Toronzo
Cannon’s fantastic 2011 release, Leaving Mood,
introduced a bright new talent to the blues scene…an
engaging performer who also happens to be one of the
more inspired songwriters currently in action. Blues
fans have eagerly anticipated his follow-up, and
they will not be disappointed with John The
Conquer Root (Delmark), a disc that equals, and
surpasses, the promise of his initial Delmark
effort.
Though the music of
Jimi Hendrix is a profound influence on Cannon’s
sound (check out the title track, a crunching blues
rocker, and the equally effective instrumental
closer, “Root To The Fruit….She’s Mine (Reprise)”),
he also has spent plenty of time taking in the Windy
City blues sounds as well as R&B, funk, and soul.
Tracks like “Cold World,” which comes complete with
a tight horn section and a sweet set of backup
singers, show the soul influence, and “If You’re
Woman Enough To Leave Me,” “Shame” (with Omar
Coleman guesting on harmonica), and “Big Ray Bop,”
gives us the funk in a strong way.
His highly original
songwriting, sometimes taken from his daily
observations as a bus driver for CTA, makes a
special artist even more so. Tracks like “I’ve Been
Doing Fine” and “You Made Me This Way” touch on
familiar blues themes, but you’ve never heard them
expressed quite this way. “Gentle Reminder” is a
frank commentary on blues in the 21st century,
discussing the need for the blues to continue to
advance and develop to remain a vital genre.
Other highlights
include the guitar fest, “Sweet, Sweet, Sweet,”
which pairs Cannon with former employer, Joanna
Connor, whose guitar must have caught fire during
her scorching slide guitar soloing, and “Let It
Shine Always,” an observation on death that features
vocals from Cannon, Connor with fellow Windy City
guitarist/singer Mike Wheeler.
It’s good to know
that the future of Chicago blues, and blues in
general, is in good hands with these artists. Blues
fans will find a lot to love with John The
Conquer Root, as Toronzo Cannon leaves us
eagerly awaiting his next move, just like he did on
his last album.
---
Graham Clarke
Jim
Allchin’s last release, Overclocked, was
one of the surprise releases of 2011. The former
Microsoft exec’s hard-driving blues guitar was as
diverse, mixing blues, rock and jazz, as it was
relentless. Allchin ups the ante considerably on his
third release, Q.E.D. (Sandy Key Music), with
improvement at all levels from its predecessor.
The opener “Stop and
Go,” a soaring boogie rocker, cranks up the disc to
ten immediately. One of several tracks backed by the
New York Brass, the double-entendre-laden track sets
the bar pretty high and Allchin’s guitar work is
jaw-dropping. The swinging shuffle “Getting Old”
addresses that topic that we all will face sooner or
later, has a nice easy-going vibe. “Reap What You
Sow” is a Texas-styled boogie, with a nice vocal
from Allchin and some splendid piano work from
Brooke Lizotte.
Mycle Wastman turns
in a great lead vocal on the soulful “Trust Me.”
“Evil Hearted Woman” has a jazzy feel, while “Come
on Home” leans more toward R&B, with some Crescent
City-based keyboards from Lizotte. The country
blues, “Runnin’ Away,” gives Allchin room to show
his acoustic chops.
Allchin also mixes in
four instrumental tracks --- the lovely ballad,
“Chime Blues.” “Thinking of You,” which teams
Allchin’s introspective fretwork with Lizotte’s
piano, the expressive slow blues, “Drownin’,” and
the Santana-flavored closer, “No Way Out.”
Impeccably produced
by Allchin and drummer Ben Smith, the album also
benefits from a first-rate set of additional backing
musicians that includes Smith, Lizotte, Dan Dean
(bass), and Owen Gurry (strings), plus background
vocals from Wastman, Martin Ross, and Keely Whitney
(who also sings lead on “Getting Old”).
Q.E.D. is a
guitar player’s dream, but it also showcases Jim
Allchin’s songwriting and vocal gifts as well.
They’ll be talking about this one for a while in the
guitar magazines.
---
Graham Clarke
Bryan
Lee has been a New Orleans musical institution
for over 30 years, beginning with his long tenure at
the Old Absinthe House in the French Quarter. The
guitarist/singer has been a regular performer at the
city’s Jazz and Heritage Festival for over 25 years
and has released numerous critically acclaimed
albums during that span on the Canadian label,
Justin Time.
