Vocal powerhouse
Deb Ryder is at it again. Her latest
release, Enjoy The Ride (Vizztone
Records), may be her best release to date with
13 original tunes, all written by Ryder, and
production by Grammy winner Tony Braunagel
(their third collaboration) and bassist/husband
Ric Ryder. Enjoy The Ride features an
all-star cast of backing musicians, including
Chris Cain, Debbie Davies, Kirk Fletcher, Big
Llou Johnson, Coco Montoya, and Braunagel with
fellow members of the Phantom Blues Band (Johnny
Lee Schell, Mike Finnigan), just to name a few.
Montoya’s fiery lead
guitar kicks off “A Storm’s Coming,” a strong
opener that sets the table well for the
remainder of the album, while “Temporary
Insanity” features Fletcher’s tasty fretwork and
harmonica from Pieter van/der Pluijm. “Bring The
Walls Down” leans toward the soul side of the
aisle with Cain on guitar and Big Llou Johnson
and Van G. Garrett’s spoken-word interlude at
midpoint, and the driving “Nothin’ To Lose” is a
tough rocker featuring Schell on guitar.
Meanwhile, on the slow burner duet “For The Last
Time,” Ryder and Finnigan both turn in
affecting, emotional vocals, with Finnigan
adding B3 and Montoya contributing on guitar
once again.
The stirring “What
You Want From Me” provides an interesting and
unique gospel-meets-Bo-Diddley approach, with
Ryder testifying in front of a four-person choir
(Maxanne Lewis, Ricky Nelson, Kudisan Kai
Regalot, and Leslie Smith). The funky title
track should get backsides to moving during
Ryder’s live performances, and Finnigan and van/der
Pluijm both do some nice work backing her on B3
and harmonica respectively.
Cain returns on
guitar and duets with Ryder on the greasy urban
blues “Got To Let It Go,” and Davies assumes
fretwork duties on the next two tracks: the
shuffle “Sweet Sweet Love” and the defiant
“Goodbye Baby.” “Forever Yours” captures Ryder’s
vocals in all of their glory, as she delivers a
masterfully nuanced vocal that complements the
understated musical backdrop perfectly. The
rousing closer, “Red Line,” brings the album to
a close.
Over her past four
releases, Deb Ryder has continued to develop as
one of the finest vocalists in the business,
covering an amazing range of blues styles and
also becoming a very effective songwriter. It
doesn’t hurt a bit that she’s backed by a
superlative band with an impressive list of
guest artists, as well.
Enjoy The Ride
is Ms. Ryder’s best to date, no question about
it.
--- Graham Clarke
Harmonica master
Bob Corritore keeps a busy schedule, hosting
a weekly blues radio program, owning Phoenix’s
Rhythm Room, and recording and performing with
many of the blues artists in the southwest
United States, but he manages to turn out an
excellent blues album every few years. His
latest effort is Don’t Let The Devil Ride
(Vizztone Records), which collects a dozen
traditional blues performances taken from
sessions recorded between 2014 and 2017,
featuring an impressive list of vocalists and
sidemen.
Seven vocalists
share the spotlight. They include Willie Buck,
who performs his original shuffle “Went Home
This Morning” to open the disc, Cash Box Kings
vocalist Oscar Wilson, who smoothly handles
Little Walter’s “Tell Me Mama” and Corritore’s
original shuffle “Fork In The Road,” backed on
both by guitarist Jimi “Primetime” Smith, and
Sugaray Rayford, who offers his own “The Glide,”
which includes some fine keyboards from Fred
Kaplan, and a thunderous “Steal Your Joy.”
The boisterous
Alabama Mike takes the mic on four tracks, which
include a simmering take on Albert King’s
“Laundromat Blues,” Junior Wells’ freewheeling
“Lovey Dovey Lovey One,” the slow burning title
track, and a loping swamp blues reading of
“Blues Why You Worry Me.” Arizona blues singer
George Bowman performs his own ballad “I Was A
Fool” with passion and grit, Bill “Howl-N-Madd”
Perry tears into “Willie Mae” on vocals and
guitar with equal aplomb, and the legendary Tail
Dragger closes out the disc with his own
“Thundering and Raining,” a fine ballad with
guitar backing from Rockin’ Johnny and Illinois
Slim.
