For three decades, Joe Louis Walker has been one of
the most original and innovative blues musicians.
Since the mid ’80s, he’s mixed the blues with soul,
jazz, zydeco, and gospel. He’s done acoustic albums,
collaborations (with Otis Grand and the star-studded
Great Guitars), and even did a disc featuring slide
guitar. With his 20th album (and second for Stony
Plain Records), Between a Rock and the Blues, Walker
focuses on the bond between the blues and rock.
The disc features 12 tracks, five penned by
Walker (two in partnership with guest guitarist
Kevin Eubanks). The scorching opener, “I’m Tide,”
takes a cynical look at the shallowness of today’s
culture. “Black Widow Spider” and “Prisoner of
Misery” are both autobiographical tunes that look at
some old problem relationships. Eubanks is featured
on two tracks, “If There’s a Heaven,” which blends
blues, rock, and gospel, and the blues rocker “I’ve
Been Down.” These two tracks were produced by Walker
and recorded at Eubanks’ studio in L.A. and also
feature longtime Walker bandmates Henry Oden (bass)
and Jeff Minieweather (drums), along with keyboard
player Ellis Blacknell, Jr.
Duke Robillard produced ten of the tracks and wrote
“Tell Me Why,” which features some of Walker’s
powerful slide work, a strong solo from the Duke,
and some fine keyboard support from Bruce Katz.
Blues guitarist Murali Coryell (son of jazz/rock
fusion guitarist Larry Coryell) wrote the timely
“Way Too Expensive.” “Hallways” is a slow blues
dealing with suspected infidelity, written by Bay
Area bluesman Steve Hall, and the closer, “Send You
Back,” from Dutch band Fat Harry and the Fuzzy
Licks, is a straight blues that features Walker on
acoustic guitar and Sugar Ray Norcia on harmonica.
The remaining three covers are favorites of
Walker’s: Ray Charles’ “Blackjack,” Roy Gaines’ “Big
Fine Woman,” and Travis Phillips’ “Eyes Like a Cat.”
Walker’s guitar work is as dynamic and innovative as
ever, and his raw, earnest vocals combine the best
of blues, soul, and gospel. The working band on the
ten tracks produced by Robillard include Katz on
piano and organ, Jesse Williams on bass, Mark
Teixeira on drums, Doug James on saxophone, and Carl
Queforth on trombone, and they provide stellar
support.
Between a Rock and the Blues is another premium
effort from Joe Louis Walker that should please
longtime fans as well as newcomers.
--- Graham Clarke
In 2006, Jimmy “Duck” Holmes was the first artist to
record on the Broke & Hungry Records label. His
debut release, Back To Bentonia, was a critical
success, as was the worthy follow-up, Done Got Tired
of Tryin’. Since then, Holmes has been the subject
of numerous interviews and stories, played many of
the major blues festivals, has appeared on TV
(notably ABC’s Good Morning America), and had a
major role in last year’s Blues Music Award-winning
documentary, M for Mississippi.
Holmes continues his hot streak with his latest for
Broke & Hungry, Ain’t It Lonesome, which features
Holmes’ introspective blues on seven acoustic tracks
played in the tradition first made famous by fellow Bentonia, MS musicians Skip James, Jack Owens, and
Henry Stuckey, along with three electric ventures
into the Delta traditions of John Lee Hooker and
James “Son” Thomas, featuring Holmes with young
Clarksdale drummer Lee Williams.
Holmes wrote most of the tracks for the new disc,
the acoustic numbers capturing perfectly the
haunting aspects of the Bentonia style. “Slow Down,
Slow Down” was first heard on the recent M for
Mississippi doc, while other originals, such as
“Done Got Tired of Tryin’,” which, interestingly,
provided the title for his previous CD, but makes
its first appearance on this disc, “My Baby’s Gone,”
and the memorable album closer, “Nightmare,” are
also textbook examples of the genre.
There are some notable twists on the disc as well.
Jimmy Rogers’ “That’s All Right” and the
traditional track “Someday Baby” both get
“Bentonized” with satisfying results, and the three
electric numbers featuring Williams are first-rate.
“All Night Long” and “Tell Me Woman” sound like
long-lost Hooker tracks. The third electric track is
the entrancing instrumental, “Bentonia Boogie.”
Ain’t It Lonesome is arguably Jimmy “Duck” Holmes’
best release yet, but as far as I’m concerned, any
release that works to keep alive the wonderful Bentonia blues style is noteworthy. Fortunately,
Holmes is not only keeping it alive, but he’s
breathing new life into it as he goes.
--- Graham Clarke
Unfortunately, many musicians die much too young,
but the passing of Sean Costello seemed to hit many
fans particularly hard. Most of us had watched or
listened to him from the days he got his start in
the mid ’90s as teen-aged guitar wizard and had
enjoyed watching him mature as a guitarist, singer,
and songwriter. Viewing the various blues message
boards after his untimely death last April made it
obvious that he had met and touched quite a few
listeners during his short life.
Costello’s former record label, Landslide Records,
has released a compilation of some of his best
recordings called Sean’s Blues. Although the young
guitarist only recorded two discs for Landslide
(2000’s Cuttin’ In and 2001’s Moanin’ For Molasses),
the collection also gathers tracks from his debut
release (Call The Cops from Blue Sun Records in
1996). There are also several previously unreleased
studio and live tracks ranging from 1998 to 2002.
The first few recordings from Call The Cops show
Costello to already be an imaginative guitarist at
16, but still finding his way as a vocalist. He
wrote two of the early tracks featured here,
including the title track and the swinging shuffle,
“Take Me Back.” The acoustic cover of John Lee
Williamson’s “Sail On,” is one of many tracks here
featuring his longtime collaborator, Paul Linden, on
harmonica.