Play One For Me
is Lee’s debut release for Severn Records, and it
teams Lee with the label’s crack studio band (Steve
Gomes – bass, Robb Stupka – drums, Kevin Anker –
keyboards), a pair of Fabulous Thunderbirds’ Kim
Wilson (harmonica) and Johnny Moeller (rhythm
guitar), and a massive horn and string section
arranged and directed by Willie Henderson.
The disc is a mix of
five Lee originals and five choice covers that
include a smooth reading of the George Jackson
classic, “Aretha (Sing One For Me).” That track,
plus Bobby Womack’s “When Love Begins (Friendship
Ends),” really put Lee’s soulful vocals to great
use. The other covers include a funky reworking of
Dennis Geyer’s “Straight To Your Heart,” and the
blues side is represented by Freddie King’s “It’s
Too Bad (Things Are Going So Tough),” and Howlin’
Wolf’s “Evil.”
Lee’s originals also
mix soul and the blues. The soul side is represented
by the silky smooth “Let Me Love You Tonight.” “You
Was My Baby (But You Ain’t No More),” “Poison,” and
“Why” are rough and ready blues. The closer,
“Sixty-Eight Years Young,” is a funky testimonial
from Lee saying that he’s still got it and plans to
keep it for a while.
If you’ve not
experienced Bryan Lee for yourself, Play One For
Me is a great introduction to his talents. He’s
equally versed in the blues, R&B, and soul and
there’s plenty here for fans of all three to enjoy.
---
Graham Clarke
Hot
on the heels of their excellent live album, You
Don’t Know Nothing (released in February),
Frank Bey & Anthony Paule Band have rewarded
soul/blues fans with an equally wonderful follow-up,
Soul For Your Blues (Blue Dot Records). Though
Bey may seem like a new voice to many, he’s
performed for years singing gospel and later soul
music (serving Otis Redding as a valet and
occasional opening act).
Paule has played
guitar with a host of blues artists including Johnny
Adams, Earl King, Brownie McGhee, Maria Muldaur,
Charlie Musselwhite, and Boz Scaggs, and has
assembled a tight band to back Bey ….the same band
that backed him on the live release. Paule wrote or
co-wrote (with Christine Vitale and Karen Falkner)
all of the original tunes, which have deep roots in
classic Southern soul. You could easily imagine Otis
Redding recording “I Just Can’t Go On” or “It’s Good
To Have Your Company.”
Other highlights
include a couple of nice R&B tunes (“Don’t Mess With
The Monkey,” “I Want To Change Your Mind”), and some
nice straight-ahead blues numbers. Bey’s growl and
Paule’s stinging lead guitar, combined with the
powerhouse horn section make “I’m Leavin’ You” one
of the disc’s standouts, and “You’re Someone Else’s
Baby” is a strong blues ballad.
The covers are pretty
diverse, too, ranging from the soulful Willie
Mitchell-composed “I Don’t Know Why,” which opens
the disc, to Wynonie Harris’ swinging “Buzzard
Luck,” and Percy Mayfield’s “Nothing Stays The Same
Forever.” There are also a couple of instrumentals
showcasing Paule’s fretwork --- the funky
“Smokehouse,” and a hip version of “I Left My Heart
In San Francisco,” that closes things out.
Soul For Your
Blues is just what the doctor ordered for
soul/blues fans. This is classic soul music, just
like they used to do it 40 or so years ago, mixed
with a healthy dose of the blues and powered by one
of the tightest bands currently practicing. Don’t
miss this one.
---
Graham Clarke
Since
Vincent Hayes’ debut release, 2010’s
Reclamation, there have been a few changes. For
starters, the name “The Vincent Hayes Project” has
been dropped, and the band has been scaled back down
to a trio (Hayes – guitar/vocals, David Alves –
bass, Donnie Hugley – drums). Some things still
remain though, such as Hayes’ approach to
blues/rock, a powerhouse attack that mixes a
considerable portion of soul and funk, with timely
and reflective lyrics and Hayes’ muscular guitar and
vocals.
