This year marks the 20th anniversary of
Mississippi Heat, one of Chicago’s finest blues
ensembles. Founded by harmonica player Pierre
Lacocque, one of the Windy City’s premier harp men,
the band has included some of the city’s heavy
hitters over the years, including Bob Stroger,
Robert Covington, Jon McDonald, Deitra Farr, Bob
Carr, Allen Kirk, Zora Young, James Wheeler, and
Billy Flynn. In celebration of their anniversary,
the band has released Delta Bound, their
fourth release for Delmark Records and tenth
overall.
The regular group includes Lacocque (harmonica),
Inetta Visor (vocals), Giles Corey and Billy
Satterfield (guitar), Chris “Hambone” Cameron and
Johnny Iguana (keyboards), Joseph Veloz (bass) and
Kenny Smith (drums), but, as with other Heat
releases, Delta Bound is loaded with special
guests. Alumni Flynn and Farr return to grace
several tracks, along with frequent guest guitarist
Carl Weathersby and zydeco standout Chubby Carrier.
Ms. Visor has served as Mississippi Heat’s lead
vocalist for well over a decade, and her powerful,
distinctive vocals shine on tracks like “Granny
Mae,” the creole-flavored “New Orleans Man” (with
guest Carrier), the smouldering cover of “Don’t Let
Me Be Misunderstood,” and the piano-driven “Padlock
Blues.” “Goin’ to St. Louis” has a jazzy feel,
complete with vibraphone from Kenneth Hall, and she
just tears up the more traditional fare like
“Trouble In His Trail,” and “Mr. Mistreater,” with
Weathersby on guitar.
Farr sings on three tracks, “Look-A-Here, Baby,”
“What’s Happening To Me?” and “Sweet Ol’ Blues,”
while Flynn plays on the latter two tracks, plus “My
Mother’s Plea” and “Sweet Ol’ Blues,” and Weathersby
plays on “Don’t Let Me Be Misunderstood” and “Mr.
Mistreater.”
Listeners have a good idea of what to expect from
a Mississippi Heat recording…excellent performances
and musicianship, a mix of fine new compositions and
well-chosen, unique covers, and a great
representation of traditional blues tempered with
enough modern flourishes to keep things fresh.
Delta Bound may be their best release yet, no
small feat in itself. We eagerly await the next 20
years of music from Mississippi Heat.
--- Graham Clarke
In 2008, Hans Theessink and Terry Evans
recorded the album, Visions, a relaxed,
informal acoustic collection of original and classic
tunes that was well-received, even garnering a
nomination at the 2009 Blues Music Awards. Four
years later, the pair have reunited for the
excellent follow-up, Delta Time (Blue
Groove), continuing along the same lines with 13
tracks, including four originals from the pen of
Theessink. Four tracks also feature Evans’
occasional employer, Ry Cooder, on guitar.
The combination of Theessink’s weathered baritone
and Evans’ gospel-flecked tenor makes for compelling
listening. On five tracks, including the title track
that opens the disc, the moving J.B. Lenoir track,
“Down In Mississippi,” and the righteous Theessink
original (“Shelter From The Storm”), backing vocals
are provided by Arnold McCuller and Willie Greene
Jr.
The intriguing list of cover tunes includes Bobby
Charles’ “How Come People Act Like That,” the
Delmore Brothers’ “Blues Stay Away From Me,” Jimmy
Reed’s “Honest I Do,” Tampa Red’s “It Hurts Me Too,”
and the James Carr classic, “Pouring Water On A
Drowning Man.” One really unique tune recreated is
the 60’s pop hit, “The Birds And The Bees.” Evans
sang as a member of The Turnarounds, who backed
Jewel Aikens on the original version.
Musically, Theessink plays guitars, mandolin,
banjo, harmonica, and percussion on these tracks,
while Evans provides steady backing on rhythm
guitar. Cooder’s guitar work is, as always,
immaculate. Delta Time is a marvelous disc
from start to finish with its relaxed setting, warm
vocals, and stellar fretwork, and is a must-have for
fans of acoustic blues guitar.
--- Graham Clarke
Memphis Gold (a.k.a. Chester Chandler)
learned guitar from the legendary Memphis guitarist,
Reverend Robert Wilkins, and started a musical
journey soon after that eventually found him playing
guitar with one of the Bluff City’s most revered
blues bands, the Fieldstones. For a number of years,
he has resided in Washington, D.C. where he formed a
duo with harmonica player Charlie Sayles, playing
various D.C. clubs and serving a year-long stint in
Deborah Coleman’s touring band before setting out on
his own.
Pickin’ in High Cotton (Stackhouse
Recording Co.) is Memphis Gold’s fourth release,
and, like the others, it offers up traditional blues
with modern touches. There’s plenty of greasy
Memphis soul in the mix, too, as might be expected,
but there’s definitely more emphasis on the
traditional blues styles of artists like Howlin’
Wolf, John Lee Hooker, and Muddy Waters.
Memphis Gold is one of those composers w ho can
write a song about nearly any subject, and he covers
a broad range on this release. “How You Gonna Play
The Blues” is sort of an autobiographical track,
about how he’s paid the same dues (picking cotton,
working in the fields, wearing cardboard in his
shoes) that his predecessors did. This is a strong,
down-home track, with harmonica wailing in th
background, as Memphis Gold declares, “I am the
Blues, I own the Blues!”