The roster of
musicians is as formidable as the vocalists,
with the three aforementioned guitarists, plus
Big Jon Atkinson, Danny Michel, Junior Watson,
Mojo Mark, Johnny Rapp, and Chris James,
keyboardist Kaplan, Henry Gray, Bob Welch,
bassists Tony Sandow , Kedar Roy, Patrick Rynn,
and Bob Stroger, and drummers Marty Dotson,
Brian Fahey, Rene Beavers, and Malachi Johnson.
As always, Corritore proves with each track why
he’s one of the finest harmonica players
currently practicing as well as being one of the
best ever, whether accompanying a vocalist or
instrumentalist or taking a solo.
Traditional blues
fans will not be disappointed with the
performances on Don’t Let The Devil Ride.
Let’s face it …it’s impossible to be
disappointed with any recording that has Bob
Corritore’s fingerprints on it.
--- Graham Clarke
In January of this
year the Keeshea Pratt Band, representing
the Houston Blues Society, took home top honors
in the Band Division at the International Blues
Challenge, despite actually only being a band
for less than a year! Singer Pratt and band
(Brian Sowell – guitar/vocals, Nick Fishman –
drums, Shawn Allen – bass/music director, Misaki
Nishidate – trumpet, Dan Carpenter – saxophone,
James Williams III – trumpet) were the talk of
the town with their heady mix of downhome blues
and Memphis soul. Recently issued Believe
is a dynamite release.
Allen wrote or
co-wrote all of the 12 tracks featured on
Believe, and the band and Ms. Pratt all
bring their A game to the material. The sultry
opener, “Make It Good,” is a solidly soulful
introduction, and the brassy party anthem “Have
A Good Time Y’all” will get listeners moving.
The funky “In The Mood” keeps the good times
rolling, and woe be to the poor guy who didn’t
make the grade on the sultry “It’s Too Late.”
The energetic “Shake Off These Blues” boasts a
cool second line rhythm, while “Home To
Mississippi” is downhome Magnolia State blues at
its finest (Pratt is a Jackson, Mississippi
native) with tasty slide guitar and harmonica.
“Easily Replaced” is
a sassy shuffle featuring a huge sax solo from
Carpenter, and the horn-fueled “Monkey See,
Monkey Do” is a feisty tale of retribution. The
title track is a blues-infused message of
perseverance, and Pratt really shines on the
encouraging “Can’t Stop Now,” while the slippery
“Out of My Mind” is a stomper taken at a
breakneck pace. The closer is a live track, “So
Bad Blues,” which shows Pratt and the band’s
ability to get the audience into the act with a
truly powerful performance from singer and band.
Despite the fact
that these songs were written by Allen (with
collaborations by Fishman, Joshua Cook, and
Norman Whitfield), Pratt sings these songs like
they’re hers. In fact, she owns them via her
performances. She definitely didn’t leave
anything in the studio (or the stage for the
closing track), and Believe provides
ample evidence that top honors at the I.B.C.
were well-deserved for the Keeshea Pratt Band.
--- Graham Clarke
If you’re familiar
with Big Harp George, you’ll have a good
idea of what to expect with his latest effort,
Uptown Cool (Blues Mountain Records).
George is a master of the chromatic harmonica,
so there’s that. He’s also a wonderful
songwriter with a biting wit as he addresses
many topics that are well beyond the scope of
traditional blues songs, so there’s that, too.
He also surrounds himself with excellent
musicians on his releases, and this disc is no
exception with Kid Andersen and Little Charlie
Baty sharing guitar duties, Chris Burns once
again manning the keyboards, and multiple tracks
featuring horns as well.
The 12 tracks cover
a variety of styles and a variety of topics. The
swinging opener, “Down To The Rite Aid,” is a
tongue-in-cheek look at the perils of aging,
while “Internet Honey” mulls the ins and outs of
internet dating to a greasy Memphis backbeat,
and “Alternative Facts” cleverly takes the whole
“Fake News” topic to a whole new level. The
Latin-flavored “I Wanna Know” features Baty on
Spanish guitar and D’Mar on percussion, and
“Nobody’s Listening” is a smooth late-niter with
George’s vocal and harmonica nicely complemented
by stellar contributions from Baty on guitar and
Burn on piano.