On Hayes’ impressive
follow-up, The Grind (North 61 Records), he
wrote nine of the ten tracks, including the
invigorating and encouraging opener, “All You’ve
Got,” which rocks hard, as does “The Gun.” “Common
Vision” is more reflective and has a greasy backbeat
that gets next to you. The edgy rocker “Cold Feet”
oozes tension and apprehension, but Hayes mellows
out somewhat on “Things That Get Me By” and the
title track, which features a great vocal.
“Other Side of Town”
is the best pure blues track on the disc, with Hayes
offering up some seven-plus minutes of sweet
fretwork on this great tune. “My Guitar and My Baby”
runs a very close second on the straight blues
front. The funky closer, “Not Tonight,” is also a
keeper. The album’s lone redo is Marvin Gaye’s
“Inner City Blues,” a timely cover if there ever was
one.
Not your average
blues rockers, Vincent Hayes and company combine
equal amounts of funk and soul into their blues. Add
that to Hayes’ profound lyrics and the band’s way
around a groove, and blues fans will find listening
to The Grind will be a rewarding experience.
---
Graham Clarke
You’d
be hard pressed to find two current musicians more
devoted to the traditional Chicago blues sound than
Chris James and Patrick Rynn. Singer/guitarist
James and bass player Rynn have appeared on numerous
albums in recent years and have released two
excellent CDs of their own in recent years for
Earwig Records, 2008’s
Stop and Think About It and 2010’s Gonna
Boogie Anyway.
For their third
Earwig release, Barrelhouse Stomp, James and
Rynn draw from four different recording sessions
done between 2009 and 2011. Joining them during
these sessions were a veritable A-list of
Chicago-based musicians that include former Howlin’
Wolf guitarist Jody Williams, piano men Aaron Moore,
David Maxwell, and Henry Gray, drummers Willie
Hayes, Eddie Kobek, and Willie “Big Eyes” Smith,
tenor sax players Eddie Shaw, Jonny Viau, and
Norbert Johnson, and longtime collaborator,
harmonica player Rob Stone.
Barrelhouse Stomp
consists of 12 dynamic tracks, five originals, five
covers, and two instrumentals. The originals include
the opening shuffle, “Goodbye, Later For You,” “Just
Another Kick In The Teeth” (which features Williams
and Shaw, and a rare solo from Rynn on bass), and “A
Fact Is A Fact,” teaming James on some old-school
slide backed by Viau and Johnson’s twin sax attack.
The instrumental “Messin’ With White Lightnin’”
features Williams and his guitar, “White Lightnin’,
working through a Bo Diddley beat, and the closer,
“Last Call Boogie,” features the ageless Gray on
keys.
The terrific set of
covers includes a rousing take on Big Bill Broonzy’s
“I Feel So Good,” Junior Parker’s “I’m Gonna Stop
Fooling Myself” (with Williams taking guitar
chores), a wonderful reworking of Little Brother
Montgomery’s “Vickburg Blues,” a nice tribute to
Pinetop Perkins (Robert Nighthawk’s “Take It Easy,”
and a spirited version of the Elmore James
instrumental, “Bobby’s Rock.”
Barrelhouse Blues
is a top-notch set of traditional Chicago blues from
Chris James and Patrick Rynn that sounds as good as
the music that was coming from the Windy City half a
century earlier.
---
Graham Clarke
Yes,
I Believe I Will (Out of the Past Music) finds
Steve Howell and The Mighty Men working through
a far-ranging set of country blues, roots, and
traditional country music. Howell has really shined
on three previous albums that mix these various
genres with original compositions and tasteful
covers, but this time around, the master guitarist
focuses on reinterpretations of old tunes with
stellar support from Chris Michaels (electric and
acoustic guitars, bass), Dave Hoffpauir (drums), and
Jason Weinheimer (keyboards).
Among the ten songs
covered by Howell and his friends are a pair from
Nick Katzman and Ruby Green (the mid-tempo country
blues opener, “I Had A Notion,” and the ominous
“Devil’s Side”), Mel Tillis (“Walk On Boy”), Dock
Boggs (the downhearted “lonesome” song, “Country
Blues”), Danny Barnes (the country ballad, “Wasted
Mind”), and a pop standard originally done by the
Fleetwoods (“Mr. Blue”).