Memphis Gold also takes on the plight of the
homeless (he was himself homeless for a while in
D.C.) on “Homeless Blues,” and also relates the
story of the doomed 19th Century abolitionist in
“John Brown,” while tracks like “Plow My Mule” and
the title track discuss the hard work done in the
fields, albeit in different ways (the former goes
the urban blues route, while the latter does more of
a down-home approach, with a “Smokestack Lightnin’”
backdrop).
There’s also more lighthearted fare as well, with
“Biscuit Boogie,” an upbeat track that will make you
want to dance and grab a pan of biscuits at the same
time, the Hooker-esque “Ice Cream Man,” the fine
instrumental, “Back Po’ch Tennessee,” and the
splendidly funky closer, “Standin’ By The Highway.”
Pickin’ in High Cotton is probably Memphis
Gold’s most personal album yet. There’s lots of
biographical references here in nearly every song.
It’s the kind of disc that makes you think, but also
makes you move your feet, thanks to Memphis Gold’s
standout guitar work, plus contributions from
artists like Jay Summerour, Linwood Taylor, and
Robert Lighthouse.
--- Graham Clarke
For her 40th album, Maria Muldaur decided
on a tribute album to one of her heroes, blues icon
Memphis Minnie. ….First Came Memphis Minnie
(Stony Plain) features Muldaur and includes
performances by Rory Block, Bonnie Raitt, Ruthie
Foster, Phoebe Snow, and Koko Taylor, and a cast of
musicians in support that includes Alvin Youngblood
Hart, Steve Freund, David Brombert, Del Rey, Roy
Rogers, and Steve James.
A singer, guitarist, and songwriter, Memphis
Minnie played a key role in developing the
electrified Chicago blues band sound. She was one of
the first to record using an electric guitar. She
dominated the Chicago blues scene for nearly two
decades, recording over 200 songs during her 40-year
career. She easily transitioned from the rural,
acoustic blues of the 20’s into the more urban style
that began in the 30’s and continued her dominance
into the 1950s.
Muldaur sounds fantastic on her eight selections,
which range from “Me And My Chauffeur Blues,” “I’m
Goin’ Back Home” (with Alvin Youngblood Hart on
guitar and second vocal), “I’m Sailin’,” “Long As I
Can See You Smile,” Lookin’ The World Over,” “She
Put Me Outdoors” (again with Hart on guitar and
vocal), “Tricks Ain’t Walkin’” (the first Memphis
Minnie song she ever heard, in singer Victoria
Spivey’s apartment), and “Crazy Cryin’ Blues.”
Though her vocals are a tad grainer than during her
“Midnight At The Oasis” days, I think she sounds as
good as I’ve heard her. Her handling of this
material is masterful.
Bonnie Raitt and guitarist Steve Freund take on
“Ain’t Nothin’ In Ramblin’,” and it’s always good to
hear Raitt on acoustic guitar. Rory Block, no
stranger to tribute albums herself, does a fine job
on “When You Love Me,” and Ruthie Foster (with
Freund, bass player Tanya Richardson, and Samantha
Banks on percussion) ably handle “Keep Your Big
Mouth Closed.” The tracks from the late Phoebe Snow
(“In My Girlish Days”) and Koko Taylor (the raucous
“Black Rat Swing,” with Bob Margolin on slide
guitar) are from previous releases (Snow’s 1976
release, It Looks Like Snow, and Taylor’s
2007 Old School).
A tribute album to Memphis Minnie is long
overdue. The fact that this one is so well-done is a
bonus. Each of these singers (and most other female
blues singers) owe a huge debt to Memphis Minnie
because of her ground-breaking talent and fierce
determination to be successful in what then was
almost exclusively a man’s world. Muldaur is two for
two in 2012 with this release and the excellent
Steady Love from earlier this year. Blues fans
would be wise to track them both down.
--- Graham Clarke
For the last few years, guitarist Tom Feldmann
has been exploring the music of country blues and
gospel guitarists in lieu of his own compositions.
His first release in that direction was 2010’s
Tribute, an excellent set that found Feldmann
and his band, the Get-Rites, recreating songs by
artists like Blind Willie Johnson, Bukka White,
Charley Patton, Reverend Robert Wilkins, Muddy
Waters, Lightnin’ Hopkins, and many others. He’s
also released several instructional DVDs for Stefan
Grossman’s Guitar Workshop that have been well-received.
Feldmann’s latest album, Lone Wolf Blues
(Magnolia Recording Company), continues his
exploration of country blues and gospel. This time
around, he mixes in a few of his own compositions
among the 16 tracks featured on the disc, which
include songs by Oscar “Buddy” Woods (the title
track), Bukka White (“Special Streamline Blues” and
“Sic Em Dogs”), Rev. Gary Davis (“Oh Glory, How
Happy I Am”), Mississippi Fred McDowell (“Keep Your
Lamp Trimmed and Burning”), Blind Willie Johnson
(“God Don’t Never Change”), Blind Boy Fuller
(“Homesick and Lonesome Blues”), Sylvester Weaver
(“Guitar Rag”), Barbecue Bob (“Yo Yo Blues”), Son
House (“Shetland Pony Blues”), Mississippi John Hurt
(“Here Am I, Lord Send Me”), the traditional
“Delia,” and a closing Muddy Waters medley.
