|
 I
first became familiar with the music of
Crystal Shawanda not quite two years ago
when I read a review of Church House Blues,
what I believe was her second blues album after
previously performing as a country singer. After
editing Graham Clarke's review for the
February 2021 issue of Blues Bytes,
I sampled a few cuts to find out what she was
all about. I couldn't wait to see if I could
score a promotional copy for what was then my
nascent radio show, but instead paid for an
online download, and I've been abig Shawanda fan
since then. I waited and waited and waited for a
follow-up to Church House Blues, and now
we have it!
Ms. Shawanda has
a powerful, raspy voice that just needs to be
heard to be believed. I'm not surprised she made
an easy transition to blues, because a voice
this strong and soulful could sing phone book
listings and sound great. (I've dated myself
with the mention of a phone book --- who uses
those anymore?).
Midnight Blues
(True North Records) contains 10 strong
offerings, starting with the title cut, a
mid-tempo blues with the pain in her heart
coming out in her vocals. Her husband, Dwayne
Strobel, lays down the first bunch of the
impressive guitar licks that are heard
throughout the album, and he picks up a slide
for the next cut, Buddy Guy's "What Kind Of
Man," with Shawanda having plenty of questions
about the man she is seeing.
If based on the
title, you're guessing that "Rumpshaker" is an
up-tempo number, you would be correct.
Shawanda's vocals take on a sassy sound as she
sings about her need for a man who is a cool
rumpshaker, with very down and diirty harmonica
accompaniment by either Steve Marriner or
Harpdog Brown. Up next is the album's catchy
single, "How Bad Do You Want It," a soulful
number with a bluesy guitar solo from Strobel.
Shawanda's voice
wails on the slow blues, "Why Do I Love You,"
getting even more powerful later on in the song
as she is questioning her love for her man. One
of my favorite cuts is the version of Howlin'
Wolf's "Evil," with a strong harmonica solo
giving that downhome Chicago sound. Shawanda's
got a bit of Howlin' Wolf's spirit in her. Just
take a deep look into her eyes on the album
cover and you may see a touch of the Wolf in
there.
Her voice gets
even more demanding on the funky and soulful "I
Want My Soul Back," with strong B3
accompaniment. No, she's not going down to the
crossroads to try to retrieve her soul, but
really is just trying to get it back from rock
'n' roll. "That's The Woman In Me" allows
Shawanda to describe herself to us, as she mixes
soul and country sounds while looking for a man
to love but also demanding respect from him.
This strong number, a hit for fellow Canadian
Celine Dion, rides along on a foundation of
soulful B3 accompaniment.
"Hold Me" is an
up-tempo blues with a piano intro and propelled
along by a steady drum backbeat, leading us into
the closing number, "Walk With The Moon," a
slow, soulful ballad that gives Shawanda's
vocals a chance to soar.
Crystal Shawanda
is one of the more powerful female vocalists
I've heard in my blues listening career. Her
voice commands the listener to pay close
attention to the lyrics coming from her heart.
Midnight Blues is another impressive
addition to her discography. Considering that
she's still young, there's likely plenty more
ahead for her. We'll be ready for the next one.
--- Bill Mitchell
 Combining
blues with other contemporary forms of popular
music is a way to pull in bigger audiences for
the blues, with the latest example coming from
Christone "Kingfish" Ingram. One of the
biggest rising stars in the blues biz
collaborated with Mississippi rapper Big K.R.I.T
for a Mississippi Mix of "Another Life
Goes By," one of the better topical songs from
Kingfish's Grammy-winning 662 album on
Alligator Records.
The original
"Another Life Goes By" already had a bass beat
that suited this crossover. What is now
different is K.R.I.T.'s rap 45-second rap with
words that certainly suit this song about the
senseless deaths found throughout our nation.
K.R.I.T.'s words make this song even more
powerful.
It's a single, so
the cost of trying it out is minimal. I
recommend it.