Of course, the blues
is front and center on all of these songs, plus
reworkings of Willie Brown’s classic, “Future Blues”
and traditional favorites like the Blind Willie
Johnson tune, “Keep Your Lamps Trimmed and Burning,”
the country blues “I Know You Rider,” and “Rake and
Rambling Blade,” an English-Irish melody.
The guitar work from Howell and Michaels is simply
marvelous, and Howell’s vocals strike the right
balance with the songs, whether conveying heartbreak
or loneliness. As on his previous releases, the
production is magnificent, giving you the feeling
that the musicians are in the room with you.
Yes, I Believe I
Will is a gentle, relaxed session that will
reward fans of acoustic blues and roots guitar.
---
Graham Clarke
Based
on the fireworks emerging from Black Wind Howlin’,
there will be no sophomore jinx for Samantha Fish.
Indeed, the second release on Ruf Records from the
young singer/guitarist shows significant improvement
on her impressive 2011 debut, the BMA winner
Runaway. Her new release was produced by Mike
Zito and features Zito on rhythem guitar, along with
the Royal Southern Brotherhood’s rhythm section
(Charlie Wooton – bass, Yonrico Scott – drums).
Black Wind Howlin’
is tougher and bolder than its predecessor. Tracks
like the “On the Road” opening cut, “Miles To Go,”
“Lay It Down,” “Heartbreaker,” and the feisty “Go To
Hell” (with co-lead vocals from guest Paul Thorn)
rock relentlessly. “Sucker Born,” one of two tracks
with Johnny Sansone wailing away on harmonica, oozes
with swampy swagger, while “Over You” is a moody
ballad with atmospheric slide guitar, and the
closing track, “Last September,” has a nice country
flair to it.
Fish mixes in one
cover tune, the Howlin’ Wolf chestnut, “Who’s Been
Talking,” with harmonica from Sansone. Zito plays
lead guitar on one track, the gritty “Kick Around,”
and fiddler Bo Thomas adds flair to “Last
September.”
Loaded with great
songs and performances, Black Wind Howlin’ is
a sure bet to keep Samantha Fish’s career on a
continued upswing.
---
Graham Clarke
Holland
K. Smith has been a part of the Dallas/Fort
Worth blues scene since the early ’90s, and has
played with many of the region’s best blues
musicians. He’s played with folks like George
Thorogood (and also wrote “Rock Party” for
Thorogood’s Hard Stuff album), the Fabulous
Thunderbirds, Anson Funderburgh (who produced
Smith’s first two albums), Nick Curran, Mike Morgan,
Jim Suhler, Jr. Watson, and many others, and has
released three critically acclaimed discs since
1999.
For his fourth
release,
Cobalt (EllersSoul Records), Smith enlists
guitarist Anson Funderburgh as producer. This
wide-ranging CD offers 15 diverse tracks of blues
and roots music with the occasional flourish of
other styles like country, rock & roll, R&B, jazz,
and even Latin. Funderburgh plays guitar on only one
track, the swinging “You Get What You Deserve,” so
the bulk of the fretwork is ably handled by Smith.
Smith penned all but
one of the tracks, leading off with a smooth, but
clever R&B tune, “Love Liquidation.” “Just One
Heartache” is a tight Texas-styled blues with a wry
vocal from Smith, “The Itch” ventures toward early
rock & roll with it’s frenzied piano and punchy sax,
and Smith’s crooning vocal makes “Magic Wand” sounds
like an old school pop tune. The title track is a
jazzy instrumental showcasing Gentlemen John
Street’s keyboards and Smith’s guitar.
“Little Bit of
Faith,” the disc’s lone cover, has a gospel flavor
in instrumentation and with Smith’s impassioned
vocal delivery, and so does the next tune, “The
Secret,” which is a bit more restrained and
reflective than the previous track. “Never Got The
Blues” is a straight blues number and is one of the
standouts on the album. The closer, “Olhos Verdes
(Green Eyes),” is the real wild card on the disc,
with its Latin rhythms and guitar work (with a
little bit of Dick Dale thrown in), and is a really
cool way to close things out.
Smith’s versatile
guitar work, his distinctive songwriting, and his
seasoned vocals are all well worth a listen. Other
musicians helping out on
Cobalt are Wes Starr (drums), