|
 Carolyn
Wonderland has been around the Texas blues
scene her entire career, with more than ten
albums and singles to her name but never on a
"major" blues label. That changes with her
latest, Tempting Fate, being released by
Alligator Records. If you haven't yet boarded
the Carolyn Wonderland bandwagon, now's the time
to do so. Tempting Fate is a solid
collection of ten songs, a mix of originals and
well-chosen covers, showcasing Wonderland's
strong vocals and Texas-style guitar playing.
Wonderland shows right away that she's a bad-ass
guitar player to be reckoned with on the intro
to the album opener, "Fragile Peace And Certain
War," with a heavy-duty slide guitar intro
before launching into an up-tempo social
commentary of many of the problems facing the
world right now. The guitar playing remains
frantic over a driving drum beat. She then shows
her 'Texas guitar' side on the country-ish
"Texas Girl And Her Boots," describing every
pair of boots she owns and each one's purpose.
Marcia Ball joins the band here on piano.
Wonderland's voice is especially strong on her
original "Broken Hearted Blues," a mix of
old-style women's blues with a contemporary
blues sound. Great guitar solo, too. We hear Red
Young providing the piano accompaniment on the
mid--tempo blues "Fortunate Few." "Crack In The
Wall" is a slow, country number that one might
think doesn't fit in here, but it does as she
packs plenty of emotion into vocals while Cindy
Cashdollar contributes very fine lap steel
guitar.
Wonderland opens John Mayall's funky blues "The
Laws Must Change" with a strong guitar solo and
adds even more scintillating instrumental
mastery later on. I never tire of hearing the
sound of an accordion, and we hear from Jan
Flemming on the cajun blues of "Honey Bee."
"On
My Feet" is a jazzy blues that changes the mood
completely, with nice piano from Young before
Wonderland comes in with a nice blues shuffle
version of Bob Dylan's "It Takes A Lot To Laugh,
It Takes A Train To Cry," sharing vocals with
Jimmie Dale Gilmore.
Wrapping up this nice 10-song package is a
version of the Grateful Dead's "Loser." It has
kind of an old cowboy song vibe. Not sure
whether I care much for this one, but I'll keep
listening to see if it grows on me.
Thanks to Alligator for getting Ms. Wonderland
more into the blues mainstream. Tempting Fate
is a solid album, and I know we are all eager to
hear what's next from this wonderful performer.
--- Bill Mitchell
 New
England blues stalwart Al Basile is back
with another album, B's Testimony (Sweetspot
Records), another fine collection of original
tunes in his discography of several dozen albums
released either in his own name or with artists
such as Roomful of Blues and Duke Robillard,
Considered one of the best horn players in the
business, with his preferred instrument being
the cornet, he assembled an all-star band for
this album with Bruce Bears (keyboards), Brad
Hallen (bass), Mark Teixeira (drums), Doug James
(sax), "Doc" Chanonhouse (trumpee) and Kid
Andersen (guitar). All 13 songs are Basile
originals, and he continues to show that he's
one of the more innovative songwriters around.
While he doesn't have a powerful voice, his
vocals are good enough for the material.
It's
a tight band, full of big horn sound, and that
would be fine in its own right. But the addition
of Andersen on guitar, recorded remotely during
the pandemic, is what puts the album over the
top. The head of the Greaseland studios in
California is a genius in many aspects of the
music biz, and his guitar solos and fills are
spectacularly good.
All
13 cuts are strong, but among my favorites
include the up-tempo blues "If All It Took Was
Wishing," with Andersen tearing it up on his axe
and Basile adding a nice muted cornet solo. Shy
Perry joins Basile on vocals on the slow,
soulful blues "One Day At A Time." Ms. Perry is
a very fine singer who deserves more acclaim in
the blues world.
