.
Debbie’s real clear with her message, “I’m not
stepping out…so don’t sit there and pout…I’m not
stepping out…you’d be better off to break a
sweat…cause, I’m not cheating yet.” Debbie’s
fretwork is emphatic and her man best understand
that it’s her intent to stay. So of course, every
now and then a man has to get his point across, and
in this case, he’s threatening Debbie with “Two
Twenty-Five Year Olds.” Debbie’s more than willing
to call him on his bluff here, “If you’re going to
dream now…let your dreams be bold…you say you’re
going to trade me in for…two twenty-five year olds?”
They both know he’s not going anywhere and it’s
probably best to retreat to his man cave and leave
Debbie alone for just a little while.
The other
non-original tune on Debbie’s disc was penned by
Swedish Blues artist Sven Zetterberg, who named it
“A Darker Side of Me.” We all have dark sides that
need to see the light of day once in awhile and
Debbie is no different here. The song has a classic
jazz feel to it and Debbie’s free to express her
darkest emotions. “I’ve got a limit…something you
can’t see…. I’m sorry if I scared you…you just saw a
darker side of me.” Life isn’t always easy for
Debbie either and every once in a while she just
needs to lose control and let the world see, “a
darker side of me.” Terry Hanck is back with his
saxophone for one of the last two original tunes on
Debbie’s disc, this one being “I Get the Blues So
Easy.” “I can’t sleep at night…my mind keeps me
awake…I worry about my money…and the love I didn’t
make…might make me crazy…but it’s the life I
choose…. sometimes, playing this guitar…just gives
me the Blues.” With all of this going on, it’s easy
to see why Debbie gets the Blues so easy.
Debbie closes out
Love Spin with “Way Back Home.” For a number of
us, life is a cyclical process and sooner or late we
all seem to find our way back home. Debbie’s laying
down some wicked slide guitar and she’s serious
about her journey. “I’m going to find my way…find my
way back home… now, if you won’t go with me…I’m
still going home.”
Love Spin has
been an amazing journey from the first track to the
last. I’ve enjoyed every song and found Debbie
Davies’ journey here to be very refreshing. You can
grab a copy for yourself on Debbie’s website,
debbiedavies.com,
and I strongly encourage you to so. I think we’ll
definitely be hearing more accolades for this disc
before the year is out, and deservedly so.
Congratulations, Debbie, for coming out with a disc
that made me sit up and take notice. It doesn’t
happen very often anymore but I’m glad it did. Well
done!
---
Kyle Deibler
I had the opportunity
to talk with Shemekia Copeland after her
performance at this year’s Flagstaff Blues & Brews.
I told her it was time to get a new record out,
we’ve been missing her at the Blues Music Awards and
it was high time she got back to Memphis. She
indicated that she’d been in the studio and had a
new record coming out in the fall. That record,
Outskirts of Love, marks her return to Alligator
Records and just recently showed up on my doorstep.
Shemekia opens with
the title cut, “Outskirts of Love,” and here we find
that at times, love’s not perfect, no matter how
hard we try. “When you can’t find those
things…you’ve been dreaming of…. you’ve been
living…. living on the outskirts of love.” Love
Shemekia’s vocal in the opening track, and we’re off
and running. We transition to “Crossbone Beach,” and
here we find Shemekia dealing with the dark side of
life after being slipped something in her drink that
caused her to black out and lose complete control.
Jano Rix is at the keyboards and I hear them
prominently in the intro to this tune. “I ended up
on Crossbone Beach…as close to hell as you can
reach…how’d I end up on Crossbone Beach?” A man with
a gold tooth is the one who slipped her the drug and
at some point karma caught up with him and Shemekia
was able to escape. Producer Oliver Wood is on the
guitar for this tune and his fretwork is amazing.
Shemekia chose one of
her Dad’s tunes, "Devil’s Hand," for the record and
the band tackles that next. Lex Price’s bass is at
the forefront of the intro as he helps Jano on the
drums lay the back end down. “Woke early one
morning…saw the Devil…playing his hand…you know he
wrecked my life…just like a hurricane.” Playing
cards with the Devil is a lost cause, he cheats to
get his way and is quick to capitalize on the
mistakes of others. Shemekia and the band move on to
tackle “The Battle Is Over (But the War Goes On),” a
tune originally performed by Sonny Terry & Brownie
McGhee. “If talk was money…you’d be a millionaire…if
thoughts could kill…there’d be nobody here…so many
thinking evil…and talking jive…it’s only true
love…keeps this world alive.” This particular battle
might be won, but it’s a difficult world out there
and we all need to keep fighting the war. Will
Kimbrough handles a number of the guitar duties on
this disc as well and I’m enjoying what I hear of
his fretwork.
It’s refreshing to
hear Alvin Youngblood Hart lending his guitar and
vocals to our next cut, “Cardboard Box,” a tune
about homelessness and life on the streets. “And I
don’t need a vacation…don’t need a breath of fresh
air…I don’t need to go out…cause I’m already there….
life is rough…it gets worse…we all end up in a box…I
just got there first.” A snare intro and pedal steel
by Pete Finney take Shemekia on to her next tune,
“Drivin’ Out of Nashville.” “I’m driving out of
Nashville…with a body in the trunk…trying to figure
out…the depths that I have sunk…I never hit the big
time…but I went out with a bang….cause Country ain’t
nothing…but the Blues with a twang.” I appreciate
the humor in this tune and Shemekia pulls it all off
without a hitch.
“I Feel a Sin Coming
On” is our next cut and I have a feeling this tune
is right up Shemekia’s alley. “He just sits
there…his eyes on me…I shake with temptation…just
knowing what it could be…I ought to go home…I’ve
been here too long…. oh, yes I have…. cause I…feel a
sin coming on.” She’s at the crossroads of yes or
no, and the way the wine flows will determine the
outcome of it all. I like this tune by Shemekia as
she explores the choices a married woman, with a
good man at home, sometimes makes. A Jesse
Winchester tune, “Isn’t That So,” is next and here
we find Shemekia admonishing us to “go where your
heart says go.” “You got to bury the seed…in the
dirt my friend…if you want the seed to grow…you’ve
got to go where your heart says go…isn’t that so.”
A heavy kick drum and
bass intro from Lex Price take us to a tune once
performed by ZZ Top, “Jesus Just Left Chicago.”
“Jesus just left Chicago…headed for New Orleans.”
Billy Gibbons joins the fray on guitar for this tune
as Shemekia continues to enthrall us with all of the
miracles Jesus wrought after he left Chicago. “You
won’t see him in person…but he’ll see you just the
same…you don’t have to worry…taking care of
business…is his name.” The familiar sounds of
Creedence Clearwater Revival are up next as Shemekia
tackles the classic Fogerty tune, “Long as I Can See
the Light.” “Though I’m gone…you don’t have to
worry…long as I can see the light.” No matter how
far Shemekia wanders…as long as she can see the
light…she will always be able to find her way home.
Shemekia’s take on an
Albert King classic, “Wrapped Up In Love Again,” is
the next track we’re treated to. “Here I am…wrapped
up in love again…you say you don’t want to marry
me…you just want to be my friend.” Arthur Neilson is
on the guitar for this tune and he’s laying down
some tasty licks as part of the homage to Albert’s
song. The final cut is a Jessie Mae tune, “Lord,
Help the Poor and Needy,” a spiritual in the first
degree. “Let’s all rise together and face the rising
sun…Lord, help the poor and needy…in this land.”
I’m happy to have new
music from Shemekia Copeland in hand. It displays a
range of tunes and sentiments that at times
surprised me but they all definitely work in the
context of Outskirts of Love. Shemekia has
always toured quite a bit and her schedule can be
found at
shemekiacopeland.com. Pick up a copy of her new
disc while you’re there and catch her when you can.
Shemekia’s one of the mainstays of our genre today
and has earned her following, one fan at a time.
Well done, Shemekia!
---
Kyle Deibler
A lot has changed in
Buddy Guy’s world over the last year, in part
because of the passing of his good friend, B.B.
King. With B.B.’s passing, Buddy has become the
predominant voice of American Blues, and I wonder if
that wears on him with the responsibility of this
genre of music we all know and love. Personally, I
think Buddy is taking it in stride, and his new
disc, I Was Born to Play Guitar, reflects
this. Buddy’s playing is as intricate and tasteful
as ever, and he sounds quite comfortable with his
new role in the Blues. This record is a gem; let’s
give it a spin.
Buddy tells us in “I
Was Born to Play Guitar”: “I’ve got a mean
reputation…and everybody knows my name…I was born to
play guitar…and people, I’ve got the Blues running
in my veins.” Buddy had the Blues from the age of
two to hear him tell it and we’re glad he realized
it early on. Billy Gibbons joins us for the next
cut, “Wear You Out,” and here they’re reflecting on
possessions in their lives that they’ve just flat
pushed to their limits. For Buddy, it’s a '54 Strat
and for Billy, initially a Cadillac. “I had a ’70s
something Eldorado…they said it never going to
stop…100,000 miles in 69 days…I felt the engine
drop…I’m going to wear you out.” This also applies
to women to hear them tell it but you’ll have to
catch that verse for yourself.
Buddy slows things
down a tad on “Back Up Mama,” and here we find out
he has a plan B if plan A doesn’t work out. “I keep
up a back up mama…. and she lives…a way cross
town…I’ve got a back up mama…if mama #1 is not
around.” To Buddy’s way of thinking, women can be
mean and unpredictable, so having a back up mama is
the smart thing to do. Kim Wilson’s the next to
appear with his amazing harp on “Too Late.” Here
Buddy loves his woman but there’s only so much he
can stand and away he goes. “I can’t stand your
cooking and you ain’t good looking, I’m gone.” Kim’s
harp fill is intense as Buddy tells his woman, “It’s
too late…I’m gone.”
Bassist Michael
Rhodes adds a killer intro to Buddy’s next cut,
“Whiskey, Beer & Wine,” and he tells us about a
rundown bar that only serves these three things.
“You can fix anything…over whiskey, beer & wine.”
Simple solutions perhaps, but not necessarily always
the best ones. Up next is “Kiss Me Quick” and Kim’s
back on the harp, lending his expertise to Buddy’s
tune. Buddy’s obviously found a woman he likes,
“You’re so fine…we ain’t got much time…kiss me
quick.” Kim’s harp fill reflects the urgency in
Buddy’s lust for this woman and time’s a wasting,
“kiss me quick.”
In the hauntingly
beautiful intro to “Crying Out of One Eye” Buddy
shares a story of a love he lost, despite all of her
protests to the contrary.” “You said you’ve never
known another…like the love we’ve been in…but you
know…. and I know…. you didn’t have to love…. and
when you said goodbye…you were only crying out of
one eye.” Obviously not a completely true love and
though Buddy’s hurt at losing her, it obviously
wasn’t going to last. Joss Stone lends her vocals to
the mix in our next tune, a duet with Buddy, “(Baby)
You Got What it Takes”. While I enjoy the repartee
between the two, I have a tough time imagining Joss
as part of this equation, though kudos to Buddy for
having her guest on his record.
Buddy’s Strat sets
the tone for our next tune, “Turn Me Wild,” and here
we find Buddy reflecting on his youth. “When I was
young…I stayed in line…I didn’t do no midnight
creeping…Mama had a broom beside the bed…. I can
tell you it wasn’t for sweeping…the blues done
turned me wild…it got deep down in my soul…I get
like an old hound dog…. deep down in the rabbit’s
hole.” Whatever the circumstances surrounding
Buddy’s youth were, the Blues has him now and we’re
glad it does. We move on to the melodic “Crazy
World,” and here we find Buddy reflecting on the
state of the world today. “You can lay money
down…and win every bet…but the taxman is going to
take…half of what you get…it’s a crazy world….craaaazzzy
world.”