Tracks from Cuttin’ In include another John Lee
Williamson tune (“Mellow Chick Swing”), a brooding
take on Otis Rush’s “Double Trouble,” and an uptempo
original, “Who’s Been Cheatin’ Who.” The four year
gap between recordings (plus a highly successful,
for both parties, team-up with Susan Tedeschi) show
Costello well on his way to crafting his own unique
sound, gaining confidence on his already formidable
guitar work as well as vocally. Two tracks are
included from Moanin’ For Molasses: another Otis
Rush track (“It Takes Time”) and the crunching
rocker, “Don’t Be Restless With My Heart.”
The previously unreleased tracks are well worth the
purchase of the disc alone. There are five studio
tracks recorded in Atlanta in 1998, including a
rollicking instrumental from Linden (“The Plumber”),
a wonderful reworking of Bob Wills’ “Big Beaver,”
and an electric (literally) cover of Robert
Johnson’s “Walking Blues,” which pairs Costello and
Tedeschi (with the latter on lead vocals). Also
included are a trio of live recordings from 2000 and
2001 (Otis Rush’s “All Your Live (I Miss Loving)” J.
B. Lenoir’s “Mojo Boogie”, and a sizzling cover of
Johnny “Guitar” Watson’s “Motor Head Baby”).
The final unreleased tracks are gems from 2002, and
show Costello’s deepening interest in soul music
(which was really evident in his 2004 self-titled
disc for Tone Cool/Artemis). These selections
include songs from Robert Ward (“Your Love is
Amazing,” complete with shimmering Magnatone
effects) and Fenton Robinson (“You Don’t Know What
Love Is”), along with two great originals that would
be heard again in the future (“She Changed My Mind”
and “Feel Like I Ain’t Got A Home”).
For fans of Sean Costello, the previously unreleased
tracks make this an indispensable collection. It
also provides an excellent overview of his career,
tracing his development from start to near finish
(omitting only his final release for Delta Groove,
We Can Get Together) and shows that there was still
much promise to be fulfilled. Sadly, we won’t get to
see what might have been, but hopefully, there are
more tracks sitting in the can that deserve to be
heard as much as the unreleased tracks featured
here. It also serves as a great introduction to his
talents for newcomers.
--- Graham Clarke
Maria Muldaur is often referred to as America’s
First Lady of Roots Music. She first catapulted to
fame with her Top 10 smash hit, “Midnight At The
Oasis,” in the early ’70s, but she has moved from
pop to jazz to gospel to blues to folk since then.
Few people realize that she first recorded with the
Even Dozen Jug Band, which included John Sebastian
and David Grisman. Her new release, Maria Muldaur &
Her Garden of Joy (Stony Plain Records), serves as a
reunion between Muldaur and her former band mates.
Other guests include the Crow Quill Night Owls, a
new jug band discovered by Muldaur.
Most of the dozen tunes come from the 1920s and
’30s, including “Shake Hands and Tell Me Goodbye,”
“Shout You Cats,” “The Ghost of The St. Louis
Blues,” “Garden of Joy,” and “He Calls That
Religion.” The group does an outstanding job
recreating these songs. Some of the old traditional
tracks from the Great Depression era are especially
timely, “Bank Failure Blues” and “The Panic Is On.”
Singer/songwriter Dan Hicks wrote the two new songs,
the hilarious “The Diplomat,” and “Let It Simmer,”
featuring a sultry vocal by Muldaur. Hicks and
Muldaur also team up for an entertaining medley of
“Life’s Too Short” and “When Elephants Roost In
Bamboo Trees.” Also included on the disc is the
title track from Muldaur’s 2005 disc, “Sweet Lovin’
Ol’ Soul,” which was the final recording of the late
Fritz Richmond, jug player for the legendary Jim
Kweskin Jug Band, and also features Taj Mahal.
The subtitle for the album is “Good Time Music for
Hard Times,” which is appropriate. Jug band music
has always been presented as a lighthearted escape
from the things that trouble the soul. During these
tough times, people need a nice change of pace from
the everyday grind. Maria Muldaur & Her Garden of
Joy provides a refreshing change of pace and is
guaranteed to put a smile on your face and a hop in
your step.
--- Graham Clarke
A pair of blues/rock legends, Jack Bruce and Robin Trower, recently teamed up for the critically
acclaimed 2008 release, Seven Moons. Bruce is
recognized as one of the most innovative bass
players of his era, but is best known for his work
with the ground-breaking trio Cream (with Eric
Clapton and Ginger Baker). Trower’s 40 year career
includes a stint with the progressive rock band,
Procol Harum, and a lengthy solo career. This is not
their first project together either, as the duo
joined forces in the early ’80s as the B. L. T.
Trio.
Shortly after the release of their latest disc, they
embarked on a European tour, which resulted in a CD,
called Seven Moons Live (Ruf Records). The CD
includes eight songs from the original CD, plus new
versions of three classic Cream songs. Joining the
pair is drummer Gary Husband (Gary Moore, John
McLaughlin), who provides powerhouse backing.
Most of the material from Seven Moons is mid-tempo
blues/rock, some of the highlights include the title
track, “Lives of Clay,” “So Far to Yesterday,” “Bad
Case of Celebrity,” and “Come To Me.” The track,
“Carmen,” is from their B. L. T. Trio days. Bruce
has not lost a step on bass, and plays one
remarkable solo after another. His vocals are still
as powerful and expressive as 40-plus years ago. Trower’s guitar work is first-rate, maintaining his
own distinctive bluesy sound while incorporating
traces of Jimi Hendrix similar to his days of
playing during the psychedelic era of rock.
The three Cream covers are standouts. “Sunshine of
Your Love” is awesome, with Bruce’s powerful playing
and Trower’s muscular guitar solo. “White Room” is
even better, with Trower taking an incredible solo
that builds on Clapton’s original and takes it to a
whole other level. The final track, “Politician,” is
also a fine effort.
Most impressive is the interplay between Bruce and
Trower. This show, recorded in Nijmegen, Holland,
was only the third one of the tour. They complement
each other perfectly, like they’ve been playing
together for years. Hopefully, this not the end of
their partnership and we’ll hear more from them
soon, but for now, fans of pile driving blues/rock
will be more than satisfied with this disc.