Feldmann’s own compositions are “We Have
Overcome,” “Ever Flowing Fountain,” and “Level the
Hollow,” and they stand up well with the old
standards. Feldmann has a warm tenor voice that fits
these songs and this music perfectly, but his guitar
work is what you will be listening to this set for.
His guitar playing is just wonderful, with plenty of
intricate picking as well as some marvelous slide
work throughout the disc.
Frankly, I could just sit and listen to this disc
all day long, same as with Feldmann’s other
releases. If you’re a fan of acoustic guitar,
particularly the Pre-War country blues and gospel
music variety, you will find yourself doing the same
thing. He deserves a big “Thank You” from all of us
for his efforts in helping keep this music going.
--- Graham Clarke
British blues rocker Ian Siegal made the
move back to Mississippi to record his follow-up to
2011’s highly acclaimed release, The Skinny.
Returning to the Zebra Ranch studio in Coldwater,
Mississippi, Siegal recaptures that hypnotic North
Mississippi hill country rhythm on Candy Store
Kid (Nugene Records) with an able assist from
Cody Dickinson, Luther Dickinson, and Alvin
Youngblood Hart, dubbed the Mississippi Mudbloods by
Siegal.
Siegal’s wrote six of the 11 tracks, but only two
were done before he arrived in Coldwater. He worked
on the others during the recording process. The
results are satisfying, from the relentless groove
of tracks like “Earlie Grace jnr,” “I Am The Train”
to the greasy funk of “Hard Pressed (What da Fuzz?)”
and an awesome cover of Little Richard’s “Green
Power” to crunching, hypnotic vibe of “Loose Cannon”
and “The Fear.”
Siegal also offers a splendid cover of Duke
Bardwell’s “Bayou Country,” and Garry Burnside
contributes “Strong Woman,” and Lightnin’ Malcolm
wrote and sings on the soulful “So Much Trouble.”
The rapport between these musicians is
particularly noteworthy. Since most of them worked
together on Siegal’s previous release, this one
seems to pick up right where its predecessor left
off with the perfect mix of hill country blues,
rock, soul, and funk. The disc is aptly titled,
since blues fans will feel like a kid in a candy
store when they give this one a spin.
--- Graham Clarke
It is really hard to imagine where modern
American music would be without Les Paul. His impact
on music and guitar playing is almost too huge to
imagine. He invented the solid-body electric guitar,
which was a big factor in the development of rock
and roll’s sound. He also was one of the first to
use overdubbing and multitrack recordings, plus his
guitar playing itself, developing chording, trills,
licks, and fretting techniques inspired many
current-day guitarists. Best of all, Paul took on
all comers. In other words, he worked with jazz
musicians, blues musicians, rock and rollers,
country pickers, and punk rockers and they all
learned at the feet of the master.
Paul passed away in 2009, and his longtime
musical partner, guitarist Lou Pallo, has
assembled an all-star cast of musicians to join him
in paying tribute to the musical pioneer with
Thank You Les (Showplace Music Productions).
Pallo is backed by members of the trio, along with a
guest list that includes guitarists Steve Miller,
Keith Richards, Billy F. Gibbons, Jose Feliciano,
Slash, Johnny A, Bucky Pizzarelli, Arlen Roth, Nokie
Edwards, and singers Blondie Chaplin, Nicki Parrott,
Eddie Brigati, Jr., and American Idol finalist
Melinda Doolittle. The tribute spans a vast array of
musical styles, including pop, jazz, blues, country,
rock, and blues.
It’s interesting to see these musicians doing
some of these songs….sort of stepping out of the box
at times. Steve Miller (who also penned the liner
notes) teams with Pallo on two tracks (“Mr Day/Tell
Me What’s the Reason” and “Nature Boy”) and Keith
Richards does “It’s Been a Long, Long Time,” with
Pallo. Gibbons does a nice job on “September Song,”
and Roth’s guitar work is crisp on “Mister Sandman”
and introspective on “Vaya Con Dios,” (where he’s
joined by his daughter, Lexie, on vocals).
Slash rocks the house on his selection, “Deep in
the Blues,” Pizzarelli and Pallo do a masterful job
on “Just One More Chance,” which has a nice
hollow-body T-Bone Walker feel to it, and Jon Paris
throws down some ripping slide guitar and harmonica
on “St. Louis Blues. “ Those are just a few of the
highlights….I haven’t even mentioned Johnny A’s
funky take on “Sweet Georgia Brown,” or Feliciano’s
letter-perfect reading of “Besame Mucho,” or the
closing tune, a lovely version of “Over the
Rainbow,” from Ms. Doolittle.
Pallo worked with Paul for over 25 years,
basically rejuvenating the legend’s career in the
early ’60s after a brief retirement. They performed
together up until Paul’s death. These 21 tracks
really capture the spirit of Les Paul and you can
really feel the love and respect that each artists
had for the man as they strive to give their best
performances possible on these tracks.