--- Bill Mitchell
 The
worldwide pandemic from two years ago was a
terrible thing, but in some ways it forced
musicians stuck at home to dig deep for ideas on
how they could keep their creative spirits
active. In the case of veteran blues singer /
guitarist Rory Block, she reached back
for songs from women artists from the '60s, '70s
and '80s, teaching herself these wonderful gems
that she had heard many times on the radio back
in the day.
The
11 songs on Ain't Nobody Worried (Stony
Plain) will be familiar to all of us, but Ms.
Block puts her own spin on each number, not
trying to replace the iconic original versions
but instead giving them her own treatment.
Anyone familiar with her long career knows that
she has the musical genius to pull it off, and
she does.
One
of the songs that compelled Block to do this
album was the Staple Singers classic, "I'll Take
You There," so she appropriately opens the album
with her very nice rendition, with a female
background chorus (she did those parts, too)
giving it the appropriate gospel vibe. Equally
strong is "Midnight Train To Georgia,"
especially carried by Block's vocals and
acoustic guitar work.
For
me, the killer tune here is Etta James' "I'd
Rather Go Blind." I've heard the original
countless times as well as plenty of covers, but
to experience this powerful song backed only by
acoustic guitar to support the vocals is just
plain wonderful. Another outstanding tune is Ms.
Block's own "Lovin' Whiskey," one of the biggest
hits from her long career, with extra sound
coming from drum programming that she did to
emulate the sound of the original.
Other songs include Mary Wells' "My Guy," Tracy
Chapman's "Fast Car," Koko Taylor's "Cried Like
A Baby," Bonnie Raitt's "Love Has No Pride,"
Martha and The Vandellas' "Dancing In The
Street," and Carole King's "You've Got A
Friend."
Closing the album is an excellent version of
Elizabeth Cottons' "Freight Train," Block's
sublime fingerpicking guitar work raising the
bar on other covers of this number from years
ago.
Rory
Block came up with a brilliant concept with
Ain't Nobody Worried. To hear these classic
songs done lovingly and in a completely
different style from the originals makes each
song sound like brand-new compositions. Highly
recommended!
--- Bill Mitchell
 Based
in Toronto, Bywater Call is a seven-piece
ensemble (Meghan Parnell – vocals, Dave Barnes
guitars, Stephen Dyte – trumpet/trombone, Bruce
McCarthy – drums, Mike Meusel – bass, Julian
Nalli – saxophones, Alan Zemaitis – keyboards)
that blends blues, rock, soul, and roots in a
breathtaking style. The band is fueled by the
powerful vocals of Parnell and the scorching
slide guitar work of Barnes. Their latest
release, Remain (Gypsy Soul Records),
captures the essence of their musical vision
perfectly with 11 dynamite original tunes.
“Falls Away”
kicks things off, and it’s a gripping blues
rocker from the opening notes, giving listeners
an idea of what’s ahead. The tender and soulful
“Lover Down Slow” is next, followed by the title
track, a slow burning blues ballad that allows
Parnell to display her full vocal range. The
understated “Let Me Be Wrong” deftly mixes rock,
blues and roots, while “Left Behind” is of a
like mind, reminding listeners of the music of
The Band. The incredibly funky “Sea We Swim”
kicks off with a wonderful rumbling bass line
from Meusel and never lets up.
“Ties That Bind”
has a definite southern feel, with the great
horn section and the bubbling B3 and bass, while
“Fortune” is earthy roots and soul and “Go
Alone” is a stirring rocker. The ballad “Locked”
was inspired by time spent in lockdown. Parnell
turns in an incredible vocal on this track,
building slowly in intensity and mood toward an
awesome finish. The closer, “Bring It Back,” is
an upbeat rocker that wraps things up on a high
note.
Bywater Call’s
mix of blues, roots, rock, and soul, plus their
masterful musicianship, and the impressive
vocal/slide guitar combo of Parnell and Barnes
makes for some mighty fine music. Remain
is an album that deserves to be heard.