Relationship issues
tend to crop up in everybody’s life and Buddy’s back
talking about them in “Smarter Than I Was.” “It’s
been nine cold nights…and she ain’t coming home…she
took my soul…. to the darker side…. but halfway
there…I done got wise…nine cold nights…it’s time to
say goodbye…I may not look it…but I’m smarter than I
was.” Suffice it to say, Buddy’s learned his lesson
and the time came to let her go. “Thick Like
Mississippi Mud” is another tune that finds Buddy
reflecting on the state of affairs in the world
today. The Muscle Shoals Horns make an appearance
here and the entire sonic experience is one of the
highlights on this disc. “The smoke is getting
thick…thick like Mississippi mud…there’s so many
people at this party…Lord, I can’t even get
drunk…you know the Blues done took my life…and
turned my world upside down.”
Buddy closes out this
amazing disc with two tunes, “Flesh & Bones,” a
tribute to his friend, B.B. King, and an ode to
another of his friends in “Come Back Muddy.” Van
Morrison makes an appearance on “Flesh & Bones” as
the tune conveys Buddy’s feeling about what a good
life, lived, is, “Life is more than flesh and
bones…sing that loud before you’re gone…when you’re
gone…your spirit lives on…. This life is more than
flesh & bones.” Definitely my favorite tune on
Buddy’s disc and what he says is true. You never
know what a smile, an acknowledgement or a hug might
mean in the life of another person you meet along
your way. A tremendous amount of your life, your
legacy, will be found in the hearts of those you
touched along the way. “Come Back Muddy” finds Buddy
reflecting on another of his friends that he misses
dearly, “Come Back Muddy…. Lord, Knows…you can’t be
replaced.”
To make a disc like
Born to Play Guitar at this point in Buddy’s
life is amazing. He’s still at the top of his game
with amazing fretwork and heartfelt lyrics that will
touch you all. Producer Tom Hambridge surrounded
Buddy with some amazing session players and the
guest stars, with the possible exception of Joss
Stone, were spot on. Kudos to Buddy for reminding us
that he still has a lot to say and making that point
abundantly clear. Buddy’s tour schedule can be found
on-line at
buddyguy.com and catch a performance by this
legendary Bluesman when you can. Born to Play
Guitar is an outstanding addition to your music
library. While the disc will whet your appetite,
Buddy Guy is still a dish best served live.
---
Kyle Deibler
Albert Cummings
and I have been talking in spurts over the last year
or so about his new disc on Blind Pig Records,
Someone Like You. Albert felt it was his best
disc to date, and now that I’ve had an opportunity
to listen to the new record I’d have to agree with
him. I particularly like the organic feel of the new
record. All of the cuts are first takes and in fact,
the first time any of the tunes had been played
together by the amazing band producer David Z put
behind Albert. Mike Finnigan on organ, Tony
Braunagel on drums and Reggie McBride’s bass played
the tunes for the first (and last time) when they
were recorded. In these days of Pro Tools and
Autotune, I found the rawness of the record
appealing to me. Let’s give the new disc a listen
and you can decide for yourself.
Albert opens up with
“No Doubt.” and right away we hear Mike’s organ at
the forefront of the tune. Albert’s woman is
sneaking into the house at 3am and he’s totally
aware of the hour she lays down in the bed beside
him. Obviously she’s up to no good and the thing to
do is let her go. As Albert sings, “when there’s a
doubt…there’s no doubt about it.” Goodbye and good
riddance. Albert’s in a good place in his life and
his wife Christina is the inspiration for a number
of the tunes he writes. I’m sure “I Found You” is
one of those. “I thought the day might never come…I
knew my dream of loving you…now I thank my lucky
stars…because I finally…well, I finally found you.”
Albert’s happiness is
short-lived in our next cut, “Up Your Sleeve,” and
here we know he’s completely aware of the fact he’s
being played. “Oh, I know what you got up your
sleeve…you don’t change your ways now, baby…you’re
going to be watching me…packing up to leave.” Her
backdoor man is keeping a close eye on the
situation, hoping for another taste of forbidden
love and Albert will gladly leave this woman behind
if she doesn’t appreciate the man she already has.
Albert’s guitar playing is ferocious on this cut and
I’m reminded of his performance at Blues Blast in
Phoenix several years ago, in which a 7 ½ minute
rendition of Jimi Hendrix’s “Voodoo Chile” is still
burned firmly in my memory banks.
Our next cut, “Movin’
On,” has a laid back, sort of country feel to it,
and again Albert’s Strat is at the forefront as he
picks the intro to this tune. “I’m going to sail…all
over the sea…and when I’m gone…ain’t no nobody going
to miss me…I’ve been down…not this far before…I’m
going to leave…. ain’t nobody going to see me
go…it’s time…for me to be moving on.” Mike’s organ
work is called to the front and his solo emphasizes
the conviction I hear in Albert’s voice.
“So Strong” is the
first ballad of the disc, and Albert again
intricately picks his way through the intro as
Mike’s organ and Reggie’s bass fall in behind. “When
I think about what you said…I relive the whole
night…going through my head…standing alone by the
waterfall…holding myself up…hoping you would call…I
watched the stars shooting in the sky…couldn’t hold
back my tears…no matter how hard I try….guess right
sometimes turns out wrong…guess that’s what makes us
so strong.” Whatever the circumstances are, Albert
and his woman seem to work through their issues and
reach a common ground and love that holds them
together. As Albert sings, “I don’t know why I do
what I do…guess that’s why I’m crazy about you…so
strong.” I’ve always appreciated Albert’s ballads
and “So Strong” is another tune growing on me
rapidly.
Albert takes the time
to honor his wife Christina and their boys in his
liner notes, “I never knew what love was until I had
this family.” I feel this sentiment is reflected in
Albert’s next cut, “Finally in Love.” “I love to
show you off to all my friends…walking around while
we’re holding hands….I think I’m finally in
love…you’re the one I’ve been dreaming of…you must
have been sent from heaven above….I think….I’m
finally in love.”
Albert’s back in the
fire with his next cut, “Make Up Your Mind,” and
here’s he’s confronted by a woman whose feelings are
conflicted. The band is in high gear as Albert tells
her, “Make up your mind…you need to make up your
mind.” He’s more than willing to deal with whatever
comes next, but she needs to “make up her mind.”
Albert’s frenetic fretwork is on full display here
and dammit woman, figure it out.