"When The Girl Says Yes" is a cheerful, soulful
blues, with Basile sounding better vocally while
Bears comes in with a very fine organ solo and
the horns provide a big wall of sound. Andersen
is showcased on the stop-time blues "I Oughta Be
Your Monkey," also providing a stirring guitar
solo on the mid-tempo blues shuffle "Through
Thick And Thin." Bears shines on piano here
while Basile comes in with another strong muted
cornet solo.
With
such a rich discography there are plenty of ways
to hear Basile's music, and B's Testimony
is a nice addition to his catalog.
--- Bill Mitchell
 The
best way to describe Bette Smith is to
call her a vocal hurricane. The Brooklyn native
pulls out all the stops on her most recent
album, The Good The Bad & The Bette (Ruf
Records), a conglomeration of blues, rock, and
soul that grabs you from track one and doesn’t
let go until track ten.
This
sparkling set was recorded at Water Valley,
Mississippi at Dial Back Sound with Matt Patton
and Bronson Tew of Drive-By Truckers producing
and playing bass and drums, respectively. Other
luminaries appearing in support include Jimbo
Mathus, Luther Dickinson, and Henry Westmoreland
of the Squirrel Nut Zippers.
Opening with Lonnie Shields’ “Fistful of
Dollars,” Smith and the rhythm section (the
aforementioned Tew and Patton) and Westmoreland
on horns all lock into a seamless groove that
sets a high bar for the remainder of the album.
“Whistle Stop,” a song Smith wrote in tribute to
her late mother, is a fine piece of southern
soul, on which she really pours her heart into
the vocal.
The
storming rockers “I’m A Sinner” (featuring
Mathus on guitar) and “I Felt It Too” show
Smith’s vocal versatility, and “Signs and
Wonders,” with guitar from Dickinson, marries
funk, country, and gospel with satisfying
results.
The gritty, funky rocker “Human,” was inspired
by Smith’s dog, who helped her get through
difficult times.
“Song For A Friend” is a sweet soul number with
fine background vocals, and Smith really tears
into the Dexateens’ “Pine Belt Blues,” a
churning blues rock track. Eddie Hinton’s
“Everybody Needs Love” is an inspirational soul
anthem in Smith’s capable hands, with a wondrous
choir of backing vocalist (including Drive-By
Trucker Patterson Hood).
On
the stunning closer, Willy Vlautin’s “Don’t Skip
Out On Me,” Smith blows the doors off with a
powerful vocal with superb musical
accompaniment.
Bette Smith’s The Good The Bad & The Bette
is a powerful set of blues, soul, and roots
music that should put this fine singer in the
spotlight if there’s any justice in the world.
--- Graham Clarke
 On
his latest album, Blues Bash (Stony Plain
Records), Duke Robillard was loooking to
“make a real blues album like the ones that make
me want to play the blues in the first place
back in the late ’60s,” as he explains in the
liner notes. To this purpose, he enlisted a host
of familiar faces --- keyboardist Bruce Bears,
drummer Mark Teixeira, bassists Jesse Willams
and Marty Ballou, with the early Roomful of
Blues horns (Rich Lataille, Greg Piccolo, Doug
James, Al Basile), Sax Gordon, Mark Hummel,
Robert Welch, Mark “Mr. B” Braun, Marty
Richards, and guest vocalists Chris Cote and
Michelle Willson --- to lend a hand, and the
results more than meet the Duke’s expectations.
Cote
is featured on three songs, Ike Turner’s
riproaring “Do You Mean It” (punctuated by
fierce Robillard fretwork), Roy Milton’s jumping
boogie burner “What Can I Do,” and the funky
shuffle “You Don’t Know What You’re Doin’.”
Ms.
Willson only guests on one track, but it’s a
good ‘un, Helen Humes’ saucy “You Played On My
Piano.” Robillard sings on four tracks, the
Windy City blues “No Time” (aided most ably by
Hummel’s harmonica), Al King’s “Everybody Ain’t
Your Friend,” a nice urban track featuring the
horns and a terrific guitar solo, the stomping
“Ain’t Gonna Do It,” propelled by Mr. B’s
driving piano, and the shuffle “Give Me All The
Love You Got.”