--- Graham Clarke
 I
love it when an old-school blues disc comes
across my desk, so when I plugged in the new
album from The Dig 3 I was in musical
nirvana. This is truly an all-star collaboration
with Andrew Duncanson of Kilborn Alley Blues
Band playing guitar and singing, Ronnie Shellist
blowing like mad on harp, and Garry Hundt
playing just about everything else ---
percussion, harmonica, guitar, mandolin, bass,
etc. The trio got together during the 2020
lockdown, with this fine self-titled album of 14
original tunes (written by Duncanson) is the end
result.
The Hookeresque
“You’re The One” gets the album started in
rousing fashion, Shellist’s harmonica fills
adding to the urgency of the driving boogie
rhythm. “Every Drop” has a funky, swamp blues
feel and the lively “Christmas Coming” recreates
the rumbling Jimmy Reed beat, while allowing
ample space for Shellist’s harmonica.
“Double Cross”
sounds like a vintage Muddy Waters Chess side,
and “One Left, One Right” is an acoustic country
blues with equal parts country and blues.
“Don’t Slip” is
an amusing tune about the pitfalls of having a
bit too much to drink, and “Rock That Boat” is
an exuberant romp that will get toes to tapping,
while “Chicken Kiss” is a playful country blues.
I like the funky overtones of “Southern
Fantasy,” which gives the song a more modern
feel than the rest of the album, while Shellist
and Hundt team up on harp for “Reposado Rock,”
an instrumental Chicago shuffle in the Big
Walter Horton tradition. The spirited “Run &
Hide” will put a hop in your step.
The final three
tracks are listed as “bonus tracks,” featuring
Rodrigo Mantovani on bass. “Love Me Some Of You”
is a Texas-styled roadhouse blues with a
Fabulous Thunderbirds feel, while “Tell Me The
Place” is a hard-charging shuffle. The album
closes with the freewheeling acoustic “In My
Kitchen,” about a fun evening spent at home with
friends.
I’m not sure if
The Dig 3 is a one-off project among friends or
not. I certainly hope it’s not because these
guys sound great together. Duncanson’s vocals
and guitar and Shellist’s harpwork are amazing,
and Hundt’s multi-instrumental contributions are
the glue that keeps it together. These loose,
downhome blues sessions that spring up from time
to time always put a smile on my face, and this
album is one of the best I’ve heard in a long
time. Hopefully, these guys will get together
again soon.
--- Graham Clarke
 From
the first time I heard the Rawls & Luckett album
Can’t Sleep At Night in the early ’90s,
I’ve been a fan of soul blues man Johnny
Rawls and amazed at the remarkable
consistency and quality of his releases (I’ve
heard nearly all of them) over that 30-year
span. His albums never disappoint, with his new
release for Third Street Cigar Records, Going
Back To Mississippi, definitely keeping that
hot streak alive. Recorded in Copenhagen and in
Waterville, Ohio, the album features ten new
tunes written by Rawls.
The opener,
“Midnight Train,” sets the tone for the rest of
the album, solid, mid-tempo soul and blues.
Rawls’ vocals are as great as ever, the perfect
mix of smooth and grit, and the horn section is
top-notch. On the mid-tempo “Reap What You Sew,”
Rawls admonishes his lover with the old “what
goes around comes around” adage. The upbeat
title track finds Rawls reminiscing fondly about
his home state --- the food, the weather, his
family, and the ladies. Couples will want to dim
the lights for the soulful slow burner “If You
Ever Get Lonely.”
Rawls vows
everlasting loyalty to his mate on the catchy “I
Got It,” and has a little bit of fun with the
funky “Noki Noki.” He duets with singer Ramona
Collins on the sweet soul ballad “Your Love,”
and keeps the mellow vibe going with “Amazing
Love.” Rawls is tough to beat on any soul blues
tunes, but he’s second to none on the ballads.
On the amusing “Straight From The Bottle,” about
those who eschew glasses for their drinks at
their local club, Rawls is joined by the one and
only Elvin Bishop on vocals and guitar.
The closer, “Love
Machine,” ventures a bit from soul blues. It’s a
jumping little rock n’ roller, propelled by the
horn section and keyboards from Alberto Marsico,
that brings the album to an entertaining
conclusion.