“In The First Place”
is a lively jump blues instrumental that’s a lot
of fun, and “Standing By The Weather” keeps up
the energetic pace, adding a bit of Latin
rhythm. Guitarist Andersen adds a touch of
rock-edged guitar to “Bulletproof,” and set a
somber mood with his fretwork on the Windy
City-styled slow burner “Cold Snap By The Bay,”
which also features Burns on piano and Michael
Peloquin’s wailing sax. The swinging “Just Calm
Yourself” pairs George and vocalist Loralee
Christensen on vocals, and the title track is a
funky instrumental that showcases Baty and
George.
The closer, “Lord
Make Me Chaste,” starts out in a laidback gospel
setting before winding up in complete Crescent
City mode with superb work from the horn section
(Peloquia on saxes and Mike Rinta on trombone
and tuba), percussion from D’Mar and drummer
Alexander Pettersen, and a cool scat vocal from
Derick Hughes.
Big Harp George has
released three albums to date, and each
subsequent release has exceeded its predecessor.
Uptown Cool is his best effort yet, with
a lot of great songs with charming, humorous
lyrics, and fine musicianship from a band who
seems to be having a ball making music.
--- Graham Clarke
Danish
singer/songwriter/guitarist Tim Lothar
issued Stories in late 2012, a warm and
personal release which consisted of a dozen
songs taken from his life and personal
experiences. After five years, Lothar has
released a sequel, naturally entitled More
Stories. Again, these songs are taken from
personal experience or personal reflections on
life and, as previously, Lothar’s acoustic
guitar work and strong and confident vocals are
spot on.
The album was
recorded live in the studio and really has the
feel of a live recording, with Lothar placing
six different musical interludes within the set,
all of which are stylistically diverse
instrumentals, each varying in tempo and setting
the scene for the songs to follow. Lothar wrote
eight of the nine songs, which address fairly
common blues themes, though not always in the
traditional manner.
The opening song,
“Here And Gone Again,” paints a vivid picture of
the ‘restless soul” of the traveling blues man.
”... Just like a rolling stone/I am bound to
move on ...” “There Is Only Now” has a bit of a
European/Gypsy feel via Lothar’s finger picking,
but the lively “Railroad King” is a train song
that will bring a smile to listeners’ faces.
Lothar also
addresses the complications of relationships on
several tracks. The somber “Nothing Here Will Be
The Same” describes a woman taking on a new life
and what she’s leaving behind, while “The
Coward” is the account of a man clandestinely
doing the same thing. “Crippled Heart” is about
the perils of one falling in love with a broken
spirit.
“Another Train Song”
is, indeed, another train song, but with a
humorous twist on the traveling blues man’s
life, thanks to Lothar’s clever lyrics. The
cheerful “Coffee And Wine” is cut from the same
cloth, with playful lyrics about two kindred
spirits. The album’s lone cover, Lead Belly’s
“Goodnight Irene,” is taken at a understated,
contemplative pace which differs from the
original and most other versions heard over the
years,. The album closes, appropriately, with
the wistful “Fare Well,” as Lothar signs off.
More Stories
is another excellent effort from Tim Lothar,
whose unique approach to acoustic blues,
combining traditional playing with a modern
lyrical approach, bodes well for his future
endeavors. It has been very enjoyable to watch
his development as a guitarist, singer, and
composer over the past few years, and it will be
interesting to hear what happens next.
--- Graham Clarke
Paul Filipowicz
was born and raised in Chicago and his father
often took him to many of the clubs, joints, and
pool halls in the Windy City on Saturday nights,
where he was exposed to the music via the 45s in
the juke boxes at each place. He heard many of
the legends of that time --- Magic Sam, Jimmy
Rogers, Ray Charles, Little Richard, Howlin’
Wolf --- at those joints and clubs. Now a member
of the Chicago Blues Hall of Fame as a guitarist
and singer, Filipowicz pays tribute to the music
and artists who influenced him over his 30-plus
year career with Unfiltered (Big Jake
Records), his tenth album.