Robillard also includes a pair of fantastic
instrumentals. The swaggering shuffle “Rock
Alley” features dynamite interplay between
Robillard, Bears, and the horns, particularly
Piccolo, who rips off a great solo. The album
closes with the ten-minute after-hours slow
burner “Just Chillin’,” with superb
contributions from Robillard, Bears, and Piccolo
that could have gone on another ten minutes.
I’ve
listened to a lot of Duke Robillard’s recordings
over the years (he was one of the first blues
guitarist I actually saw in person at the 1987
New Orleans Jazz & Heritage Festival, playing
with the Fabulous Thunderbirds) and Blues
Bash is my new favorite. It is truly “a real
blues album” in every way, and one that blues
fans need in their collection.
--- Graham Clarke
 I’ve
fallen behind with my reviews due to family and
work issues. WAAAYYYY behind, so it was
inevitable that I would end up with consecutive
releases from one artist or another for review.
Mick Kolassa is the first artist to fall
in that group, I received his release If You
Can’t Be Good, Be Good At It! (Endless Blues
Records) …… well, never mind how long ago I
received it and it was coming up in my stack to
review. A few weeks ago, his Wasted Youth
(also Endless Blues Records) CD arrived in the
mail, so let’s take a look at both of these
releases.
If You Can’t Be Good, Be Good At It! was
released last year and it reunites Kolassa with
Jeff Jensen, who co-produced with Kolassa and
plays most of the guitar on the 11 tracks. The
core band includes Bill Ruffino (bass), John
Blackmon (drums/percussion), Rick Steff (keys)
and Eric Hughes (harmonica), with appearances
from a host of musical friends (David Dunavent –
guitar/backing vocals, Tullie Brae – backing
vocals, Marc Franklin – trumpet, Kirk Smothers –
sax, Brad Webb – slide guitar, Alice Hasen –
violin, Kern Pratt – electric guitar, Willie
“Too Big” Hall – drums, and Weston Caldwell –
percussion).
The
wide-ranging set blasts off with the spunky,
Memphis-flavored “I Can’t Help Myself,” a
striking redo of James Taylor’s “Lo and Behold”
(featuring Webb’s otherworldly slide guitar),
and the energetic title track, fueled by the
horn section and Jensen’s rocking fretwork. The
slow blues “A Good Day For The Blues” describes
the sort of day, or life, for which the music is
tailor-made, and the jaunty “I’ve Seen” finds
Kolassa reflecting on the many things he’s seen
and the thing that he longs to see. “I Gotta”
strikes a swinging Crescent City groove.
Kolassa also pens a jazzy tribute to his
beverage of choice in “Sweet Tea,” settles in
with his lover on the splendid slow burner “Slow
and Easy Love,” and with the mid-tempo rocker
“Good Night Irene” (not the one you’re thinking
of), he dedicates a tune to a friend from Down
Under. Kolassa also offers a moody cover of
Howlin’ Wolf’s “Who’s Been Talking,” with Hall
sitting in on drums, and wraps up with the
moving “She Kept Her Head Up,” a tribute to his
daughter, Kassie, who’s battling Triple Negative
Breast Cancer. A rock-solid blues album from one
of the most dependable blues artists currently
practicing, If You Can’t Be Good, Be Good At
It! has plenty to satisfy blues fans.
 Kolassa’s latest release, Wasted Youth
(Endless Blues Records) comes on the heels of
many changes in his life. Kolassa lost his wife
and several friends over the past year, and the
events of the past year inspired many of the
songs on the album as he reflects on his losses
and the need to not take anything in life for
granted. Many of the same artists who
contributed to his previous effort --- Jensen,
Rufino, Steff, Brae, Hughes, Franklin, Smothers,
Webb, and Hasen all return --- and there are
also contributions from Brandon Santini
(harmonica), Albert Castiglia (slide guitar),
Victor Wainwright (piano) and guitarists David
Julia and Anthony Paule.