Jimmy Vivino adds his
considerable guitar work to our next two cuts and
I’m not about to try and distinguish between his
fretwork and Albert’s, though I could make an
educated guess. Anyway, Albert’s vocal is at the
forefront, “I woke up this morning…with a bird on my
window sill…the little bird said, “your woman is
running around on you... she’s running around on
you, against your will.” Albert wants more proof,
“Little bird…can you take me to the place you saw
them in….when the little bird took me there…I saw
her laying right there next to him.” Jimmy’s
fretwork is very tasteful and with the little bird
being right, it’s time for this woman to go. The
band transitions into an instrumental, “Meatlocker,”
and I hear Mike’s organ, Reggie's bass, Tony’s
drums, a bit of Jimmy’s guitar and Albert topping
the whole thing off extra fine.
Reggie lays down a
heavy bass intro to our next cut, “I’m in Love With
Yo,u” and here we find the romantic in Albert coming
back out again. “I want to hug you, kiss you…hold
you in a warm embrace…and do things to you that put
a smile on your face…all I think about is you…I
don’t know what I’m going to do…but I know one
thing…baby, I’m in love with you.” Albert’s in love
with her and he’s definitely got it bad.. We move on
to “Old Dog” with Albert laying down the law in the
pound. “I said…look out you other dogs…if you think
you’re going to get my bone…you’ve got another thing
coming.” Albert’s fretwork is front and center while
he makes it clear that he’s the baddest dog on the
porch. This woman is his and all the other dogs had
better leave her alone.
The band closes with
an upbeat tune, “Stay Away From My Sister,” and I’m
left to contemplate just how pretty Albert’s sister
might be, as protective as he is here, “Stay away
from my sister…and I’ll stay away from yours.” Might
have to ask him about that the next time we
correspond.
I love the energy of
Albert’s new disc. He says in the notes that he
loves his music spontaneous, and recording
everything in one take without rehearsing first is
highly unusual in this day and age. It’s been too
long since I’ve seen Albert play live and this disc
reminds me of exactly why it’s that time again.
Albert’s website is
www.albertcummings.com and his tour schedule is
there for all to see. Grab a copy of Someone Like
You while you’re there. I have to agree with
Albert that it’s definitely some of his finest work
to date, and I definitely want to hear more.
---
Kyle Deibler
The
name D.L. Duncan was a new one to me when his
new self-titled CD on 15 South Records arrived in my
mailbox, but it's now one of my favorite albums of
the year. While I wasn't familiar with Duncan's
background, I certainly recognized many of the
musicians backing the Nashville artist, including
keyboard wizard Kevin McKendree, Muscle Shoals bass
player David Hood, background singers The McCrary
Sisters, slide guitarist Sonny Landreth and Delbert
McClinton guesting on harmonica. Not surprising that
Delbert's involved with this album, as Duncan's
vocals remind me a bit of those of McClinton.
The music here is a
mix of soulful blues. Kicking it off is a blues
shuffle "I Ain't The Sharpest Marble," and already
McKendree is threatening to steal the show with his
usual tasty piano playing. Duncan doubles on guitar,
laying down some solid blues licks. Following is the
swampy sound of "Dickerson Road," a Mark Robinson
original with snaky slide guitar presumably
contributed by Landreth.
McClinton's harp work
comes to the front on the slower blues "You Just
Don't Never Know," with the McCrary girls and
McKendree both giving this tune a nice gospel vibe.
We get more of Landreth's fine slide work on the
Duncan original "Your Own Best Friend."
Duncan goes all-out
gospel on "Sending Me Angels," featuring David
Pinkston on pedal steel guitar, mandolin picking
from Guthrie Trapp and more stellar piano work from
McKendree. Duncan's best blues guitar work comes on
the mid-tempo blues shuffle "Orange Beach Blues,"
perhaps my favorite cut on the disc. There's
actually a touch of a classic Allman Brothers sound
here. In fact, Duncan at times sounds a little like
Gregg Allman when he steps up to the mic. That
Allman connection can best be heard on the amazing
slow blues, "St. Valentine's Day Blues," as he tells
a story of being alone and waiting for his loved one
to come home. More really good blues guitar from
Duncan here.
The album's closing
song has Duncan telling his woman that "All I Have
To Offer You Is Love," a powerfully soulful number
highlighted by the leader's guitar picking,
Pinkston's tasteful pedal steel playing, Trapp's
mandolin and McKendree's keyboard work.
You can learn more
about D.L. Duncan on his
website, including how to pick up this fine,
fine album.
---
Bill Mitchell
Eight
O'Five Jive is a Nashville-based five-piece
ensemble playing retro jump blues and doing it well,
as heard on their 2014 disc, Too Many Men
(Red Rudy Too Tunes). They sure put out a lot of
sound for just five musicians, and I bet they're
just so much fun to see in concert. But we'll
instead have to settle for repeatedly popping Too
Many Men into the CD player and dancing around
like crazed fools.
Ms. Lee Shropshire
handles the vocals for the band and she booms out
the lines of the opening song, Big Maybelle's "I've
Got a Feelin'," with sax man Patrick Mosser also
wailing away on his horn. The rhythm section of
dummer Duane Spencer and bassist Bill Bois lays down
a bit of a reggae backbeat on the number. Following
this tune is a jumping version of the Billy Ward &
the Dominoes classic, "Have Mercy Baby." Mosser
again steps up with a tasty sax solo while guitarist
Andy Scheinman contributes strong guitar licks.
The first band
original shows up with Shropshire's "Misery Loves
Company," a number that sounds like it easily could
have been recorded by any number of 1940s-era big
bands. Again, Mosser's sax solo in the middle of the
song is a highlight. Following is an urgent version
of the Jimmy Liggins classic drinking song, "Drunk,"
always a fun tune when it's done by a good group of
musicians like we find here.
My preferred cut on
the disc is their version of Jay McNeely's novelty
tune, "Insect Ball." which kicks off with good
drumming by Spencer. Shropshire shows off her
impressive vocal range as she rapidly itemizes the
insect guest list at this particular gathering.