Thank You Les is also available as a DVD,
which offers a behind-the-scenes look at the
recording of the album with interviews, photos,
performances, and other features. Tribute albums are
a dime a dozen sometimes, but you won’t find one
that’s done with as much love and respect as this
one. Simply put, if you’re a guitar fan or player,
you need to check out this set.
--- Graham Clarke
Derrick Walker, a.k.a. Big Walker, was
born and raised in Oklahoma, but made his way to San
Francisco in the ’60s, then to Europe. During that
time span, Walker played with Lowell Fulson, Michael
Bloomfield, and Big Mama Thornton, developing a love
for blues, country, and folk music in the process.
He is a mix of European, African-American, and
Native American ancestry, and, as he points out in
the liner notes to his new release, Root Walking
(BWK Records), so is American music.
Vocally, Walker has a gruff, sort of talky style,
sounding like a cross between Johnny Jenkins and
Jimi Hendrix. His harmonica work is first-rate, too.
The songs mix blues, gospel, rock, jazz, and old
timey music, just like all good roots music. The
music sometimes is reminiscent of Jenkins’ Ton Ton
Macoute album, with a bit a swampy, eerie vibe. Some
of the songs date back to several hundred years ago
(the uptempo “Raise a Ruckus,” “Wild Black Bill,”
and the gospel track, “You Got a Home In That Rock,”
all date back to the 1700s, and the harrowing “Run
Nigri Run” and the humorous country-flavored
“Hypocrite Blues” are from the 1800s. Leadbelly’s
“Midnight Special” also makes an appearance.
Walker updated and edited some of the lyrics of
the older tunes, often adding verses as well. He
also wrote several of the other tracks, including
the catchy opener, “It’s Hard,” the story song,
“Can’t Take No Train,” and the last third of the
disc, which includes the funky “Papa Guede,” the
spooky “Devil’s Cloth,” “Thirteenth Full Moon,” a
gritty tribute to Walker’s friend, the late
guitarist Olle Boson, and the closer, “Slave.”
Actually, the closer is a fun little rocker that
features Walker singing in a “Monster Mash” style
vocal and a cool sax solo that starts a few seconds
after “Slave” ends.
Walker gets a musical assist from a handful of
talented musicians, including drummers James
Bradley, Jr., Fredrik Hellberg, bass
player/co-producer Surjo Benigh,
guitarist/co-producer Stevie Klasson, guitarist
Maxie Dread, percussionists Calle Drugge and Bai
Jack, piano player Slim Notini, and background
singers Paris Renita, Nevada Cato, and Derek
January.
Root Walking has something for everybody.
It’s an outstanding mix of blues and roots music and
is an expansive look at the blues now and the blues
the way that they used to be. Big Walker does an
excellent job recreating and interpreting this
tunes. This is recommended listening for any roots
music or blues fan.
--- Graham Clarke
Over the years, there have been scores of sons
and daughters of blues legends who have done their
best to follow in their parent’s shoes. Most of
them, with a few notable exceptions, have either
imitated their mothers or fathers, or at least
retained part of their parents’ original sound. I
would put John Lee Hooker, Jr. under the
column of “Notable Exceptions.” The younger Hooker
spent a large portion of his teen years backing his
father, including on the elder’s Live at Soledad
Prison album, but fell into a 25-year battle
with drug and alcohol dependency.
Over the past ten years, he has shaken off his
demons and has launched a fairly successful solo
career, which has found him blending the more
traditional down-home blues of his father with R&B,
soul, rock, and funk. Hooker’s latest release, and
fifth overall, is All Hooked Up (Steppin’
Stone Records), and is another solid entry into an
increasingly diverse catalog. Hooker wrote all of
the songs (three with producer Larry Batiste) and
they run from the story of a neglected wife
declaring her independence (“Tired of Being a
Housewife”), to a dazzling tribute to our military
men and women (“You Be My Hero,” with guitar from
guest Lucky Peterson), to a soulful duet with “The
Cleanup Woman” herself, Betty Wright (“I
Surrender”).
“Listen to the Music” has a cool, funky Second
Line rhythm, and the two closers, “Pay the Rent” and
“Tears in My Eyes,” both have a jazzy R&B feel. On
tracks like “Hard Times” and “Let Me Be,” however,
Hooker gives a solid nod to the traditional blues,
one punctuated with harmonica, the other one with
horns. The title track is a keeper, too, an
autobiographical track about the trials of being the
son of a famous bluesman.
Production by Batiste is first-rate and Hooker is
backed by an All-Star assembly of Bay Area musicians
who keep things tight and in-the-pocket. In addition
to the album, All Hooked Up also includes a
short DVD animated video of Hooker’s
autobiographical song, “Dear John.” He pulls no
punches describing what he has been through to get
to where he is today.
All Hooked Up is guaranteed to continue
John Lee Hooker, Jr.’s steady climb to the higher
echelons of blues popularity. He continues to
improve and develop and it will be interesting to
see what his next move will be. In the meantime,
there’s plenty here for blues fans to enjoy.