Filipowicz covers
two of Magic Sam’s songs on Unfiltered,
including the opening track, a ripping read of
“All My Whole Life Baby,” and a strong treatment
of “Everything Gonna Be All Right,” with that
familiar Magic Sam riff and harmonica from Benny
Rickun. “I Found A New Love,” written by Little
Milton, but also a part of Magic Sam’s
repertoire, gets a gritty, smoldering take, and
the standard “Tin Pan Alley” is loaded with
intensity and smoky atmosphere. The Wolf’s
“Howlin’ For My Darling” gets a boisterous
reading as well, and Lowell Fulson’s “Reconsider
Baby” is reverentially treated.
Filipowicz also
contributes five original tunes, including the
West Side-flavored “Brand New Hat,” an energetic
number with crisp lead guitar, a funky rhythm
section (Chris Sandovol – drums, Rick Smith –
bass) and power-packed horns (Tom Sobel –
tenor/baritone saxes, Jack Naus – trumpet), and
the sweaty mid-tempo “My Woman,” which boasts
some of Filipowicz’s most pungent guitar work.
Speaking of guitar,
Filipowicz also includes three dandy
instrumentals. The title track sounds like a
long-lost Freddie King track from the ’60s,
while the slow and easy “Canal Street” sounds
like an old Little Walter number with Rickun’s
harmonica. The closer “Riding High” has a
Memphis feel with the horn section and funky
backbeat.
Unfiltered is
a wonderful tribute to the blues of the Windy
City from an artist who experienced them first
hand some 40 years ago. It’s obvious from every
note played that this was a labor of love for
Paul Filipowicz, which helps make this disc
required listening for fans of the Chicago
blues.
--- Graham Clarke
A power blues-rock
trio based in Wilkes-Barre, Pennsylvania,
Dustin Douglas & The Electric Gentlemen are
renowned for their guitar-fueled retro style of
’60s and ’70s blues-rock that also channels the
epic live performances of artists like ZZ Top,
Joe Bonamassa, and SRV. The charismatic singer /
guitarist Douglas is backed by drummer Tommy
Smallcomb and bassist Matt “The Dane” Gabriel.
Hot off their eponymous debut in 2016 and a
well-received 2017 EP of blues covers, the band
recently issued Break It Down (Quad D
Records), a release that should put this band on
the map once and for all.
The band penned all
13 tracks, and the opener, “A Little Bit,” gets
the disc kicked off on a funky hip hop-ish note,
mixing Gabriel’s throbbing bass and Smallcomb’s
driving beat with Douglas’s searing guitar runs.
“Destiny” keeps the funky vibe up but with more
of a retro rock edge, and the catchy “On The
Dance Floor” is introduced with an acoustic
guitar but soon goes electric in a big way. Each
of these songs feature distinctive rhythms and
lyrics that stay with the listener. A track like
“Turn Around” is an example, with memorable
lyrics and guitar work from Douglas.
“Goodbye” is an
old-school rock ballad with a definite ’70s
vibe, and “Hold Of Me” follows suit, though at a
more driving tempo. “My Time Is Precious”
reintroduces the funk to the proceedings with
excellent rhythm work from Smallcomb and
Gabriel. The ballad “Ain’t No Denying” leans
toward Southern rock with the mix of electric
and acoustic guitar, and “Out Of My Mind” is a
nice slow burner with a soulful vocal and blues
guitar from Douglas.
The crunching
rockers “Fat Cat” and “Your Face Is Stunning are
both standouts, and “Tragedy” is an excellent
cautionary tale about the unforeseen
circumstances of relationships. The disc wraps
up with “No More Tears To Cry,” a Southern blues
rocker the band also featured on their EP from
2017. Douglas unleashes some fine slide guitar
on this track, which brings the disc to a
satisfying conclusion.
With this batch of
killer original songs and performances, Break
It Down should earn Dustin Douglas & The
Electric Gentlemen some much-deserved praise and
attention in the blues and blues-rock genres.
Fans of either style should absolutely check out
this release.
--- Graham Clarke
Croatian harmonica
player Tomislav Goluban has performed
throughout Europe and has released eight
previous albums. His ninth release, Velvet
Space Love (Spona), is a collaboration with
fellow Croatian Toni Starešinić, who
plays keyboards, piano, and various
synthesizers. The album is rooted in the blues,
Goluban’s harmonica work being a big reason, but
the duo also incorporates jazz, funk,
electronic, soul, and hip-hop, Starešinić’s
specialties, into the mix.