The
rollicking opener “Throw Away These Blues” finds
Kolassa encouraging us to keep the faith even
when things go wrong, while the title track is a
somber reminder that most of us don’t appreciate
being young until we’re old, and “It Hurts To
Let You Go” mournfully addresses the
inevitability of loss in life, but the funky
“I’m Missing You” lifts the tempo and the mood
somewhat. “Easy Doesn’t Live Here” (with Julia
on guitar) contemplates the ups and downs of
building a long-lasting relationship, and the
horn-driven “I Can’t Get Enough” features Paule
on guitar.
Wainwright guests on piano for the slow blues
“Feeling Sorry For Myself,” as Kolassa reflects
on the events of the previous year, and the
jazzy “Touching Bass” deals with separation,
with Jensen, Steff, and Rufino all shining on
this track. Meanwhile, “Darkness To Light” is an
intriguing medley of three of Kolassa’s favorite
songs (War’s “Slippin’ Into Darkness,” The
Youngblood’s “Darkness Darkness,” and the old
folk song “Wayfaring Stranger”) with outstanding
contributions from Jensen and Hasen.
Santini’s harmonica highlights “My Mind Doesn’t
Wander,” a mid-tempo blues, while Kolassa
reflects on his recent move to Memphis on the
slow burner “Pieces of My Past.” On the acoustic
closer, “Edge of a Razor,” Kolassa, Jensen, and
Castiglia join forces on guitar.
I
would be hard-pressed to determine which of
these two albums I prefer. Both have the usual
qualities of a Mick Kolassa album --- smart
songwriting, excellent musicianship, and a great
mix of blues styles. Actually, I would say just
grab If You Can’t Be Good, Be Good At It!
and Wasted Youth at the same time and
double your pleasure. You can thank me later.
--- Graham Clarke
 I’ve
been listening to Ronnie Earl & the
Broadcasters for over 30 years and I think
most would agree that there’s always been an
intensely spiritual component to his guitar
playing, which is equal parts soul, blues, and
jazz. His albums always make for compelling
listening and there’s always something new to be
heard each time you listen. Rise Up
(Stony Plain Records) was recorded in two
phases. The “studio” material was recorded at
Earl’s home in March of 2020 as Earl recovered
from back surgery, and the “live” portion was
recorded at Daryl Hall’s House Club in January
of 2019.
Rise Up is chock full of memorable moments
as Earl and his longtime bandmates (keyboardist
Dave Limina, drummer Forrest Padgett, bassist
Paul Kochanski) reflect on a variety of topics
including the recent social unrest (the slow
blues instrumental “Blues For George Floyd” and
the narrative “Black Lives Matter”). On “Navajo
Blues,” Earl acknowledges the brutal treatment
of Native Americans, and mixes in a couple of
inspirational tunes that also reflect on current
times, with the moving acoustic opener “I Shall
Not Be Moved” and Bob Dylan’s “Lord, Protect My
Child,” which teams Earl, Limina and singer
Diane Blue magnificently.
Blue
also sings on the funky “Higher Love,” Lil
Green’s “In The Dark,” Eddie Taylor’s “Big Town
Playboy,” and Magic Sam’s “All Your Love.”
However, her standout performance on the album
(at least to these ears) is her soulful, gritty
read of Fenton Robinson’s “You Don’t Know What
Love Is,” recorded at Daryl’s House to a most
appreciative audience. She has proven to be a
fine addition to the band over the past few
albums and a perfect complement to Earl’s
guitar.