Another Shropshire original, "Young Enough To Be My
Son," brings out the cougar in her but she has the
sense to say no to that younger man. Scheinman gets
another chance to let his fingers fly across his
guitar's fretboard here.
The title cut is a
catchy, med-tempo tune, done originally by Ruth
Brown, that shows off Shropshire's vocals as she
tells about her problems dealing with way 'too many
men'.
Too Many Men
is just a fun album. I imagine that the band had a
blast in the studio and likely puts the same oomph
into their live shows. You can find them on their
website and at various venues around the
Nashville area.
---
Bill Mitchell
The
Wolf Records release of His Best 21 Songs
(Wolf Records) by blues harmonica legend Sonny
Terry is a bit of a misnomer since it covers
just the years 1938 to 1946 of a recording career
that lasted until Terry's death in 1986. Perhaps a
better title would have indicated that these were
the best 21 recordings of the early period of
Terry's career, but I'm nitpicking now instead of
talking about the music.
The 21 recordings
here start with two songs, "Mountain Blues" and "The
New John Henry" from John Hammond's Spirituals To
Swing concert in Carnegie Hall. Terry had been
called on to replace Blind Boy Fuller who had been
imprisoned just before the show. These two numbers
and the next six to follow, recorded from 1938 to
1941 with a variety of accompanying musicians
including Fuller, came during a time when Terry was
singing in a falsetto voice around his harmonica
riffs. Unfortunately, the vocals on these cuts
quickly started to wear on me.
Terry teamed up with
long-time partner Brownie McGhee in 1942, and cuts 9
through 11 feature the duo in the best recordings on
the album: "The Red Cross Store," "Shake Down" and
"Sweet Woman." Terry's voice is at his strongest
and, as expected, McGhee provides solid
accompaniment on guitar.
Their relocation
to New York in 1941 allowed Terry and McGhee to
become part of the Big Apple's folk scene as well as
appearing on Broadway. Terry's connection to the
folk circuit contributes to the remaining 10 songs
on the album, as he teams up with folk icon Woody
Guthrie and guitarist Alec Seward on some of the
best known folk/blues classics from that era,
including "Stackolee," "Rock Me Momma," Betty and
Dupree" and "Red River." The quality of Terry's
vocals vary from cut to cut, with his best singing
coming on "She's A Sweet Woman," in which he
alternates between harmonica riffs, his signature
whoops and strong singing.
Closing the album is
"South Bound Express," with Terry usings his
harmonica to emulate the various sounds of a train
as it's heading down the track. This is something
that he and many, many other harmonica players did
during the early days of blues, but few did it as
well as Terry.
His Best 21 Songs
is not likely to be an album that one just sits down
and listens to as background music. Instead, it's
more of an historical artifact to be kept in a
complete blues library. For more listenable Terry
albums, check his Bluesville recordings with McGhee
from the early '60s or the Whoopin' disc,
with guests Willie Dixon and Johnny Winter, released
by Alligator in 2984.
---
Bill Mitchell
Jay
Stollman is a classic case of Talent Deserving
Wider Recognition. He is unquestionably in
possession of one of the great voices of his time,
as heard on his new disc, Room For One More
(Number 7 Records).
His take on "A Change
Is Gonna Come," for instance, reminds of a young Rod
Stewart, when Rod had killer pipes. Jay still has
that kind of a voice – and its buoyed by the
impressive guitar work of Debbie Davis on most cuts,
with Andy Abel or Jeremy Goldsmith on the others.
Scott Spray and Johnny Mennonna share bass duties,
Tommy Nagy and Gerald Myles trade off on drums, Matt
Zeiner is the keyboardist and Kevin Totoian blows
harp on a few tunes.
Jay Stollman sings
his ass off on 14 amazing cuts, including Walter
Trout’s "Ride Til I’m Satisfied," Johnny Winter’s
"Tired Of Trying," and classics like the
aforementioned Sam Cooke staple ("A Change Is Gonna
Come"), "I’d Rather Drink Muddy Water" and "Lonesome
In My Bedroom." The self-penned tunes are equally
impressive.
Keep your ears on
this man!
---
Mark E. Gallo
Between the three of
them, mandolinist Rich DelGrosso, guitarist Mary
Flower and guitarist / fiddler / mandolinist Martin
Grosswendt have collected nine Blues Music Awards
nominations and rave reviews for their instrumental
work. The three virtuosos have joined forces to
record an album for Yellow Dog Record. The
Ragpicker String Band is a dream collaboration
for acoustic blues and roots fans and features 14
tracks that invoke the memory and spirit of artists
from the Mississippi Sheiks to Sleepy John Estes to
Jim Kweskin.
The 14 song set mixes
originals and covers from a wide range of sources.
There are a couple of selections from the
Mississippi Sheiks (“Honey Babe,” and “Lonely One in
This World”), plus three from Sleepy John Estes
(“Clean Up At Home,” “Black Mattie,” and an
instrumental mandolin-driven version of “Milk Cow
Blues”), the traditional “Trimmed and Burning,” Lil
Johnson’s “Minor Blues.” Other highlights include a
couple of tracks related to modern times, such as
“Google Blues,” a sobering, but hilarious look at
modern romance, and “Motel Towel.”
Flower and DelGrosso
each contribute original tunes. Flower’s “Baby Where
You Been,” and Del Grosso’s “By Your Side” and
“Street Doctor” all fit well with the standards, and
each of the three takes a turn behind the mic. Del
Grosso has five tracks, Flower and Grosswendt each
have three, and several of the tracks are sung in
harmony and the three sound really well together.
Of course, the
string-bending is the featured attraction here, and
the trio certainly doesn’t disappoint in that
department. There are three fantastic instrumentals
included, a sharp reading of Thelonious Monk’s “Blue
Monk” (sans piano), the aforementioned “Milk Cow
Blues,” and the closer, “Bruno’s Dream,” a piece
written by Flower that showcases her lap slide
guitar.
Although this is a
side project for the trio, there are plans to work
together indefinitely at festivals and workshops
this year and beyond. Based on this wonderful album,
I, for one, would love to hear more from The
Ragpicker String Band as soon as possible.
---
Graham Clarke
Ghosts of the
Riverside Hotel (Swing Suit Records) is the
latest release from Mick Kolassa, and judging
by its contents (12 songs, eight originals, four
well-chosen covers, plus a formidable cast of
supporting musicians), it looks the
singer/songwriter/guitarist’s career will continue
to build serious momentum following his fine 2014
release, Michissippi Mick. Even better, as on
its predecessor, 100% of the proceeds from this
album will go to The Blues Foundation.
Kolassa covers a lot
of ground on these tunes, from the rocking blues
cover of Hank Williams’ “Ramblin’ Man,” which kicks
off the disc to the traditional blues of “Grapes and
Greens” (with Eric Hughes on harmonica and his
brother Walter on slide guitar) to the
Depression-era standard, “One Meatball” (with Victor
Wainwright on piano and Reba Russell on backing
vocals) to the swinging “I Always Meant To Love You”
to “Trouble,” a clever take on temptation penned by
Todd Snider.
“Nothin’ Left To Lose
(Robin’s Blues)” is a sad and moody slow blues with
a somber vocal from Kolassa. The mood is lifted on
the next tune, the laid-back “If I Ain’t Fishin’,” a
Kolassa original tune about getting away from it
all. There are several other original tunes that
stand out, including the funky “Whiskey Woman” and
the West Side blues “Mama’s Got A Mojo.” “Walkin’
(Dead) Blues” will please fans of the Walking Dead
series, and may be the first blues song about
zombies.
Other tunes include a
bluesy remake of Randy Newman’s “Mama Told Me Not To
Come,” made popular in the ’70s by Three Dog Night,
and the closer, “Delta Town,” is a tribute to
Clarksdale, Mississippi and the hotel cited in the
album title. This track features the imitable
Watermelon Slim on dobro and harmonica.
Jeff Jensen produced
the disc and adds some stellar guitar work
throughout the album. Jensen’s regular band (Bill
Ruffino – bass, Robinson Bridgeforth – drums) back
Kolassa, who has provided blues fans with another
entertaining and enjoyable disc of blues with
Ghosts of the Riverside Hotel.
---
Graham Clarke
Singer Al Corte’ once
sang the blues so hard that he suffered a hernia.
He’s been performing since he was a teenager singing
in the church and doing Doo Wop on street corners
and alleys. He began working professionally in the
’60s, serving as front man for the Buffalo, New York
group, The Cavemen. He’s also done a lot of other
things during that time, including racing
motorcycles, doing stunt work, acting, managing
artists, and producing TV shows and videos. During
this time he’s also had his own band, Corte’,
and recently released the invigorating Seasoned
Soul, a disc that will appeal to a lot of music
lovers.
Seasoned Soul
features ten classic tunes, ranging from ’50s and
’60s R&B and soul to slick urban blues. The set list
will be familiar to most blues fans, opening with
four sizzling tunes associated with blues giants
like Albert King (“Oh Pretty Woman”), Freddie King
(“I’m Tore Down”), Little Milton (“That’s What Love
Will Make You Do”), and Otis Rush (“All Your Love I
Miss Loving”). The album then shifts into Southern
soul mode with a smoking version of Ray Charles’
“Unchain My Heart” and a sparkling reading of Otis
Redding’s “Any Ole Way.”
Corte’ also visits
the Motown side of town with the Barrett/Strong
composition “That’s The Way Love Is,” originally
done by the Isley Brothers and Marvin Gaye, and
tackles a pair of Delbert McClinton tunes, the
soulful ballad “I Want To Love You” and a swinging
take on “Leap of Faith,” before closing with the
James Brown funk standard, “Cold Sweat.”
Corte’ remains a
force of nature with his powerful vocals, equally
effective on the smooth soul side and the raucous
roadhouse blues. The band (producer Jerry Bone –
guitars, bass, horn patches, harmonica, organ, his
son Lennon Bone – drums, Ron Miller – piano,
strings, Charlie Chalmers – sax, Sarah Jo Roark –
background vocals) provide superlative support.
Jerry Bone’s guitar work is particular noteworthy on
many of the tracks. Seasoned Soul was
obviously a labor of love for Al Corte’ and fans of
blues and soul will find a lot to love with this
standout set.
---
Graham Clarke
L.A.-based
keyboardist/singer/songwriter Bob Malone has
toured the world for over two decades as a solo
artist, in addition to playing keyboards in
legendary rock and roller John Fogerty’s band since
2011, recently released his eighth solo album,
Mojo Deluxe (Delta Moon Records). The new album
consists of a dozen tracks, ten originals and two
covers, which mix rock, blues, and R&B in equally
potent measures.
This is a high energy
set that rocks even on the slower tempo material.
Malone is a fine songwriter with a unique
perspective on the blues, giving familiar topics a
modern edge. Tracks like “Certain Distance,” “Toxic
Love,” and “I’m Not Fine” reflect that modern touch,
while “Paris,” is somber, with Malone ironically
looking at being alone in the City of Romance. I
really like a pair in the middle of the disc, too
--- "Looking For The Blues,” which features some
nice slide guitar and horns complementing Malone’s
keys, and the slow and funky “Rage and Cigarettes.”
Additional standout
originals include “Watching Over Me,” which
addresses the possibility of guardian angels in our
lives, and the closer, “Can’t Get There From Here,”
a reflective “life evaluation” upon reaching middle
age. Malone also offers an excellent instrumental,
“Chinese Algebra,” that really gives him room to
stretch out on the keys. He also covers Ray Charles’
“Hard Times,” largely keeping the original
understated arrangement, but adding some searing
guitar work from Bob DeMarco, and Muddy Waters’ “She
Moves Me,” which is the blues at its finest.
Mojo Deluxe is
a highly entertaining set of high energy modern
blues with one foot definitely planted in the
traditional fare as well. Malone is a pretty
impressive performer and songwriter and this set
should not be missed.