--- Graham Clarke
St. Louis native Mike Zito was first enthralled by
the guitar of Eddie Van Halen, but eventually fell
under the spell of guitarists like Eric Clapton,
Stevie Ray Vaughan, and Jimi Hendrix, who mixed
their rock guitar with a healthy dose of the blues.
He has released four independent projects, plus his
Eclecto Groove Records debut, Today, which garnered
a lot of attention in 2008.
His second release for the label, Pearl River, is a
hard rocking tribute to the sounds of Mississippi
blues and Louisiana soul and funk that follow that
meandering river along its course from Far East
Mississippi down through the eastern Louisiana
swamps and bayous emptying into the Gulf of Mexico.
Produced by David Z (Prince, Buddy Guy) and Eclecto
Groove CEO Randy Chortkoff (who also plays harmonica
on the disc), Pearl River features an impressive
crew of guest stars, ranging from familiar Crescent
City names like Cyril Neville (who co-wrote the
socially conscious title track and provides vocals)
and Anders Osborne (who supplies acoustic guitar and
co-lead vocals on his own “One Step at a Time”), and
young drummer Eric Boliver, whose standout
time-keeping is the secret weapon on this disc.
Singer/songwriter and one-time child star (and
Mississippi native) Susan Cowsill joins Zito on
vocals for “Shoes Blues.”
Zito wrote or co-wrote nine of the 13 tracks
on Pearl River, and they show his wide range of
influences. Highlights include the raucous opening
track, “Dirty Blonde,” the eerie “Dead of Night”
(which features spooky accordion from Jumpin’ Johnny
Sansone), the swaggering “Natural Born Lover,” “Big
Mouth,” a funky rocker, and “C’mon Baby,” a solid
slice of New Orleans R&B.
Zito shows impeccable taste in his choice of covers,
including “Eyesight To The Blind,” featuring
Chortkoff’s harmonica), “All Last Night,” which
showcases another harp player, Lynwood Slim, and
“Sugar Sweet,” which is recreated as a loose-limbed
funk workout.
Zito’s guitar work is first-rate, and his raspy
vocals are perfectly suited for the material. In
addition to Boliver on drums, the rock-solid backing
band includes bass player Lonnie “Popcorn” Trevino,
Jr. and former SRV keyboardist Reese Wynans. Pearl
River will certainly please blues/rockers, but its
charms go so far beyond that niche that fans of the
New Orleans music scene and blues lovers alike will
want to pick this one up as well.
--- Graham Clarke
Between 1930 and 1935, The Mississippi Sheiks
recorded nearly a hundred singles and made a
definitive mark as one of the most popular string
bands ever recorded. Consisting of singer/guitarist
Walter Vinson, fiddle player Sam Chatmon, and
Chatmon’s brothers Lonnie and Armenter (who also
enjoyed solo success as singer/guitarist Bo Carter
during the ’30s.), the Sheiks recorded many
memorable tunes, but the most enduring of their
recordings has to be “Sitting On Top of The World.”
The timeless track was inducted into the Grammy Hall
of Fame recently and has been recorded numerous
times over the past 80 years by artists like B. B.
King, Ray Charles, The Grateful Dead, Willie Nelson,
Doc Watson, Van Morrison, and Bob Dylan.
The group recorded for three different record
companies, toured constantly from the deep South up
to New York and Chicago, and even performed for
President Franklin Roosevelt. Part of the Sheiks’
appeal was that their sound appealed to both white
country music fans and black blues fans. They also
incorporated jazz, pop, and “hokum” (songs that
featured clever sexual word play) into their music,
so their appeal was very broad. The group broke up
in 1935, though several of them were “rediscovered”
in the ’60s and enjoyed some renewed success, but
nothing as noteworthy as their earlier recordings.
Black Hen Music has produced a wonderful tribute to
the Sheiks with Things About Comin’ My Way. Black
Hen Music president Steve Dawson has been a fan of
the group for a decade and has gathered a veritable
who’s who of blues and roots musicians to capture
the essence of The Mississippi Sheiks’ music.
There are 17 tracks, featuring a highly
diverse set of performers that demonstrate the wide
range of the Sheiks’ appeal. There are blues artists
present (The North Mississippi Allstars’ funky,
disheveled take on the hokum tune, “It’s Backfirin’
Now,” is a highlight, as is the always reliable John
Hammond’s “Stop and Listen” and Kelly Joe Phelps’
mournful “Livin’ In A Strain”), country (Oh
Susanna’s “Bootlegger’s Blues,” Danny Barnes’ “Too
Long,” and Black Hen president and disc producer
Steve Dawson’s easy, loping cover of “Lonely One In
This Town.”), and somewhere in between (“Ndidi
Onukwulu’s soulful version of the title track, The
Carolina Chocolate Drops’ authentic, yet fresh
reproduction of “Sittin’ On Top of The World,” Jim
Byrnes’ gritty, rootsy interpretation of “Jailbird
Love Song,” and Madeleine Peyroux’s breathtakingly
sultry reading of “Please Baby”).
The disc also features music from other artists
including Bruce Cockburn (an exhilarating “Honey
Babe Let The Deal Go Down”), Bill Frisell (the
instrumental, “That’s It”), Geoff Muldaur (leading
the Texas Sheiks in the timely “The World Is Going
Wrong”), Del Rey (the joyous “We Both Are Feeling
Good Right Now”), Bob Brozman (who puts on a guitar
clinic with “Somebody’s Gotta Help You”), Robin
Holcomb (the dark “I’ve Got Blood In My Eyes For
You”), and The Sojourners (the gospel standard “He
Calls That Religion”).
Things About Comin’ My Way is an outstanding tribute
disc that serves its purpose well. It’s a must-buy
for fans of the roots music movement in the
tradition of O Brother, Where Art Thou? It should
also lead listeners to not only check out the music
of the artists on the disc, but should also steer
some fans to experience firsthand the music of The
Mississippi Sheiks.