Earl
also pays tribute Albert King (“Albert’s
Stomp”), Lucky Peterson (a ten-minute “Blues For
Lucky Peterson” that could have gone on for ten
more minutes), and guitarist David Bromberg
(“Talking To Mr. Bromberg”). Meanwhile, Limina
gets to strut his stuff prominently on B3 (Jimmy
Smith’s “Blues For J”) and piano (Ahmet
Ertegün’s classic “Mess Around”).
Rise Up is an inspired nearly 80-minute
foray into the world of blues and jazz from one
of the best guitarist in any genre currently
practicing. Every release from Ronnie Earl & the
Broadcasters is sheer listening pleasure.
--- Graham Clarke
 UK
blues singer/songwriter Malaya Blue
collaborates with Grammy winner Dennis Walker on
her third studio release, Still (Blue
Heart Records). Blue and Walker are joined on
this 12-song set by guitarist Nat Martin,
keyboardist Stevie Watts, drummer Mike Horne,
and bassist Eddie Masters, as well as Robert
Cray bassist Richard Cousins and pianist Sammie
Ashford. Blue had a hand in composing 11 of the
tracks, six with Walker. The album format is
similar to the old LP format, with two
distinctly different “sides” divided between six
deep soul tracks (“Still Side”) and six rousing
blues songs (“Blue Side”).
The
title track opens the disc. A soulful ballad
co-written by Cousins (who also plays bass on
the track), it was originally intended for a
Robert Cray album, but for all practical
purposes it’s a Malaya Blue song now. She
practically owns it after this performance. Next
is the greasy funk of “Down To The Bone” and
“It’s A Shame,” a mid-tempo track with a light
melody that belies the heartbreak in Blue’s
vocal. “Love Can Tell” has an upbeat melody and
funky backdrop, and Blue pulls out all the stops
on the emotional, gospel-flavored “Why Is Peace
So Hard?” The “Still Side” concludes with the
sweet “Love Of Your Life,” with Blue backed by
Watts’ piano.
The
“Blue Side” begins with “Kiss My Troubles Away,”
an up-tempo swinging blues rocker. “Settle Down
Easy” is a smoldering R&B-flavored ballad and
“Down To The Bottom” is a smooth slow burner
about finding love again. “These Four Walls”
picks up the pace as Blue reflects on moving on
from a tough relationship, “I Can’t Be Loved” is
a strong piano-driven ballad written and
performed by Blue and Ashford, and the closer,
“Hot Love,” is a taut rocker that picks up the
pace and the mood considerably to wrap things
up.
Malaya Blue is a talented vocalist with a lot of
soul and range. With a strong set of songs and
superlative musical support, she really hits her
stride with Still, a great listen for
blues, soul, and R&B lovers.
--- Graham Clarke
 Lisa Mann’s latest effort, Old Girl (JayRay
Records), is a five-song EP that will give
listeners a fine snapshot of the formidable
talents of this singer/bassist. A 20-year vet of
the music scene, Mann is a two-time BMA nominee
for her bass playing skills, a winner of the
Blues Blast Sean Costello Rising Star Award, and
she’s won multiple awards from the Cascade Blues
Society and is a member of the Oregon Music Hall
of Fame. Her latest release features four
originals penned by Mann with one cover.
The
mid-tempo title track opens the disc, and it
deftly mixes country and soul as Mann reflects
on being a middle-aged lady facing life in a
youth-focused world. The track features nice
support from guitarist Jason Thomas and Louis
Pain on B3. Next up is the amusing “It’s The
Monkeys Or Me,” based on a true story told to
Mann by a friend, and “Everybody’s Making
Money,” a frank look at the everyday struggles
facing musicians as they deal with the business.
The
album’s lone cover is a tribute to Sister
Rosetta Tharpe, as Mann covers her “That’s All,”
that serves as a plea for love and equality for
everyone. Mann’s bass playing is particularly
strong here and the instrumental work on the
track is excellent. The album closes with the
gospel-flavored “Around Here,” as Mann
acknowledges those local muses who have
influenced her music and her career over the
years.