Going Back To
Mississippi will certainly please Johnny
Rawls’ many fans and it should bring a few new
ones on board in the process. It’s an excellent
addition to a most impressive catalog of
recordings for this fine soul blues artist.
--- Graham Clarke
 On
They Call Me Uncle Mick! (Endless Blues
Records), Mick Kolassa returns to his
acoustic roots, using no amplified instruments
on any tracks. The result is a warm, relaxed,
intimate feeling to the 11 selections, six
originals and five interesting covers, produced
by longtime collaborator Jeff Jensen, who also
plays guitar. The cast of supporting players
includes Eric Hughes (harmonica), Alice Hasan
(violin), and guitarist Chris Gill and Brad
Webb, but there are a few new faces --- Bobby
Rush, Doug McLeod, and Watermelon Slim.
The opener is an
entertaining cover of Bo Carter’s early ’30s
classic “My Pencil Won’t Write No More,” that
more or less lets listeners know that they’re in
for a fun time with this disc. Next, Kolassa
re-does his “Wasted Youth,” acoustic-style (with
Rush on harmonica) and offers up an
always-welcome John Prine tune, “Daddy’s Little
Pumpkin.” With McLeod on guitar, Kolassa ponders
the ever-changing ways of the world in “Used To
Be,” and masterfully recreates Hank Williams’
“I’m So Lonesome I Could Cry” into a slow
burning blues ballad with Hasan on violin.
“My Woman She’s
So Mean” is another amusing and unique Kolassa
original (with McLeod on guitar). Watermelon
Slim appears on vocals and harmonica for a blues
version of Jonii Mitchell’s “Woodstock.”
Meanwhile, the Kolassa original “Why?” chides a
negative acquaintance in his life, but the mood
picks up for the old favorite “Sunny Side Of The
Street.” “Bless His Heart” is Kolassa’s funny
tribute to the classic southern phrase used for
different situations, and the closer, “The
Cheese Song,” finds him singing the praises of
all varieties of cheeses.
As always with
Mick Kolassa’s releases, 100% of the net
proceeds from the album will go to The Blues
Foundation, split between The HART Fund and
Generation Blues. They Call Me Uncle Mick!
is yet another great set of originals and cover
tunes from Kolassa. He has a ball playing the
blues and his exuberance is contagious to
listeners, so check him out!
--- Graham Clarke
 Sax
man extraordinaire Jimmy Carpenter spent
a dozen years living and performing in New
Orleans, so it would make perfect sense for him
to record an album paying tribute to the classic
R&B sounds that shaped American music over a
quarter of a century. Longtime friend and
co-owner of Gulf Coast Records Mike Zito
persuaded Carpenter to do the project and the
duo headed to Dockside Studios in Louisiana to
record The Louisiana Record, a superb set
of 11 Crescent City favorites that will
definitely put a Second Line hop in your step.
Carpenter is
joined by Zito on guitar with John Gros
(keyboards), Casandra Faulconer (bass), and
Wayne Maureau (drums), a relatively small
ensemble, but they are more than capable of
producing the big sound that these tunes
deserve. The opener is “I Hear You Knockin’,”
recorded back in the day most famously by Fats
Domino and Smiley Lewis. Carpenter’s rousing
version stands up well to those originals.
Little Bob & the Lollipop’s swamp pop classic “I
Got Loaded” is next, and should get toes to
tapping and heads to bobbing.
Chris Kenner’s
“Something You Got” is a New Orleans standard (a
hit for Alvin “Shine” Robinson), and Carpenter’s
version matches the simmering intensity of the
original. I’m not sure if anyone could top
Robinson’s superb vocal, but Carpenter gives it
his all. Robert Parker’s “Barefootin’” is a
funky good time as always, and Carpenter pours
his heart into Art Neville’s ballad “All These
Things,” giving a wonderful performance on sax
and vocals.