--- Graham Clarke
If your musical bag includes the rocking Texas
blues of Stevie Ray Vaughan, the slick urban blues
of B.B. King, or even the gritty blues-based rock of
Grand Funk Railroad, then The No Refund Band
has what you’re looking for and plenty of it. Even
though the band has been around since 2007, they are
just now getting around to releasing their
self-titled debut recording.
Based in West Texas, the No Refund Band is
fronted by charismatic singer/lead guitarist Ricky
Jackson, bass player Rik Robertson, drummer Walter
Cross, and rhythm/lead guitarist/founder Mike
Crownower. The band also sports a tight horn section
(Diamond Jim Brady – trumpet and flugelhorn, Anthony
Terry – saxes), and for the disc they’ve also added
strings (Max Dyer – cello, Aleph Yonker – violin).
The album consists of twelve tunes, half covers and
half originals.
The originals are strong, with tunes like the
Latin-flavored acoustic “Come Down Slow,” and the
country/pop ballad, “Fall Again,” but the group
really shines on the more bluesy tunes like “Just To
Be Blue” (a horn-soaked duet with Texas singing
legend Tommie Lee Bradley), “Got Whiskey,” “One More
Drink,” and the slow blues, “One More Drink.”
The cover tunes are sort of unusual. Rarely on a
blues album do you see songs originally done by the
Beatles (“Eleanor Rigby”) or Three Dog Night (Hoyt
Axton’s “Never Been To Spain”), but the No Refund
Band is unafraid to take chances and both songs work
in the blues format, though the Axton song retains
much of its rock underpinnings. The other covers are
a rousing version of “Blues Is My Business,”
popularized several years ago by Etta James, “Willie
the Wimp,” and Warren Haynes’ “Soul Shine.”
The No Refund Band offers a great mix of electric
and acoustic blues, along with a discerning ear for
catchy cover songs and a strong set of original
tunes. The mix of roadhouse and more upscale,
horn-driven blues is an attractive one and makes
their debut release worth seeking out.
--- Graham Clarke
One of the coolest things about writing these
reviews is that you get to hear a lot of music from
artists that you might not have otherwise
heard…artists that have been working together for
years, playing certain regions of the U.S., building
a following among their local fans and mainly just
doing it for the love of the music. They might never
get beyond that area, but in reality, they’re not
much concerned about it. The music, or the love of
playing it, is the thing.
Take The Bopcats, for example. The
Richmond, Virginia band has been playing bars,
clubs, and frat parties since the ’70s. In the
tradition of other roots bands like the Blasters,
the Bopcats play blues, rockabilly, R&B, and rock &
roll. They recorded an LP in 1984, but since then,
they have mainly recorded demo tapes for promotional
purposes, preferring to let their live performances
speak for themselves. These recordings have been
compiled into a collection from EllerSoul Records,
called 25 Years of Rock n’ Roll.
The collection gathers 17 of the band’s track
remastered from the original vinyl and tape
recordings. Eleven of the songs are Bopcat originals
and the six covers range from Johnny Cash (“Get
Rhythm”) to the Rolling Stones (“Venitilator Blues”)
to Dave Bartholmew (“Who Drank My Beer”) to Dave
Alvin (“Marie Marie”). Their original tunes are a
lot of fun, too, and some highlights include “I
Don’t Want To Be Alone,” a cool rockabilly number
(one of several, including “Crazy Li’l Baby”), the
country-flavored “Dark Train,” “Broke Down,” the
rocker, “All I Need,” and the surf guitar groover,
“Jenny Jenny.”
This is a great disc of roots music from a band
that has been playing these songs for years….long
enough to have completely mastered the sound. I love
these kinds of records that feature different kinds
of music, all played extremely well. Simply put, if
you like blues, rockabilly, rock and roll and like
to move while you’re listening to it, then you need
to check out The Bopcats’ 25 Years of Rock n’
Roll.
--- Graham Clarke
Corey Lueck and the Smoke Wagon Blues Band
have been playing in clubs and various festivals
around the Ontario area since their beginnings in
1997. Musically, they offer an interesting mix of
Chicago and New Orleans blues with a little rock
tossed in for good measure. The group’s latest CD,
It Ain’t Easy, is loaded with 15 stellar
sides reflecting these styles.
Lueck plays a mean harmonica and sings in a
raspy, whiskey-soaked growl for the most part. Mike
Stubbs does an excellent job on guitar, and Steve
Sherman assists on bass and drums, with a trio of
keyboard players (Jesse O’Brien, Nick Succi, and
Scott Pritchard), Gord Aeichele on bass and sax, and
Gavin Robertson on drums.
14 of the 15 tracks were written by Lueck and
members of the band. The lone cover is Rudy
Stevenson’s “Ain’t No Use,” a piano-driven ballad
with some sweet jazzy fretwork from Stubbs. Other
highlights include “Josephine,” which has a funky
Meters vibe, “Devil Got My Woman,” which benefits
from Lueck’s gravelly vocal, the smooth keyboard
work from O’Brien, and Aichele’s saxophone, the
loose-limbed “Drinking Hard and Steady,” the R&B
track, “Some Other Fool,” and the
traditional-sounding blues, “Drink By the Sink.”
Singer Robin Banks guests on two tracks. She
shares vocals with Lueck on the swampy cut, “That
Voodoo,” and she takes the lead vocals herself on
the soulful, “Where Did I Go Wrong.” It Ain’t Easy
is a solid, well-done set of blues and R&B original
tunes. Lueck and company do an excellent job and
make this a highly recommended set for blues fans.
--- Graham Clarke
Simon McBride has been turning heads since
he was 15 years old, when the Belfast native won
Guitarist’s Young Guitarist of the Year competition
as a 15-year-old. He’s been playing for a living
since he was 16, in the metal band Sweet Savage and
then with Andrew Strong, the ex-Commitments lead
singer. When the guitarist signed a solo deal with
Nugene Records in 2008, and releasing the critically
acclaimed debut, Rich Man Falling, it was
clear to many that McBride was a star in the making.
He has continued along that track, picking up
multiple British Blues Awards nominations and
releasing two other well-received discs in the
process.
Crossing The Line is McBride’s third
release, and on this album, McBride receives
assistance from Paul Reed Smith, who invited the
guitarist to record in his own personal studio,
Dragon Xing Studio in Annapolis, Maryland. The
youngster doesn’t disappoint either, laying down
some masterful fretwork on these 11 tracks.
The powerhouse trio (McBride – guitar, Carl
Harvey – bass, Paul Hamilton – drums) rip through a
stunning set of tunes, nine originals, two covers
(Blood, Sweat & Tears’ “Go Down Gamblin’” and Gareth
Dunlop’s soul rocker, “Home To Me.”). Highlights
include the strong rocker, “Heartbreaker,” the
soaring ballad “No Room to Breathe” (one of several
tunes featuring Mia Simone on backing vocals), the
acoustic “A Rock And A Storm,” and the magnificent
closer, a reworking of McBride’s “Down To The Wire.”
McBride’s guitar work is superb, and his vocals
are also strong, bringing to mind Paul Rodgers at
times. The band is also great, and are augmented on
one track (“Alcatraz”) by saxophone from Davy Howell
and trumpet from Linley Hamilton. The world of
blues/rock is already loaded with some outstanding
young guitarists, but Simon McBride is in position
to raise the standard with this impressive release.
--- Graham Clarke
Canadian Ron Beer’s latest release, The
Blues Don’t Say It All (Boogie Boy Blues),
offers up a versatile set of blues that take in
elements of jump blues, R&B, and roots. Beer teams
up with lyricist Lou Sabatini as on his previous
effort and provides warm, engaging vocals. He is
assisted by guitarist Neil Chapman, keyboardist Bill
Evans, and a rhythm section of John Meydam and Alex
Paris. Producer Paul Schofield also plays the horns
that punctuate several of the ten tracks.
The songs, as mentioned, are a diverse lot. The
title track and “If We Don’t Talk” are pretty
straight blues numbers. “I Understand” is a
slow-drag R&B track, and “Close To The Fire” is pure
jump blues. “Call Me A Doctor” is a fun, old-timey
number that is backed by clarinet and banjo and old
school lyrics, and “Give Me Shelter” has a jazzy
blues charm to it with its tropical rhythms and
smoky saxophone, an approach revisited with “Who’s
Fooling Who.”
The Blues Don’t Say It All is a
well-rounded set of original tunes that mixes R&B,
jazz, and traditional sounds with the blues. Ron
Beer is a talented performer (and author as
well….check out his Boogie Boy Blues graphic novel
series) and he and composer Satabini make a good
team and have released a highly enjoyable set.
--- Graham Clarke
Words escape me when I think of Paula Harris
from the Bay Area. As a long time volunteer of the
Blues Foundation’s International Blues Challenge,
I’ve had the pleasure over the years to witness a
number of scintillating performers come to the Bluff
City to do battle with the world’s best and was
fortunate enough to have Paula’s band assigned to my
home away from home, the Rum Boogie. Paula went on
to take third place at this year’s IBC and has
released a new disc, Turning on the Naughty,
that showcases everything I love about her. She’s
big, bad, and bawdy and apologizes for none of what
I consider to be her most endearing qualities. This
is quite a disc, so let’s give it a listen.
Paula kicks off with a tune of her own, “Nick of
Too Damn Late.” Here we find Paula blindsided by a
new love. She rushed into it very quickly and is
definitely having second thoughts. “I rushed in…I
didn’t try to wait…now I’m scared…my heart will
break…I should have slowed down…now it’s too late!”
Paula’s impetuousness continues in our next tune,
the title cut, “Turning on the Naughty.” “Babe, we
need to leave this place…I want to be in your
embrace…going to let it all hang out…you know what
I’m talking about…turning on the naughty!” Paula’s
found her man and she definitely wants him now. It’s
worth noting that a plethora of the Bay Area’s
finest musicians worked with Paula on this project.
Her guitarist, Terry Hiatt, absolutely tears it up
on his guitar solo in this tune.
A full complement of horns is backing Paula on
our next cut, “Touch of the Blues.” Here we find
Paula at the end of a relationship and she’s
definitely feeling a touch of regret. “I caught you
cheating…I thought we were through…but I still had…a
bad case of loving you…just a touch of the blues!”