---
Graham Clarke
Zoë Schwarz Blue
Commotion have only been playing together for
around three years, but have been very busy in the
studio during that time, having released three
studio albums in that time. Their fourth release,
I’ll Be Yours Tonight - Live (33 Records), was
not planned, but fortunately for us blues nuts, the
band seized the opportunity when presented. Recorded
at the Tuesday Night Music Club in London, the disc
captures the band at their best as they rip through
a dozen tracks in what the band calls a typical live
performance.
If this CD represents
is a typical performance, then folks should be
lining up to see this band (Schwarz – vocals, Rob
Koral – guitar, Peter Whittaker – organ, Paul
Robinson – drums). They’re equally comfortable
whether rocking the house (“Your Sun Shines Rain,”
“Take Me Back”), or exploring the jazz side of blues
(the Billie Holiday standard “Fine & Mellow,” “We’ll
Find A Way,” “I Believe In You,” “Beatitudes”), or
tackling the pure blues itself (“Let Me Sing The
Blues,” “Smile,” “Say It Isn’t So”).
Ms. Schwarz is a
powerful vocalist. She can play it tough or tender
and sounds as good on the jazzier numbers as she
does on the blues and rockers. Koral’s guitar work
is equally effective, regardless of the genre
they’re playing. Whittaker’s keyboards are a major
plus throughout the disc and he and Robinson are a
pretty formidable rhythm section. The band is
augmented on several tracks by Si Genero
(harmonica/backing vocals) and a horn section (Ian
Ellis – tenor sax, Andy Urquhart – trumpet).
All in all, I’ll
Be Yours Tonight is a most impressive look at a
working band doing what they do best. Expect to hear
much more from Zoë Schwarz Blue Commotion in the
future.
---
Graham Clarke
I Must Be
Dreaming: A Tribute to the Music of Mel Harker
is an album by singer Laura Tate. For those
who may be unfamiliar, Ms. Tate is a gifted
singer/actress/producer/director who possesses a
smooth and sultry voice that’s equally comfortable
with blues, jazz, country, pop, and rock and roll.
Mel Harker is a singer/songwriter/guitarist who came
to music in his early 30s, after an accident ended
his career as a chef. His versatile, concise, and
compelling songwriting spans several genres as well.
Several years ago the
two worked together, and recently Harker gave Tate
all of his songs. She’s picked 12 of her favorites
for this tribute and, man, this is some good stuff.
Backed by a full band, with producer Terry Wilson,
playing all guitars, bass, and drums, and fellow
Texan Teresa James providing back-up vocals, Tate
moves through this set of soul and country ballads
and rockers with ease. Simply put, there’s plenty in
these dozen tracks that will appeal to a wide range
of music lovers.
The tunes vary from
the clever country rock “Snake Tattoo” to “No Place
To Hide,” which has a light New Orleans flair, to
the swinging “What a Way to Go,” with its
irresistible groove, to the title track, a
breathless jazz ballad. “Dead End Road” is a
roadhouse rocker with piano and backing vocals from
Teresa James, and “Talk Is Cheap” is a great little
piece of horn-driven soul. Tate really shines on the
ballads, such as “Don’t Try To Talk Me Out of Loving
You” and “Hold On (To The Edge of Your Love).”
Though the album
covers a wide variety of genres, there’s not a
feeling of haphazardness. Each style blends
effortlessly from song to song, thanks to the vocal
talents of Ms. Tate. “”If Ever Forever Should End”
is a lovely bluesy ballad which segues easily into
the aptly-titled “Cowboy Jazz” to the funky
“Counting Up The Ways” and “Too Blue,” which has an
old-school jazz backdrop.
If there’s any
justice in the music world, I Must Be Dreaming
should not only bring attention to the vocal charms
and appeal of Laura Tate, but also to the
songwriting talents of Mel Harker.
---
Graham Clarke
Hank Mowery’s
debut solo release, Account To Me, was a
tribute to his late friend Gary Primich. That 2013
album won Best Self Produced CD honors at the IBC,
and helped launch Mowery on the national and
international blues scene. Prior to launching his
solo career, Mowery toured with Texas guitarist Mike
Morgan and played in the Grand Rapids-based
Hawktones with guitarist Junior Valentine.
Excuses Plenty is Mowery’s sophomore effort,
released on Nick Moss’s label, Blue Bella, and
features ten excellent tracks, mostly written or
co-written by Mowery.
Highlights include
the rocking blues opener, “Anna Lee,” who has a
“parttime job as a mail-order bridesmaid,” the
soul/R&B original “I Don’t Want To Know,” and the
title track, which has a swampy Excello Records feel
with shimmering guitar courtesy of Troy Amaro. Mike
Morgan plays guitar on “Walk With Me” and the
Chicago-styled shuffle “One and Only” that follows.
“Little Bit of Rhythm” has an easy, almost jazzy
swing with swirling B3, compliments of Chris Corey,
and “Cry For Me” has an almost surf guitar backdrop.
Fellow harmonica ace
Dennis Gruenling and guitarist Doug Deming and his
band, the Jewel Tones, guests on a pair of tasty
tracks, the slow burner “Would You Still Love Me On
A Rainy Day,” and William Clarke’s West Coast
stomper “Telephone Is Ringing.” Gruenling plays harp
solo on the former track, allowing Mowery to focus
on the vocals, but the pair exchange solos on the
Clarke tune. Good stuff. The closer is an acoustic
reading of the Skip James classic, featuring some
nice fretwork from Amaro.
Excuses Plenty
is a great sophomore effort from Hank Mowery, mixing
classic traditional blues sounds with a fresh
contemporary attitude. It proves that Mowery’s name
should be placed high on the list of current blues
harmonica players.
---
Graham Clarke
The Greek blues band
Small Blues Trap (Paul Karapiperis – vocals,
harmonica, rhythm and resonator guitarr, percussion,
Panagiotis Daras – rhythm and lead guitars, vocals,
violin, percussion, Lefteris Besios – bass) has a
fascinating new release, their fifth overall.
Time Tricks (Anazitisi Records) sounds like it
should be part of a Sergio Leone spaghetti western,
with it’s droning rhythm guitar, hypnotic
percussion, and frenetic harmonica. Yeah, I could
defintely see the Mysterious Stranger riding across
a barren terrian with this music in the background.
The opening track, “Gamblin’,”
really captures a ghostly, sinister atmosphere with
an almost-Hill Country-like rhythm and front man
Karapiperis’ gravelly, desperate vocals and
harmonica. “This Little Tune” is a bit more upbeat,
with some nice lead guitar work from Daras. The
title track is a somber, reflective tune that segues
into “I Wish I Could Fly,” a funky rocker with some
nice rhythm work from bass man Besios and
Karapiperis’s ethereal harmonica.
I really like the
grim “A Strange Shade of Red.” On this interesting
track, Daras plays violin with Karapiperis playing
resonator and harmonica. “I’m Leavin’ This Town” is
an upbeat rock-flavored blues with piercing lead
guitar work from Daras. It leads to the closing
instrumental, which is called “Resurrected Jesse
James Returns Back Home – From the Land of the Dead
– To Take Care of Unpaid Matters,” which largely
recreates the hypnotic rhythm of the opening track
before moving more in a Delta blues direction near
the close. Daras and Karapiperis both shine on this
track, taking multiple solos on guitars and
harmonica.
Time Tricks
may be one of the most interesting blues recordings
you’ll hear this year. I really like Small Blues
Trap’s brand of blues. It incorporates a variety of
blues styles (Hill County, Swamp, Delta) with rock,
and their songs always follow a definite and
compelling theme. As with previous projects, Small
Blues Trap has uploaded the entire album in video
form at YouTube, so you can preview it there.
---
Graham Clarke
I think that if
there’s ever a decision to place a picture next to
the definition of “Blues Rock” in the Mirriam-Webster
Dictionary (it’s in there, I checked), the cover of
Woodchopper’s Ball (Shuttle Music) should be a
contender. The latest release from blues rocker
extraordinaire Jay Gordon and Blues Venom is both a
new album and a retrospective of some of the
guitarist finest moments, offering the best of
what’s already been right next to what’s here and
now. Prepare to get your socks blown off.
The explosive opening track, “The Stinger,” just
burns from start to finish. “Hobo Hilton” is more of
a slow blues, but not your ordinary slow blues, with
more incendiary guitar. “Chainsaw Boogie” may
actually blow your speakers out with all of its
screaming slide guitar that would make Elmore James
proud (Gordon actually plays a guitar made from a
chainsaw on this track.), and the next tune,
“Stranger Blues,” is actually a cover of an old
James tune. Bassist Sharon Butcher takes the mic for
“Voodoo Woman,” which gives Gordon even more space
to let it rip.
The last of the new tunes is an acoustic reading of
Robert Johnson’s “Traveling Riverside Blues,” and
the intensity level doesn’t let up one bit with this
terrific unplugged version. The final half of the CD
consists of tunes remastered and hand-picked by
Gordon from his previous albums. They include the
searing slow burner “Pain,” the icy hot instrumental
“Message To Collins,” “Drippin’ Blues,” and a pair
of incredible nine-minute-plus tunes, “Blues Venom”
(with harmonica from Mario Ramirez, Richie Valens’
kid brother) and “Original Sin,” that close the
disc.
This disc is so hot that Jay Gordon has to have
sparks flying from his fingers. Blues rocker take
heed. Woodchopper’s Ball is one that you don’t want
to miss.
---
Graham Clarke
Harmonica player
Smoky Greenwell has been a fixture on the New
Orleans music scene for the better part of five
decades. Over that time, he’s released ten albums,
the most recent being this delightful, laid-back
set, Live at the Old U.S. Mint (Greenwell Records),
which is being released as a CD/DVD set.
Greenwell is backed by
his own band (Pete Bradish – drums, vocals, David
Hyde – bass, Jack Kolb – guitar), and with guest
appearances from zydeco star Bruce “Sunpie” Barnes
and New Orleans guitarist Mark Penton (leader of
Mark and the Pentones).
Greenwell’s set consist of songs from his previous
studio albums, and they include the dynamite
instrumental “Smoke Alarm,” that kicks off the show,
the ironic (and autobiographical) “My Own Blues
Club,” the anti-war “Between Iraq and a Hard Place,”
and the jazzy “Power of Now.” He also blows a mean
tenor sax on “Peter Gunn.” Penton takes center stage
to do two tracks from The Pentones’ latest release,
Don’t Leave Nothin’ Behind, the swinging shuffle
“Jodie,” and “I Earned The Right,” and Barnes kicks
things up a notch with a pair of zydeco workouts,
“Love’s Gone” and “Leroy’s Shuffle.”
If you’re not familiar with Greenwell, this is a
nice introduction. He’s a clever and creative
songwriter and his tunes presented here are real
crowd-pleasers. It’s also a good introduction to
Penton and Barnes, though it would have been good to
hear a little bit more from both of them.
Regardless, Live at the Old U.S. Mint is a
refreshing and relaxing set of New Orleans-styled
blues that will get your toe tapping and your head
bobbing.
---
Graham Clarke
The “digital 45”
“Pennies on the Shore/I’m a Hoot Owl,” from 2 Ton
Bridge is designed to be a preview of a full album
to be released in 2016. Based on these two songs,
the full player should really be a treat for blues
and Americana fans. 2 Ton Bridge is Alexander
Wright, who plays guitar, banjo, and sings. He’s
accompanied by an outstanding group of
musician: Eric Heywood (pedal steel guitar), Marvin Etzioni (electric mandolin), Phil Parlapiano
(accordion), Joachim Cooder (drums/percussion),
Dylan Cooper (standup bass), and Tammy Rogers and
Taylor Brasheer (background vocals).
To me, this is what Americana is supposed to sound
like. Wright has a GREAT voice....so deep and
resonant. I really like the tone of both of these
songs.....they're different, but they both really
capture the spirit of Southern music to me, and the
instrumental work is just pitch perfect on both
songs. These songs will appeal to fans of Americana,
country, roots, and blues. I'm looking forward to
the rest of the album, and so should you, but I
encourage you to pick up this sampler while you’re
waiting….it’s packaged like an old-school 45 and
will bring back fond memories to long-time music
fans.
---
Graham Clarke