While it would have been nice to have had more
of Old Girl to enjoy, listeners will
certainly look forward to what’s ahead for Lisa
Mann, based on these five fine performances.
--- Graham Clarke
 The Sunnysiders, a blues duo (Boris Hrepić
Hrepa – vocals/guitar/bass/harmonica and
Antonija Vrgoč Rola – vocals) from Croatia,
recently celebrated their 10th anniversary by
releasing their fourth album, The Bridges
(Dancing Bear), which features guest appearances
from several of their friends from Croatia and
from other countries all over the world. The
Sunnysiders were formed in 2010 and won the
second Croatian Blues Challenge, earning them a
trip to the 27th I.B.C, where they made it to
the semifinals.
The
ten songs featured on The Bridges were all
written by the Sunnysiders and provide an
engaging look at the blues. The rollicking
opener, “Crossroads Of Your Own,” features
soaring electric and slide guitar from fellow
Croatians Denis Makin and Davor Hačič Hutch,
respectively. The storming “When You Come So
Near” features French blues rocker Manu Lanvin
on electric guitar, and the haunting “Tiny Soul”
(about a couple and their dying baby) features
the Italian blues artist Lorenzo Piccone on lap
steel. Meanwhile, “Blockstop” is a rocking blues
with Hrepa’s growling vocal, electric guitar
from Jerry T. and sax from Eric Jemms (of Jerry
T. and the Black Alligators).
The
lilting “Flogging A Dead Horse” mixes the blues,
rock, and a touch of pop as the Croatian band
Neno Belan & Fiumens handle the music and Hrepa
and Rola focus on vocals. “You’re Not That Good
For Me To Cry” is a powerful blues ballad
(inspired by Rola and Hrepa’s kindergarten-age
daughter’s love triangle) with Croatian
guitarist Yogi Lonich adding some soaring leads,
and “Hood In The Face” is the true story of a
car accident the band was involved in (this
track features the Sunnysiders regular bandmates,
Hans – electric guitar, and Medo – drums).
The
harrowing, mostly-acoustic blues “No Pockets In
The Grave” includes appearances from Purple
Johnny (vocal) and Electric Dan (electric
guitar) of the Detroit Groove Gang, while the
jaunty “Not The One Of Those” features the duo’s
fellow countrymen Zoran Čalić (electric/slide
guitar) and Krešo Sonny Boy Oremuš (harmonica).
The
album closer, “Heaven Blues Band,” a
Delta-flavored tribute to the dear, departed
blues musicians, finds the Sunnysiders joining
up with guitarist Hutch and England’s Norman
Beaker Trio.
The
vocal combination of Hrepa and Rola works really
well, sort of a sand and silk combination. And
the songwriting and music throughout is just
wonderful. The Sunnysiders’ mix of American
traditional blues with rock, pop, and European
sensibilities is a heady mix indeed. Blues fans
should check out The Bridges.
--- Graham Clarke
 Stevie J Blues continues to be a workhorse
in the studio. Over the past 18 months, the
Jackson, Mississippi-based blues man had worked
relentlessly, releasing a pair of albums (his
own Quarantined and Urban Ladder
Society’s The Summit), along with a fine
tribute to the late Jackie Neal and multiple
singles for several Mississippi-based blues and
soul acts. Presently, he’s working on a new
album, Soul of a Man, for 2022 release,
and recently issued the first single from that
recording, “Big Boy Drawls,” a tasty slice of
blues, R&B, and funk about dusting one’s self
off from a failed relationship and getting back
into rotation as soon as possible.
One
of the things that I’ve always enjoyed about
Stevie J Blues’ brand of blues is that it pays
tribute to the old school sounds of blues and
R&B while also giving the music a modern
quality, appealing to several generations of
blues, southern soul, and R&B fans. I’m sure
other fans of these genres will feel the same
way. Be sure and check out this talented
artist’s music as soon as you can.
--- Graham Clarke
|