One of the tunes Paula favored at the IBC was
“Damn Your Eyes” and it’s here that the full range
of her vocal talents really begins to shine. I
appreciate the huskiness in her voice that is a
departure from the full on vocal style that she’s
capable of. “I guess I see what I wanna see…maybe my
heart’s deceiving me...damn your eyes.”
“Cast the First Stone” is another Paula original
and here we find another relationship coming to an
end. “I’ll take the blame…for anything I’ve
done…we’re living in a glass house…but it sure ain’t
a home…people in a glass house…shouldn’t throw
stones…if you think it’s all on me, Babe…cast the
first stone!” Another original, “Learn from My
Mistake,” is up next. “Learn from my mistake…he’s a
real good man to do you wrong…learn from my
mistake…leave the man alone.”
“Just Don’t Look Good Naked Anymore” is another
of Paula’s originals and the tune just cracked me up
the first time I heard it. I’ve had a private
conversation with Paula on this tune and for the
sake of the review, I’ll just politely have to
disagree with her. “ “I went to the doctor for my
yearly exam…he saw me in the buff and he said
''damn''…am I dying doc? I need to know the score…he
said, “you ain’t dying girl…you just don’t look good
naked anymore!”
Paula cranks the funk up on our next cut, “Baby
Love.” “You give me a reason…to be a fool for
you…I’ll be your slave…yes, I will…give me your
command….ah baby love.” The tempo finally slows down
as Paula eases into the ballad, “Some of My Best
Friends are the Blues.” Paula’s musical roots run
deep in jazz and soul as well as the blues and this
entire disc features some of the strongest female
vocals that I’ve heard in quite awhile. “I know my
daddy left me…cause they came and brought the
news…well, some of my very best friends are the
blues!’
Restraint is not a word that comes to mind when
thinking about Paula and she’s letting an ex-lover
know exactly how she feels in “Gates of Hell.” “God
should make you pay…for what you did to me…but Lord,
help me…I can’t break free.” Next up is an excellent
cover of “Dust My Broom,” and then the horns come to
the forefront on the cut, “I Play Dirty.” “I believe
in a lot of jiving…and sweet talking with my
man…before I drop you…I’ll let you know…between
hello and goodbye…my love will make you melt!”
Turning on the Naughty closes with another
Harris original, “Mr. Right for a Night,” “I don’t
need it all honey…I just need a little bite…he’s Mr.
Right….for just one night,” and the ballad, “You
Don’t Know What Love Is.” Here we find Paula at her
sultriest, “You don’t know what love is…until you’ve
kissed…and had to pay the cost.” Pay the cost,
indeed.
I’ve thoroughly enjoyed Turning on the Naughty
by Paula and her band. She’s held nothing back and
the result is a disc that showcases her formidable
vocal range, the impetuousness of her songwriting
and a vast array of very talented Bay Area musicians
backing. I’m a firm believer that the best is yet to
come for Paula and look forward to her presence on
next year’s festival circuit. Grab a copy of this
disc from Paula on her website,
www.paulaharrismusic.com, and enjoy.
--- Kyle Deibler
I first met Big James at the Blues Music
Awards the year they were held in Tunica,
Mississippi and have been a fan ever since. I still
have the Chicago Cubs lid that L-Dub gave to me at
Blues Blast and really liked their performance
there. Horn-driven Blues/Soul was a rare treat for
Blues Blast fans and that was definitely one of the
more memorable festivals that I’ve been a part of.
On the heels of his successful Blind Pig release,
Right Here, Right Now, Big James and the Chicago
Playboys have followed it up with a live disc,
The Big Payback. Recorded at the famed Lionel
Hampton Jazz Club in Paris, Big James and the
Playboys do it up right. Let’s give it a listen.
The band opens up with one of their anthems, “The
Blues Will Never Die,” and right away I can tell
they’re in rare form. Big James on trombone and
Charles Pryor on trumpet lead the way as Big James
tells us his life story. “I don’t care…don’t know
why…I know these blues will never die!” Big James
loves to perform and the band is right in step with
him as he proudly proclaims that our favored genre,
the Blues, will never die.
I hear Larry’s bass introducing us to the next
tune, “The Big Payback,” our title track. Here we
find that a friend of James has punked him, let him
down and Big James believes in getting even. “But I
can’t take…backstabbing…so brothers get ready…that’s
a fact…get ready for the big payback!” Mike
Wheeler’s guitar provides the intro for “Coldest Man
I Ever Knew,” a tune about the mentor in James’s
life, his father. “He schooled me about people...he
said, son…do the best you can…don’t back down from
nobody…stand up and be a man…people I want to tell
you…about the coldest man I knew!” James learned all
of his important life lessons from his father and
learned them well.
The band continues its Chicago blues fest with
James’s telling us about “All Your Love.” “All your
love…I got to have one more time…want to love you
baby…love you…peace of mind.” James is more than
happy to take care of his woman as long as she
treats him right and stays true to him. Next up is
“Jody’s Got Your Girl and Gone.” The lesson here is
that every town has a character like Jody, someone
who will flash cash around town and take your woman
if you’re not careful. “When you get home…after
working hard all day…Jody’s got your girl…and he’s
gone away…ain’t no sense in going home…Jody’s got
your girl and gone!” Jody’s definitely a wanted man
but he’s long gone and he’s got your girl.