--- Graham Clarke
I really enjoyed Davis Coen’s previous release for
Soundview Records, Blue Lights For Yours and Mine,
with its mix of acoustic and traditional blues
standards spiced with a Memphis soul feel, courtesy
of some impressive work by Hammond B3 player Lance
Ashley. For his latest release on Soundview,
Magnolia Land, Coen keeps the Memphis vibe thanks to
the continued presence of Ashley, but he’s more or
less abandoned his previous focus on Piedmont
acoustic guitar in favor of the North Mississippi
blues groove.
Coen certainly surrounded himself with qualified
people. The session was recorded at Jimbo Mathus’
Delta Recording Service in Como, MS, and produced by
Mathus himself (who also played bass and guitar on
several tracks). Several tracks feature Hill Country
Blues vets Kinney Kimbrough (drums) and Justin
Showah (bass) from the band Afrissippi.
Magnolia Land consists of a dozen tracks, evenly
split between originals and covers. Noteworthy
originals include the opening track, “Tired and
Lonesome,” featuring an appropriately world-weary
vocal from Coen and some ghostly organ from Ashley.
“Anna Ann” is a jaunty number mixing Hill Country
and Rockabilly, along with some slippery slide work
from Coen. “Nothing To Hold On To” is a neat little
soul burner that would have been a good fit on the
previous album, and “Shake Your Goobie,” is a
straight Hill Country boogie.
Coen tackles some challenging covers this time
around. Wisely, he doesn’t emulate Howlin’ Wolf on
“Natchez Burning,” instead playing it straight with
the vocal. The traditional “Goin’ Away Baby” is a
dazzling North Mississippi romp, while “Country
Girl” and “Eyes Like Diamonds” are a mix of
Mississippi Delta and Chicago blues. “Shortnin’
Bread” mines more of the Hill Country sound, and the
closer is Muddy Waters’ “You’re Gonna Miss Me,”
which closes the disc on a high note.
Magnolia Land is an enjoyable and rewarding set of
blues, a nice change of pace from Davis Coen’s
previous work. It will be interesting to see which
musical direction he will head in next, but should
he linger with the Hill Country sound for awhile,
that would be perfectly fine.
--- Graham Clarke
Ben Prestage can best be described as a one-man-band
on steroids. Playing lead guitar, bass, and drums
(four foot pedals controlled by his heels and toes
of both feet), he’s a force of nature on the
bandstand with his sometimes ferocious and frenetic
attack. His variety of blues includes influences
from the Mississippi Delta, Piedmont style,
Bluegrass, and even a hearty dose of Memphis soul,
all of which is on full display in his seventh, and
most recent release, Live at Pineapple Willy’s, an
exhilarating two-disc set recorded at the Panama
City Beach club.
The 27 song set is a mix of old traditional blues,
old-timey songs, and impressive originals. He rips
through most of them at a breakneck pace and it’s
obvious that it was a rousing time. He shows his
versatility by moving from tracks like the gentle “Candyman,”
to the Muddy Waters slide fest, “Step It Up and Go,”
which receives an intense ragtime renovation, “Can’t
Be Satisfied,” to the New Orleans jazz sound of
“Viper.”
His own compositions, such as “5 Letter 4 Word
Blues,” “Me and My Uncle,” “No One Can Forgive Me,”
and “Angela” are also noteworthy, and fit pretty
well with the older covers. Prestage is a versatile
guitar player and because of his variance of styles
and speed of playing, the set never lags at all. His
gravelly, soul-drenched vocals bring to mind John
Hiatt at times.
If you think all one-man-band acts are cut from the
same cloth, guess again. Ben Prestage has much more
to offer than what you might be used to. The
Florida-based bluesman has put together a powerful
and highly original set that is guaranteed to please
any blues fan. Visit CD Baby to check out this and
other Ben Prestage CDs. While you’re at it, check
out Prestage in action on multiple videos at YouTube.
--- Graham Clarke
Samuel James brings to mind those blues troubadours
of the 1920s and ’30s, only with modern production
values. Still in his 20s, he has already
mastered fingerstyle, banjo, slide, harmonica, and
piano. Not only that, but his compositions seem to
be pulled straight from the era he favors. These
“story songs” mostly come from personal experience,
which is probably what makes them so compelling.
James’ latest CD, For Rosa, Maeve, and Noreen (NorthernBlues
Music), picks up right where his previous release,
Songs Famed for Sorrow and Joy, left off….with
masterful songwriting and performances. Again, James
is responsible for every sound on the disc, playing
resonator, Flamenco, and 12-string guitars, banjos,
harmonica, and piano, along with all the foot taps,
stomps, and hand claps, which is fine because anyone
else would just be in the way.
James’ songs mix suspense, humor, frustration, pain,
and suffering, like any good blues song should.
Highlights include the opening cut, “Bigger, Blacker
Ben,” a folk song for the 21st Century, “Joe
Fletcher’s Blues,” a humorous tale of love gone bad,
“A Sugar Smallhouse Valentine,” a sequel from his
previous release, the tender “Rosa’s Sweet Lil’ Love
Song,” “Miss Noreen,” a lively number showcasing
James on banjo, and the stark “Wooden Tombstone,”
with James singing accompanied only by his tapping
shoe.
Truthfully, every time you listen to this disc, you
will find something else to appreciate. That’s what
makes a great album great….the fact that it improves
with each listen, and a song you might have missed
the first time grabs you the second time around.
You’ll find yourself doing that with For Rosa, Maeve,
and Noreen, because you’ll be spinning it over and
over.
There aren’t many bluesmen out there right now like
Samuel James, who are working to preserve the blues
in its earliest forms. Hopefully, he will continue
to bring this nearly forgotten era to life for us
for a long time to come.
--- Graham Clarke
Live, Volume 3 wraps up Barbara Blue’s trilogy of
recordings from Silky O’Sullivan’s club on Beale
Street in Memphis, where Blue has held residence for
the past decade. Where the first two volumes focused
on Blue’s tough blues vocals on tracks from her
albums and familiar covers, Volume 3 focuses less on
the blues and more on mainstream songs, which are
also a big part of her act.
The diverse list of songs includes tunes by country
singers like Lucinda Williams (“Still Long for Your
Kiss”), Dolly Parton (“Jolene”), Eddie Arnold (“You
Don’t Know Me”), and June Carter Cash (“Ring of
Fire”). There are a few popular tracks that give a
nod toward the Bluff City, such as “Black Velvet,”
Walking In Memphis,” and “Dixie Chicken,” and a few
old favorites (Bob Seger’s “Night Moves,” Steve
Goodman’s “City of New Orleans,” and Leon Russell’s
“A Song For You”).
Anyone who’s familiar with Barbara Blue and her
singing knows that she’s as skilled performing these
songs as she is belting out her usual set of blues
and soul. She really stands out on all tracks, but
my favorites include the reflective “You Don’t Know
Me,” “Walking In Memphis,” “After The Glitter
Fades,” “Dixie Chicken,” and the closer, “A Song For
You.” Joining her on these songs is Nat Kerr (piano)
and Lannie McMillian (saxophone), along with her
backing vocalists (Nancy Apple, Reba Russell, Kathy
Keller, and Danny Childress).
Live, Volume 3 is, like its two predecessors, a
first-rate set that captures Barbara Blue at her
best.
--- Graham Clarke
Sean Chambers got a guitar for Christmas when he was
ten years old. As soon as he started learning to
play it, he realized that he had found his calling.
While he listened to many guitarists at the time, Jimi Hendrix was his favorite and the one he studied
the most. Picking up a love for the blues from
Hendrix’s bluesier material like “Red House,” and
“Catfish Blues,” Chambers started digging deeper and
found the music of Muddy Waters, Howlin’ Wolf, the
three Kings, SRV, and Johnny Winter. He started his
first band in his native Florida in his late teens
and before long, he was sharing bills with the likes
of B. B. King, Buddy Guy, Robert Cray, and others.
Soon he was recording his own discs and found
himself serving as Hubert Sumlin’s musical director
and guitarist for five years.
Chambers’ newest release is Ten Til Midnight (Blue
Heat Records), and it should net him some
well-deserved attention. Basically recorded live in
the studio with a powerhouse rhythm section in tow
(Paul Broderick – drums, Tim Blair – bass), the disc
features ten tunes, seven originals written by
Chambers or in tandem with Blair. The focus is on
guitar-heavy blues/rock, as heard on the title track
and other tunes like “Blues & Rock n’Roll, “Make It
Go,” and “Too Much Blues,” which sounds like a lost
Z.Z. Top track with its raw, crunching groove.
Chambers is also able to mix in some straight blues
on songs like “When I Get Lonely,’ which features
some wicked slide guitar, and “In The Winter Time,”
a slow blues that gives him a chance to really
stretch out, and the acoustic closer, “I Don’t Know
Why,” featuring Chambers and harmonica player Gary
Keith . The covers are also well-selected. Chambers’
version of Luther Allison’s “All The King’s Horses”
is obviously one of his favorite Allison tunes,
given his enthusiastic performance. “You’re Gonna
Miss Me,” the Guitar Slim classic, benefits from an
arrangement similar to Muddy Waters’ “Can’t Be
Satisfied,” allowing Chambers to shine on slide
guitar. The final cover is an actual Z.Z. Top song,
Billy Gibbons’ “Brown Sugar.”
Chambers’ guitar work is outstanding and his
road-tested, gravelly vocals are ideal for the
rock-edged material he specializes in. He also
produced the disc with Blair. Ten Til Midnight is an
excellent disc that showcases an unfamiliar voice
that should become familiar soon if there’s any
justice at all in the blues world.
--- Graham Clarke
Memphis guitarist Billy Lavender has established a
nice reputation in his hometown over the past
several decades with his mix of blues, rock, and R&B
influences, ranging from the Beatles to Grand Funk
Railroad to Eric Clapton and Jimi Hendrix. He mixes
all of these styles together on Memphis Livin’ (I55
Productions), which features him in tandem with a
host of local singers and musicians, tackling a wide
range of music with roots in the Bluff City.
The disc benefits from a talented group of
vocalists, including drummer Tony Adams, who ably
handles a trio of tunes (the soulful opener,
“Singing The Blues,” the blues/rock shuffle, “Bad
Boy,” and the closing swamp rocker, “Delta Time”)
and Memphis soul belter Reba Russell, whose three
tracks include the appropriately titled “Let’s
Party” (which also features a fiery harp solo from
Blind Mississippi Morris), “Bottom Line,” a mellow
pop tune, and “Blue,” an interesting song with sitar
from producer Brad Webb, who also contributes slide
and rhythm guitar on multiple tracks.
Singer/harmonica player Vince Johnson gets three
vocals, the slow blues, “Cold As Ice,” the uptempo
“Shake It,” and “3 AM,” a late night soul/blues, and
Ken Dinkins does a splendid job with the pop-styled
“Tonight.” Lavender even takes his turn behind the
mic on the rockabilly raver, “Get Along,” and a pair
of songs, “All The People,” and “If I Could,” where
his confident vocals lean more toward ’60s era
pop/rock. “Just Chillin’” is a funky instrumental
showcasing Johnson on harmonica and Lavender’s
guitar.
Lavender’s fretwork is impressive, comfortably
moving from blues to soul to rock without breaking a
sweat. He also wrote or co-wrote most of the music
on the disc. Memphis Livin’ is a wonderful tribute
to the music of the Bluff City that rocks and
grooves from start to finish in the finest Memphis
tradition. It comes off as an informal session
between longtime friends playing the music they know
and love. Blues fans should not let this one slip
past.
--- Graham Clarke
The Rump Shakers are a Detroit band that
incorporates that city’s heritage in everything they
do. Their Urban Decay (Funky Records) is about the
city and the 'burbs. The CD cover features shots of
the Packard plant in 1921 and current photo of the
Fisher Body Plant’s abandoned shell There are
moments here that remind of the barely contained
anarchy of the MC5 and of John Sinclair’s intense
and intensely poetic rant/raps.
On the opening
version of “Leaving Trunk,” head honcho Chef Chris
tears into the tune with sharp teeth, while
guitarists Dylan Dunbar and Danny Methric shred.
Some of the material is wholly locals-only in
flavor. You have to live in the area to know where
Keego Harbor is. The Brew House and Back Seat Saloon
from this 'burb are celebrated on “Boogie Through the
Night” and “Back Seat Saloon,” both jaw dropping
rockin blues that rattle the speakers.
Some of the
material is going to turn some PC folks off
(“Tattoos ‘N’ Fake Tits,” “White Trash With a Little
Class”). Some will be stunning, as is the title cut
(“what happened to the Motor City/Nobody seems to
know/There used to be flowers/Now nothing here seems
to grow”). “Moanin’ For Motown” is JL Hooker for
2009. Chris has a loud muffled vocal approach blows
killer harp. He’s part dangerous and part
sentimental.
The Rump Shakers are a band that’s come
to report the dirty truth.
--- Mark E. Gallo
Veronica & The Red Wine Serenaders'
self-titled disc on Totally Unnecessary Records is a refreshingly different CD, featuring ukelele, kazoo, washboard, mandolin, resonator
guitar, dobro, and clarinet, together with bass, piano,
etc.
The band is from Italy and have a sound all of
their own, reminiscent of '20s and '30s blues – hence my
comment about being refreshing, as not many blues
musicians pay much heed now to that period.
The vocals get shared between Veronica Sbergia and Yan
Yalego, creating a nice mix of different flavours –
they duet, too!
The whole CD sounds like the band was having a
bunch of fun while they were recording – I’d bet
money that this is a great live act!
If you like old style blues, played as it should be,
then get hold of this CD – have a listen to
“Bootlegger’s Blues,” Lovesick Blues,” “Good Old
Wagon” and the rest – you won’t be disappointed.
---
Terry Clear
If Billy Gibson is the King of Beale Street, then my
buddy Eric Hughes has to be one of the crown
princes. Eric’s latest CD, Live on Beale Street,
is full of great writing and a tight band, and
receives the benefit of the house mix at the Rum
Boogie by my good friend Robbie Rose and the astute
mixing of the magical one, Dawn Hopkins. Robbie
girl, I’ll see you soon. But enough of hellos, I’m
good to go on this one.
Eric starts off with “Handy Man,” a tribute to his
amazing abilities to fix just about anything. Robert
Nighthawk Tombs sets the tone for our first cut with
some blistering keyboard work on the B3 as Eric
extols his virtues, “I’ll take a look…at your
washing machine…now…it won’t be long…till your
clothes are clean…I’ll fire your furnace….when it’s
cold outside…I’ll be your heat when your flame is
dieing…I’m your handy man….if I can’t fix it…no one
can! Memphis Mike Forest is lighting things up on
his guitar as well and I’m guessing this was quite a
night at the Rum Boogie.
Eric grabs his harp and starts “Mellow Down Easy”
off with just the right edge, “Mellow down easy…when
you really want to blow your top!” Cooler heads
prevail when all you want to do is go off on
someone. Our third cut, “Muddy Waters Records,” is
correct in its assumption that lost Muddy Waters
records must be recaptured at all costs. Eric’s
relationship went south and his girl kept the vinyl.
Pretty risky move on her part. “I got to hear my
blues…when my heart gets black…I’m going to heap
some evil on you…if I don’t get my Muddy Waters
records back!” Hopefully she was smart enough to
return the vinyl to its rightful owner.
We’ve all been down to our last dime at one time or
another. Eric’s version, “My Last Dime,” finds him
pleading with the operator to try the number of his
girl one more time. “This old operator lady come on
the lady…and she told me this: the caller you’re
trying to reach is no longer in love with you…please
hang up and don’t try again!” Eric definitely
screwed up this time and there’s now way she’s
coming back. Our next cut, “Favorite Toy,” finds
Eric looking to replace Ken so he can flirt with
Barbie. “But Joe said…honey, just say when…I love
your more than that sissy Ken…I want to be your
playtime boy…I want to be your favorite toy!” I’m
hoping Eric doesn’t get thrown back in the toy box
anytime soon.
“Paycheck Boogie” is one of my favorite tunes from
an earlier CD of Eric’s and here we find Friday’s
paycheck burning a hole in his pocket.
“Friday…Friday…I got my money in
hand…Monday…Monday…nothing left to spend…work all
week…I do it all again…I do the paycheck boogie!”
Considering Eric’s wonderful wife, Laura, is the
bass player in his band, I think the paycheck boogie
worked out all right in this case!
Sounds of the Delta echo in my ears as the band
gives a hill country feel to our next cut, “Catfish
Blues.” Robert Nighthawk Tombs handles the harp
duties on this one as Eric tells why he wishes he
was a catfish. “Well you know I wish…I was a
catfish…swimming on out to deep blue sea…why you
know I’ll have all you good looking women…fishing
after me!” Sounds like a good enough reason to me.
“Well…goodbye…goodbye baby…I ain’t go no more to
say…why you say you want to quite me…go ahead and
have your way.” Eric’s hoping the “Blow Wind” will
bring his girl back to him but she’s determined to
go in this tune and nothing’s stopping her. Robert’s
keyboard work is just as impressive as his work on
the B3 and we’re jumping now when Memphis Mike kicks
in with his guitar.
Our next song, “Come Home Blues,” has a country feel
to it as Eric is sing to his girl. “I say come home
mama…love me like before…well you’ll find your
key…still going to fit my door!” There’s still room
in the closet for all of her stuff and Eric will
definitely welcome her back. Robert’s back at it on
the piano on this cut and I’m thinking I’ll
definitely have to catch Eric’s group the next time
I’m in Memphis.
We finally get a chance to hear a little bit of
Laura’s bass as she plays a haunting introduction to
our next cut, “Mean Old World.” Mournful notes from
Eric’s harp work to help her set the mood.
“Well…it’s a mean old world…to try and live in by
yourself…when you can’t be with the one you love…you
got use somebody else!” Eric’s love is moving on and
he’s coming to the painful realization that its time
to look for someone new. Speaking of break-ups,
Eric’s at a loss when his girl moves out and takes
the dog with her in “Did You Have to Take the Dog
Too?” “You even took the logs from our fireplace…bad
enough you left me blue…did you have to take the dog
too?” There’s a reason why dogs are called man’s
best friend and hopefully Eric got his companion
back when she left.
Live on Beale Street closes with Eric on the
harp blowing the intro to “Just Keep Loving Her.”
“Well…I woke up this morning…feeling bad…think about
the woman that once I had…just keep loving her…just
keep loving her and I don’t know the reason why!”
Live on Beale Street is a classic record by
the Eric Hughes Band for all the right reasons: a
live audience at my favorite club on Beale, the
magic fingers of Robbie Rose working the house mix
and the final mix produced to Dawn Hopkins’s
meticulous standards. Throw in a tight band that
features Eric on harp, his wife Laura on bass,
Jumping James Cunningham on drums, the guitar
talents of Memphis Mike Forrest and a multitude of
talents including great keyboard work by Robert
Nighthawk Tombs and you’ve got a party that doesn’t
end until the last song’s over.
To grab a copy of this disc or to learn more about
Eric’s band, check out his website at
www.EricHughesBand.com. Eric’s band is well
known in the Bluff city and definitely worth
checking out. You’ll be glad you did.
--- Kyle Deibler
I
don’t get a chance to listen to XM as often as I’d
like to, but thank God for Bill Wax’s astute
inclusion of Jim Suhler and Monkey Beat’s new
disc, Tijuana Bible, in the rotation. I heard
more than enough to peak my interest and managed to
get a copy to review. Haven’t heard some good Texas
border blues in awhile and Jim’s new disc more than
fits the bill.
Tijuana Bible is patterned after the
pornographic comic book series of the same name and
according to Jim, it includes “16 lurid chapters!”
The title cut is up first and here we find a
gentleman in a Texas border town experiencing a
night of lust, passion and depravity. “Written in a
narcotic haze…thirteen chapters in seven
days…smuggled in across the border…Tijuana
Bible…made to order!” Next up is “Devil in Me”,
featuring some wicked slide guitar from Jim. “Wicked
woman…treat me mean…asked for water…got
gasoline…only the devil…only the devil in me!” Jim
has definitely been a very bad boy!”
Our third cut is Jim’s version of an Elvin Bishop
tune, “Drunken Hearted Boy,” and Elvin is kind
enough to play slide guitar on the song for Jim. “I
drink because I’m worried…I don’t drink because I’m
dry…I know if I keep on drinking people…I’m liable
to drink away my life!” Drinking away his blues is
what Jim’s trying to do. He tells us that if we had
his problems, “you’d drink too!” A nice assist from
Elvin. And a well done version of his tune.
Another cover tune, “Up to My Neck in You,” is up
next and Jim lets out a yell to get it started.
“Well, I’ve been up to my neck in trouble…I’ve been
up to my neck in strife…I’ve been up to my neck in
misery…for most of my life…you come along when I
needed you…now I’m up to my neck in you!” Sounds
like Jim’s been getting kicked right and left,
hopefully things will get better soon. A “Long Hot
Summer” isn’t making Jim’s life any easier. “It’s
gonna be a long…hot summer…the days will never
end…the memories will linger on…long hot summer once
again!” The tempo picks up in “Black Sky,” but we
still feel Jim’s desperation. “Oh, the thunder and
lightning…shake me down to my very soul…demons are
fighting…feel like I’m long control…oh…Black Sky!”
In the old days Jim would be riding a horse to the
border, I’m guessing now it’s a convertible with the
wind in his hair.
Joe Bonamassa is kind enough to pick up the lead
guitar on a beautiful ballad, “Deep Water Lullaby.”
“Gypsy sun and rainbow sky…gently hang your head and
cry…can’t you see the other side…sweet deep water
lullaby!” Joe’s fretwork is brilliant and I like
this tune a lot. “Years of Tears” finds Jim
lamenting the loss of a woman he loved very much.
“I’m drowning in despair…going down…down in
misery…I’ve got years and years of tears…before I’m
finally free.” Life looks up in “Po’ Lightnin’,” a
tribute to Lightnin’ Hopkins. Lightnin’s influence
on Jim’s music is obvious and he definitely found a
good student in Jim. “Po’ Lightnin’s dead and
gone…left me here to sing this song!”
“Border Rock” finds Jim paying homage to the great
of Texas. “From the Red River mud…to the Rio
Grande…the piney woods…to the desert sand…border
rock…is all I understand.” And Jim definitely plays
it well. The Hispanic influences that run deep in
Texas appear in our next cut, “Mexicali Run.” “Cross
the river…south of town…hope to God that I don’t
drown…desert wind…midnight sun…making my Mexicali
run!” The run is dangerous, border guards are
everywhere but Jim’s determined to make the run.
“Sunday Drunk” is up next and Jim’s dreaming about a
different life. “Sunday morning comes to soon…three
sheets by the afternoon…I know there’s gonna be hell
to pay…payment due on Judgment day…Tonic & Tanqueray.”
“Chaos in Tejas” just seems to be the story of Jim’s
life. “Last night I heard the devil call…I’ve been
wondering what to do…reach up and hand me my walking
shoes…cause there’s chaos…chaos in Tejas.” All I can
say about our next cut, “Juice,” is just that Jim’s
heading over to his woman’s house and the rest
definitely falls under the theme of Tijuana Bible.
Got to keep it clean you know. A cover of Rory
Gallagher’s “I Could’ve Had Religion” seems to be
Jim’s one chance at redemption and the harmonica of
Cheryl Arena works well on this tune. Somehow I’m
having a tough time believing Jim could have had
religion!
The last song on what has been a great disc, “Cold
Light of Day,” features the keyboard work of Shawn
Phares. “Got to carry on…got to…make it through the
night…I don’t know who to blame…in the cold light of
day.”
Tijuana Bible more than lives up the promise
of the couple of cuts that I was privileged to hear
on XM. Jim’s a great guitarist, he’s got an awesome
band behind him and some very talented friends
stopped by to help him record this disc. I know
there’s a DVD out that features a lot of the tunes
found on this disc and I’ll be ordering it shortly.
More information about this amazing Texas guitarist
and his band can be find at
www.jimsuhler.com; while you’re there, grab a
copy of Tijuana Bible. I know it will make my
top 10 list this year.
--- Kyle Deibler
It’s
no secret that my buddy, Joe Whitmer, is the proud
producer of the International Blues Challenge.
On the wall in Joe’s house is a picture of the young
gunslingers (Sean Carney, Jonn Richardson and
Nick Schnebelen) taken by Jenn Ocken, that Joe
dearly loves. It’s a shot taken from the rear; a
view that Joe appreciates, in part because
oftentimes it’s the only view he gets. That said,
the young gunslingers, Trampled Under Foot
and Henry Gray all got together to record
Blues Cures, a disc to support Sean’s cancer
charity, Blues for a Cure. It’s a great disc for a
worthy cause so hit it.
The disc opens up with a cut entitled, “Side
Tracked,” an instrumental. Sean, Nick and Jonn are
three of the best new guitarists in our genre and
listening to them have at it with Trampled Under
Foot backing them is a treat. Our next cut, “Love My
Baby,” finds Danielle of Trampled Under Foot at the
microphone. Danielle went toe to toe with Shakura
S’Aida at the IBC two years ago and has one of the
strongest female voices out there. There’s
definitely no doubt that Danielle loves her baby. “I
need my baby…like the moon need the sky….oh, my baby
needs me too…and I don’t ask him why!” I have to
admit that it’s hard to distinguish who is playing
guitar when but the fretwork on this disc is amazing
and it’s a good challenge to have to figure it out.
Henry Gray is at the keyboards for our next cut,
“Cold Chills.” “Cold chills…she made cold chills run
all over me…oh…every time I start thinking about my
woman boys…I get just as glad as I can be.” Andy
Cornett lends his harp to this cut and adds just the
right touch to this wonderful song by Henry.
Our next tune is “Crosscut Saw,” featuring the
vocals of Jonn Richardson. Jonn is best known as the
guitarist for Diunna Greenleaf & Blue Mercy, and
this is the first song I’ve heard him sing. Jonn’s
got a strong voice and I can hear his Texas
influences in some of the guitar playing on this
cut. Nice job, Jonn! “Jonny Cheat,” our next tune,
has definite ZZ Top influences and finds Nick
Schnebelen on the microphone. Nick’s got a touch of
bad ass in him and the song fits. “When you lose the
one you love…you know it cuts you pretty bad…more
times than not…you know it’s another man!” Kind of
wonder which end of the story Nick’s been on but
that’s a question for another day.
“Come on In” finds Henry back at the piano and the
microphone. “Come on in…ain’t nobody home but me…we
can drink a little liquor…drink a little wine…we can
get drunk and have a helluva good time…come on in…ain’t
nobody home but me!” Sean takes the microphone for
the first time on our next tune, the Freddie King
classic “Use What You Got.” Here we find that Sean’s
got an insight into how to keep his baby happy.
“You’ve just got to use what you got…and it doesn’t
matter about your sign!” Jonn’s guitar solo in this
cut is tastefully done and I’m wishing I was there
when this was recorded. The next cut, “Comin Home to
You,” is a Trampled Under Foot staple featuring both
Nick and Danielle. “Wheels racing down the track…and
I ain’t looking back…I’m just coming home to you on
an evening train!”
“Times Are Getting Hard” features more of Henry’s
great keyboard work as he tells us just how
difficult things are getting. “Too much taxes on
your groceries…too much taxes on your meat…you ain’t
got no money…you can’t even…find a job!” The call
goes out to Jonn for another guitar solo and it’s
plain to see that all of the young gunslingers are
tremendously talented. Jonn’s back on the vocals for
“Wait On Time.” “Well…I live the life I love…and I
love the life I live…the life I live baby…is all
that I’ve got to give…just wait on my baby…I’ll be
there one day…Lord, until I get there baby…all I can
do is hope and pray!”
Up next is Nick, who isn’t shy about telling us his
thoughts in “Ain’t My Problem.” “Sit there telling
stories…not a one of them is true…you got to put
down that bottle…spend some time fixing you…you’re
money ain’t my problem…I got problems of my own…take
all your worries and troubles…take them back inside
your door!”
Blues Cures closes with another tune by Henry
Gray, “How Could You Do It,” and the grand finale
“Whoa Baby” that just feature Sean, Nick and Jonn.
“Whoa Baby…won’t you stay for awhile…if you give me
a couple of minutes…I just might make your style!”
Beautifully done, with Nick doing the vocal honors,
“Whoa Baby” is a great way to end this disc.
Kudos to Sean for putting this project together.
Cancer has affected a number of people in Sean’s
inner circle and this project is a worthy effort on
their behalf. Henry, Jonn, and Nick, Danielle and
Chris of TUF all deserve praise as well for their
contributions to this project.
To read more about the charity, Blues for a Cure, or
to order a copy of this disc, please check out the
website Sean has set up for this project at
www.bluesforacure.com. Sean, Trampled Under Foot
and a host of other players are getting together in
Columbus, Ohio in December at Whiskey Dick’s to do
it all over again. If you’re in the Columbus area,
check it out. You’ll be glad you did.
--- Kyle Deibler