Wee Willie
Wayne’s “Travelin’ Mood” is a cool New Orleans
blues, punctuated by Zito’s slithering slide
guitar, and Solomon Burke’s “Cry To Me” plays
closer to Professor Longhair’s version from
Crawfish Fiesta, keeping that Crescent City
feel. “Those Lonely Lonely Nights” is another
timeless classic, with Carpenter keeping it
close to the original version. Nice piano break
from Gros on this track.
“Pouring Water On
A Drowning Man” was a hit for James Carr and
“Bring It On Home To Me” for Sam Cooke.
Carpenter and the band give these two tracks a
distinct New Orleans flavor, especially the
latter tune. Wrapping things up is a rollicking
take on Lee Allen’s instrumental “Rockin’ at
Cosimo’s.”
New Orleans R&B
is a timeless music, as fresh and vital as it
was at its original inception. Jimmy Carpenter
and his bandmates make that obvious with their
wonderful interpretations of these classic
tunes. Any music fan who loves this genre of
music (and I’ve never found anyone who didn’t)
will love The Louisiana Record.
--- Graham Clarke
 Patty
Tuite is a New England-based
singer/songwriter/guitarist who mixes blues,
jazz, and rock to create an interesting musical
gumbo. Her musical influences include Etta
James, Ella Fitzgerald, Bonnie Raitt, and Susan
Tedeschi. Hard Case Of The Blues (Thread
City Productions) is her fifth release,
showcasing 11 original tunes written by Tuite
that range from traditional and New Orleans
blues to jazz and rock n’ roll. She’s backed by
a formidable cast of musicians, including Grammy
winners Paul Nelson (who also produced) and
Bobby Rush.
Mr. Rush figures
in immediately with a guest appearance blowing
harp on the spirited opener, “Nothing But
Trouble,” which also features tasty fretwork
from Nelson. “I Just Wanna Play” is an energetic
blues rocker. The swinging “Glad I’m Through
With You” leans toward jazz, with nice work on
trumpet from Rico Amero and piano from Brooks
Milgate. This pair also figure prominently with
“Diggin’ Up Outta This Hole,” which is straight
outta New Orleans and a lot of fun.
Tuite gets funky
on “I Am Strong Enough,” featuring background
vocals from Amero, clavinet from Milgate, and a
fiery guitar break from Nelson. That track
segues nicely into “My Silent Love,” a gentle
instrumental from Tuite, who plays all of the
guitar parts, and “It Ain’t Over Til’ It’s
Over,” a blues ballad where Tuite attempts to
salvage a crumbling romance. The Crescent City
feel returns for the jaunty “Goin’ Out To Town
Tonight” (featuring trombonist Ozzie Melendez),
before Tuite turns in a sultry read on the smoky
jazz number “I Want A Lover.”
“Double Down” is
a lively blues rocker that picks up the pace
before the album closes with the title track, a
serene, slow blues with acoustic guitar played
by Nelson. Hard Case Of The Blues shows
Patty Tuite to be skilled in a variety of
musical settings, as effective with jazz as she
is with playing the blues. This is a fine album
with excellent songs and performances that blues
and jazz fans will certainly enjoy.
--- Graham Clarke
 The
Rolling Stones released Let It Bleed in
November of 1969. The album marked a return to
the band’s roots, focusing on the blues during
their beginnings, but the band also incorporated
more American roots music into the album, with
gospel and country songs as well as blues. The
album made the Top Ten in the UK and the US, and
several songs became part of the Stones’ live
shows and made (and continue to make) regular
appearances on radio. Let It Bleed was
inducted into the Grammy Hall of Fame in 2005
and is listed on Rolling Stone’s 500 Greatest
Albums of All Time.
Recently, The
Rock House All Stars (Kevin McKendree –
keyboards/guitars/backing vocals/percussion,
John Heithaus – bass, Rob McNelley – acoustic
and electric guitars, Yates McKendree – drums)
recorded a unique tribute album with freshly
re-imagined arrangements, handpicking lead
singers and allowing them to interpret the lead
vocals of the original songs in their own way.
The results are collected in Let It Bleed
Revisited – An Ovation From Nashville
(Qualified Records).
The songs are
presented in the same order as on the original
album, kicking off with “Gimme Shelter,”
featuring Jimmy Hall and Bekka Bramlett. Their
vocal interpretation is as intense as Jagger’s
original and Hall adds harmonica throughout the
cut. Nashville-based singer Emil Justian takes
vocals on a haunting rendition of Robert
Johnson’s “Love In Vain,” backed by James
Pennebaker on mandolin and slide guitar. before
Lee Roy Parnell tackles “Country Honk,” the
Stones’ countrified version of “Honky Tonk
Woman,” maintaining the country feel with
Pennebaker backing on mandolin and steel with
Luke Bulla on fiddle.
Seth James sings
“Live With Me,” a version that rocks out a bit
more than the original and works extremely well,
while Justian returns (with Greg Mayo) for the
title track, which is just as greasy and funky
as the original. Rick Huckaby shines on
“Midnight Rambler,” with Stephen Hanner backing
on harmonica. “You Got The Silver” was actually
Keith Richards’ first lead vocal with the band,
and Nashville rising star Nalani Rothrock’s
vocal deftly mixes country and soul backed by
Pennebaker on steel guitar.
“Monkey Man”
features Mike Farris on vocals, with his reading
being different from Jagger’s, but fits the
band’s rocking arrangement perfectly fine. The
Voice veteran Wendy Moten does an excellent job
on “You Can’t Always Get What You Want,” with
backing vocals from SaRachel (Tom Hambridge’s
daughter’s Sarah and Rachel) and Andrew Carney
on French horn.
While that tune
concluded the original Let It Bleed,
there’s a bonus track included at the end of
this album. Lilly Hiatt (John’s daughter) and
Bulla share vocals on “Wild Horses” (from the
Stones’ follow-up album Sticky Fingers).
Their vocals are quite different from Jagger’s
original, but they serve the song very well.
Let It Bleed –
An Ovation From Nashville is a fine tribute
to one of the best rock ‘n’ roll albums ever. I
think the Rolling Stones would certainly enjoy
it, and so will most blues fans.
--- Graham Clarke
 Jay
and the Cooks are a group of mostly U.S.
expatriates, veteran musicians now living in
France (Jay Ryan – guitar/vocals, Stephane
Missri – guitar/banjo, Paul Susen –
fiddle/mandolin, Christian Poidevin – harmonica/dobro,
Marten Engle – bass/double bass, Marty Vickers –
drums/percussion). Dried Up Dreams (Socadisc/The
Orchard) is a ten-song set that combines blues,
rock, country, and roots with a loose, earthy,
kind of retro feel.
The opener,
“Alton McCarver,” is a gritty rocker that tells
the tale of an African American worker who’s a
“bad dude,” and the rootsy “Frontline Worker
Blues” finds Ryan expressing his sympathy for
those essential workers forced to work through
the pandemic. The dusty country-flavored rocker,
“Chew The Cud,” features reverb guitar and a
spoken word vocal, and “I Just Came To Tell You
I’m Going,” a French tune from Serge Gainsbourg,
is a jaunty folk tune.
“Poor Everybody”
is a storming, ominous rocker, and the
intriguingly-titled “Deaf Water” is a cool blues
with an urban feel. “Organic Lush” is an amusing
jab at living healthy, and the title track is a
Cajun/zydeco romp that the band does extremely
well. “Empty Glass Of Love” has an ominous,
after-hours vibe, with shimmering guitar work.
The closer, “Confederate Son,” is a
hard-charging blues rocker.
Ryan has a
distinctive vocal style, actually more of a
growl, that takes a bit to grow on you, but it
fits well with the lyrics and the music.
Dried Up Dreams is an interesting mix of
blues, country, rock, and roots. The lyrics are
compelling and so is the music, so blues fans
should check it out.
--- Graham Clarke
 Chris
Canas is known as “Detroit’s Prince of the
Blues,” but he got his start playing cornet in
grade school band, eventually being promoted to
the school’s jazz band,. He was overtaken by the
blues upon seeing his uncle pull up in a
cherry-red T-top Camaro blasting “The Thrill Is
Gone” over the speakers. Canas picked up a
guitar and the stage was set. He joined
Thornetta Davis’ band in 2002 at 18 and
eventually graduated to fronting his own band.
Canas reached the finals of the 2020 IBC and
he’s released eight albums, the most recent
being Detroit (Third Street Cigar
Records).
The
autobiographical title track opens the disc, a
mix of rock and blues, scorching lead guitar and
horns, as Canas vows to play the type of music
his friends and family will be proud of. “Blues
Blues Blues” is a brisk, funky blues that will
get listeners moving, and the stellar “Addicted”
sizzles along, highlighted by Canas’ smooth
vocals and searing fretwork. “Juke Joint Jive”
is a more traditional blues, but taken at
breakneck speed, complete with those tasty horns
and Danny Pratt’s harmonica, and the mid-tempo
“Cookie” mixes reggae and the blues.
“Queen Of The World” is a superb slow burner,
giving ample space for Canas’ powerful,
emotional vocal and for more guitar fireworks.
Canas turns in an appropriately soulful vocal on
“You Don’t Give A Damn,” an old school rock and
soul track. “Good Man About To Break Bad” and
“Shoot From The Hip” are a pair of gritty blues
with an edge of menace, while the simmering
“Smoke In The City” locks into a funky groove
and pulls the listener in. The fast-paced closer
“Put It In The Pot” keeps the funk going and
serves as a great conclusion.
Canas is backed by Pratt (harmonica), Mikey
Biddle (organ), Derek “DC” Washington (bass),
Mark Anthony Guillory (drums), Nikki “D” Brown
(lap steel/background vocals), Ray Benson
(percussion), and a horn section consisting of
Travis Geiman (trombone), Ben DeLong (trumpet),
and Bob Manley (tenor sax). Detroit is an
excellent set of original contemporary blues
that will definitely make you want to hear more
from Chris Canas.
--- Graham Clarke
 While
singing with a rock band in Lincoln, Nebraska
many years ago, Niecie encountered the
one and only Magic Slim during a set break. Slim
had been listening in during a break from a gig
of his own at the nearby Zoo Bar. He approached
Niecie and told her “Girl, you need to sing the
blues,” and invited her to his Zoo Bar gig. The
rest is history, as Niecie has honed her blues
chops over the past couple of decades to become
a formidable vocalist. Queen of the Hill
is her sixth and latest release, and it’s a
tasty mix of rock, soul, and the blues that
shows Slim knew what he was talking about.
The
album was produced by Niecie, Doug Jones (who
plays guitar on two tracks) and Allman Brothers
alum Johnny Neel (who plays keyboards on all the
tracks). The trio wrote or co-wrote nine of the
12 tracks. The raw blues rocker “Leave It All
Behind” opens the disc, with rugged fretwork
from principal guitarist Jon Conley. The Ruth
Brown hit “5-10-15 Hours” (written by Rudy
Toombs) follows and provides a playful showcase
for Niecie’s vocals. The feisty title track
follows, fueled by Conley’s gritty guitar, which
is also prominent on the rock-edged “Hidden
Agenda.”
The
smoldering “Welcome To My Web” has a seductive,
Latin flair that Niecie plays to very well,
“Willow Tree” adds a bit of funk to the mix, and
“Midnight Rain” is a smoky West Side-styled slow
burner. “In The Basement” was originally
recorded by both Etta James and Sugar Pie
DeSanto, with Niecie’s version a little
more subdued but no less effective. “Nothing
Left To Lose” is a funky mid-tempo R&B-flavored
number, while “Two Kinds Of Man” is a swampy
rocker. The powerful “Every Kinda Blues”
features guitar work from Jones and Luke Davis.
Niecie closes the disc with the third cover, a
strong reading of “The Hunter,” one of Albert
King’s finest.
Queen of the Hill is a well-rounded,
versatile set of blues and blues rockers with
solid originals and outstanding vocal and
musical performances. Blues fans should be glad
that Niecie took Magic Slim’s advice back in the
day.
--- Graham Clarke
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