“That’s Why I’m Crying” finds James in a
reflective mood. All’s not right in his world and
he’s missing the woman he loves. “I went to the
places…we used to go…and all of your friends…told me
you don’t come around no more….I looked over and
saw…that same man who took you away from me…that’s
why I’m crying.” James loved this woman dearly and
the pain of losing her is staying with him, he’d
love to get her back but that’s not going to happen.
James definitely has the blues.
Up next is another favorite tune of James,
“Trying to Live My Life Without You.” “Trying to
forget the love that we shared…is the hardest thing
I’ve ever dared…wooh, in my lonely room baby…I had
the worst reputation around…for chasing all the
women in town…I thought changing my way of living
was hard to do…but the worst habit to break baby,
was long you.” The tempo slows way down and we heard
Joe Blocker on the keys as Big James tackles a
George Clinton tune, “I’ll Stay.” “I’ll stay…though
friends may ridicule…I know for her…there is no
substitute…talk I can’t ignore…when she returns…but
that’s all right…mother says…my reward…when she
returns...she’ll come home…keeps me hanging on…I’ll
stay."
The Big Payback closes with a Big James
original, “Low Down Dirty Blues.” “You told me that
you loved me…you were messing with my mind…somewhere
out there for me….there’s a lover I must find…I’m so
tired of being misused…all you left me with is the
low down dirty blues!” Big James leaves the listener
with an instrumental version of the Deep Purple
classic, “Smoke On the Water."
The Big Payback is an excellent live disc by
Big James and the Chicago Playboys. It’s a very
crisp live recording and the audience at the club
were truly enjoying themselves. The band is
definitely at the top of their game and this carries
over to their live performance. This disc will
definitely tide me over until Big James’s next
studio recording. You can pick up a copy of this
disc from Big James on his website at
www.bigjames.com or order directly from Blind
Pig Records.
--- Kyle Deibler
I love it when I pop in a CD
from an unknown band and get blown away by how good
it is. I just had that feeling from the sophomore
release from Milwaukee-based band Altered Five.
These cats know how to play the blues with plenty of
grit and soul. They get a bigger sound out of a
five-piece band than some ensembles twice their
size, bringing a taste of Memphis to the upper
Midwest.
Gotta Earn It
(Conclave/Cold Wind Records) consists of only 10
cuts, but there's not a weak one in the bunch. Most
cuts are original compositions by the various band
members, but the listener gets hit in the face on
the opening cut, an uptempo version of the Marvin
Gaye classic, "Ain't That Peculiar." We're
introduced to frontman Jeff "J.T." Taylor's
powerful, gritty vocals and the solid backing
accompaniment as Altered Five takes this well-known
cover and makes it their own.
Altered Five brings out their
more soulful side on the mid-tempo original, "Three
Wishes," featuring gospel-style piano from Raymond
Tevich, who consistently provides solid instrumental
work throughout this fine disc.
Guitarist Jeff Schroedl gets to
shine on the driving blues shuffle "Keep The Best,"
which also gives Tevich a chance to stretch out on
Hammond B-3. Both Schroedl and Tevich also trade
instrumental riffs on the uptempo blues, "Older
Wiser Richer."
The uptempo rocker "Watch
Yourself" is another favorite, with tasty piano work
from Tevich. Closing out this strong collection is a
blues shuffle, "Bounce Back," with Taylor starting
out with more subdued vocals before he pours more
soul into the number.
I kept checking the album
credits to find out how many guest instrumentalists
were on the CD, because the sound is so full
throughout the disc that I kept thinking there had
to be more than four players backing Taylor. But,
no, these guys know how how to pack a wallop into
each song.
Gotta Earn It is worth
checking out. If you're anywhere near their
Milwaukee base, you can find the touring schedule as
well as more info on their recordings on the band
website.
--- Bill
Mitchell
The first few notes of the
opening cut, "What's Wrong," on Old School Lover
(Wolf Records), will immediately show you that
there's some serious Elmore James-style slide guitar
to be heard on this disc. Not surprising, since this
strong CD comes from Elmore James Jr. and the
Broomdusters Blues Band. Eddie Taylor Jr. and
Illinois Slim also play guitar on the disc, giving
fans of old-style Chicago blues guitar an extra
treat.
James is also a good singer, as
can be heard on the Eddie Boyd classic, "Third
Degree," a slow blues that gives pianist Duke
Haramdas and sax player Ed Williams the opportunity
to show off their skills. Another strong number is a
cover of Jimmy Rogers' blues shuffle, "You're The
One," that includes very nice (but uncredited)
harmonica playing.
James waits until the disc's
final cut to cover one of his father's numbers, "I
Can't Hold Out," and here his vocals resemble that
of Elmore Sr. Williams comes in with a nice sax
solo.
This is a very nice album, but
with one drawback. There are several places in the
album in which "Studio Talk" is interspersed, which
takes away from the flow of the music. I believe
that studio chatter has its place if used sparingly,
primarily to provide historical perspective to
certain recordings, but that's not the case here.
Instead, it just interrupts. But don't let that keep
you away from this fine CD --- after all, that's why
our CD players have buttons that allow us to advance
to the next cut.
--- Bill
Mitchell