There are eight
original songs, three of which are also
presented in remix versions, and one cover,
which is Ennio Morricone’s “Man With A
Harmonica,” which forms an interesting marriage
of electronica and Spaghetti Western. The
opener, “Zero Gravity,” shows Goluban to be a
versatile harp blower and Starešinić’s spacey
contributions complement his harmonica playing
well on this track, as well as “Space Drive,”
the funky “My Jupiter Mistress,” the haunting
“10_9_3,” and “Hypersleep Dream” (which features
operatic vocalization from Josipa Lončar).
“The Busiest Woman
I’ve Ever Loved” is in more of a jazzy vein, and
includes (Zvonimir Bajević – trumpet, Robert
Polgar – sax, Mario Šincek – trombone), guitars
(Mike Sponza and Robert Bašić), and a rhythm
section (Igor Vugrek – drums, Damjan Grbac –
double bass). “TSMK” is on the blues with a bit
of a country-western, thanks to the twangy
guitars, and the upbeat “Till The End Of Space
And Time” has a poppy ’80s feel.
“Zero Gravity,”
“Space Drive” and “TSMK” also appear in lively
remix versions, which give Starešinić an
opportunity to dig deeper into the electronic
aspects of each song.
Velvet Space Love
is an interesting piece of work that some might
call “21st Century Blues.” While it is not your
conventional blues music, the earthy harmonica
work of Tomislav Goluban keeps it grounded in
the blues. It’s definitely worth a listen.
--- Graham Clarke
Matty T. Wall’s
latest release, Sidewinder (Hipsterdumpster
Records), is a hard-charger that should earn the
Australian guitarist a greater measure of
respect here in the U.S. Wall enlisted
Grammy-winning producer Bob Clearmountain as
producer and engineer, and the result is an
impressive mix of blues, rock, soul, country,
and pop. Wall is joined on these 12 tracks by
Ric Whittle (drums/percussion) and Stephen
Walker (bass/backing vocals), with guests Gordon
Cant (keyboards), Steve Searle (horns/brass),
Jonas Petersen (strings), and Deli Rowe (backing
vocals).
The 12 tracks
include eight Wall originals plus four covers.
The opener, “Slideride,” is a rip roaring affair
with Wall really ripping up the place with his
soaring slide guitar work. The smoking title
track is a propulsive rocker that should be a
crowd pleaser. Wall shifts genres a bit with a
cover of Trombone Shorty’s “Something
Beautiful,” giving it a mellow ’70s pop-rock
feel, while his reading of Sam Cooke’s “Change
Is Gonna Come” allows the opportunity to display
his vocals. His original “Can’t Stop Thinkin’”
is a rough-edged ballad, followed by the funky
rocker “Shake It.”
Wall also covers the
old blues war horse “Going Down,” but gives it a
fresh take with strings and backing vocals, one
of the more original versions these ears have
heard in a long time. The original “Ain’t That
The Truth” mixes R&B and pop sensibilities, with
Wall turning in a smooth vocal performance, and
the sadly brief instrumental “Sophia’s Strut”
showcases Wall on guitar in a big way. The horns
join in for “Walk Out The Door,” an excellent
trip into urban blues territory with some crisp
fretwork from Wall, who then goes acoustic on
the ballad “Leave It All Behind.” The closing
tune is a blues/hip-hop mash-up of Chris Thomas
King’s “Mississippi Kkkrossroads,” which will
appeal to some listeners more than others.
Sidewinder is
a fine sophomore release from Matty T. Wall that
shows his blues-based guitar and soulful vocals
are a great fit in a variety of styles.
--- Graham Clarke
The Furious
Seasons are an acoustic trio (David
Steinhart – vocals/guitar/percussion, Jeff
Steinhart – bass/keyboards, P.A. Nelson –
acoustic/electric guitars/vocals) that have
played together since 2008. Their musical
approach incorporates folk, pop, and blues, as
displayed on the group’s sixth release, Now
Residing Abroad (Stonegarden Records), a
collection of 13 original songs of love, life,
and loss.
Listeners will be
taken in immediately by the music that this
talented trio plays, but are advised to stick
around for repeated listens to absorb the
lyrics. The lively opener, “Expo Line,” reflects
on the passage of time in one’s life, and the
moody “So Sorry Adele” is a highlight,
showcasing some fine guitar work from Nelson.
“Tethered” is about losing control due to
circumstances often beyond one’s control, and
the subtly topical “The Loyal Canadians” finds
the trio considering relocation to a neighboring
country based on recent events.
“Fort Knox” has a
bluesy flair, thanks to the guitar work, and the
gentle “Airtight” is very appealing. The
menacing lyrics of “Understood” belie the mellow
music backing it, and “Come To L.A.,” the
album’s concluding tune, is a somber statement
on the tragedy and sometime ensuing turmoil
surrounding divorce.
Anyone who enjoys
folk music will absolutely love this album. The
trio’s music and their vocal harmonies will
remind listeners of Simon and Garfunkel at
times, and once the music and harmonies grab you
the lyrics will soon follow. Blues fans will
enjoy this release for the exquisite guitar work
from Nelson and David Steinhart. Now Residing
Abroad should appeal to music fans across
the board.
--- Graham Clarke
Blue-eyed soul man
Billy Price ventured to Greaseland
Studios in San Jose to record his latest
masterwork, Reckoning (Vizztone Records),
with Kid Andersen, who co-produced and plays
guitar. The veteran singer is also joined by a
formidable band that includes drummer Alex
Pettersen, keyboardist Jim Pugh, sax players
Nancy Wright and Johnny Bones, and bassist Jerry
Jemmott. The 13-song set list consists of mostly
covers, but there are a few strong originals
mixed in as well.
Price has always
been a master interpreter of other soul
classics, and this album is no exception to the
rule as Price ably handles covers of “Dreamer”
(originally done by Bobby Bland and Etta James)
and songs previously recorded by Johnny Rawls
(“I Keep Holding On”), Denise LaSalle (“Get Your
Lies Straight”), along with wonderful takes on
the Booker T/Eddie Floyd classic, “I Love You
More Than Words Can Say,” long associated with
Otis Redding, and Mark Narmore’s “Your Love
Stays With Me,” a modern soul track that
deserves to be heard.
Price also does a
dynamite version of J.J. Cale’s early ’90s “No
Time,” transforming the easy going shuffle into
a horn-fueled high energy affair, and the title
track, originally from the Billy T Band, gets a
gospel-soul reworking (the Sons of the Soul
Revivers provide excellent backing vocals on
this and two other tracks). The ’70s R&B hit
from L.T.D., “Love Ballad,” is also a standout
with Price faithfully recreating the soul and
passion of the original (Andersen’s Coral sitar
accompaniment is a highlight), and the funky
“Synthetic World,” from Swamp Dogg, is a nice
piece of work, too.
To these ears, “39
Steps,” written by Billy Price Band keyboardist
Jim Britton is one of the best new original
songs I’ve heard this year. This feisty track
combines soul and blues in equal doses, and
Price does a fine job on the vocals. The
slippery “One and One,” written by Britton and
Price, is a great song that would have made a
lot of noise on the charts back in the day, and
“Never Be Fooled Again” deftly mixes funk and
soul, while “Expert Witness” does the same but
with rousing background vocals from the Sons of
the Soul Revivers again).
With well over 40
years of performing under his belt, it’s plain
to see --- or make that “hear" --- that Billy
Price is still a force to reckoned with on the
soul-blues circuit. Reckoning should be
featured prominently on many soul and blues
fans’ “Best of 2018” lists.
--- Graham Clarke
The blues doesn’t
run any deeper than when life itself hangs in
the balance as Andy Gunn and Walter Trout have
proved recently. Weissenborn lap steel guitarist
Neil Warden recorded this EP,
Canalslide Blues, when recovering from
cancer, a process which thankfully helped the
healing process. This recording, although only
20 minutes long, is a profound and inspirational
musical journey communicated not in words but
solely through Neil’s exceptional guitar
playing.
On "The Road Home,"
Neil’s sumptuous slide creates a poignant,
melancholic mood as he sets out on the hard road
ahead, the grief and heartache echoing from the
strings. "Canalslide Blues" has a jaunty feel
suggesting optimism alongside moments of
anguish, the atmosphere created by skillful
slide and finger picking techniques.
The longest track,
"Mantra," is a complex, contemplative, classic
piece of music beautifully arranged, the spaces
between the chords as significant as those
played. The powerful, spirited "Dust Bowl"
signifies Neil returning to his best, stronger
than ever and extending the Scotsman’s
illustrious 40-year career as a highly respected
and innovative bluesman. An extremely unique
blues experience well worth listening to. Check
out Neil's
website.
--- Dave Scott
Barbara
Blue is known as the reigning queen of Beale
Street, and that well-deserved reputation comes
out on her latest CD, Fish In Dirty H2O
(Big Blue Records). Produced by Jim Gaines, Ms.
Blue's 11th release consists of 13 cuts of
powerful blues showcasing her strong voice.
Fish In Dirty H2O
opens with what could be semi-autobiographical,
as Ms. Blue sings "My Heart Belongs To The
Blues." This one starts with a slow gospel
introduction before turning into a mid-tempo
jazzy blues with tasteful guitar from Will
McFarlane. Next up is her adaptation of "Johnny
Lee (Angeline)," a '50s R&B mid-tempo shuffle
that could have easily been done back in the day
by The Five Royales or someone like that.
"Accidental Theft" has more of a rural sound, a
slow blues that features McFarlane's slide
guitar accompaniment. McFarlane again shines
with a smokin' blues guitar solo on the
mid-tempo blues shuffle "Dr. Jesus."
This is a small
complaint, but by this point in the album I was
wanting something more up-tempo and giving Ms.
Blue the chance to just plain rip the roof off
the joint. But be patient .... that will come
later.
Another favorite of
mine was the extremely slow blues, "Walk Away,"
with powerful gospel-ish vocals from Ms. Blue
and sparse instrumentation provided by Rick
Steff's subtle keyboard accompaniment. Jim Spake
jumps in later in the song with a nice sax solo.
Ms. Blue's advice to herself is that she needs
to "... start anew without the mistakes I made
with you ..."
It's obvious that
Ms. Blue has an affinity for Memphis' favorite
cuisine --- barbeque --- because she mentions
that smoked meat specialty twice in her songs,
especially on "BBQ Man," a good double entendre
blues shuffle with a jazzy sax intro. She makes
another mention of Memphis barbeque later on the
slow, jazzy blues number "That's Working For
Me." At this point, I was developing a serious
hankering for some dry ribs.
I mentioned earlier
that the tempo would pick up later in the album,
and we hear it along with Ms. Blue's powerful
vocals on the up-tempo blues shuffle "Gravy
Train," with really good piano work from Lester
Snell and more solid guitar work from McFarlane.
Wrapping up this
fine album is a slow, soulful blues, "Slow
Burn," followed by an eerie rendition of Robert
Johnson's "Come On In My Kitchen," with
effective acoustic slide guitar from McFarlane.
While she's been
around for quite some time, this disc really
serves as my own introduction to the powerful
vocals and creative songwriting of Barbara Blue.
After listening to Fish In Dirty H2O,
I'll be digging around the archives for some of
her past releases.
--- Bill Mitchell
Best
Of Live (Hostel Records) is kind of a
'greatest hits' collection from one previous
live album by blues rocker Karen Lawrence and
Blue By Nature. This group released a
13-song live album in 1998 called Live At The
Lake, and now 20 years later Hostel Records
has taken the best eight cuts from that set and
re-mastered them for this collection. The sound
quality is pretty good for when the recordings
were made, with the crowd noises audible but not
intrusive.
Ms. Lawrence's voice
is often compared to that of the late Janis
Joplin, and we hear her strong, husky vocals
right away on the rockin' mid-tempo blues
shuffle, "It's All About You," on which lead
guitarist Rick Dufay also gets to step to the
front of the stage. Her vocals are injected with
a measure of sass on "Another Day, Another
Mile," a faster shuffle which again gives Dufay
the chance to stretch out.
For something a
little different, the up-tempo "I Had It All
Wrong" starts off with some funky wah-wah
effects on guitar leading into powerful singing
by Ms. Lawrence.
We're treated to
more Joplin-ish vocals on the slow blues ballad,
"Fun and Games," with some fuzzy guitar
accompaniment, and then again on the set's
highlight, "I'll Get Along Alright," a mid-tempo
blues shuffle that closes out the album.
For fans of Karen
Lawrence, especially if you don't already have
the earlier version of this album, Best Of
Live is worth checking out.
--- Bill Mitchell
|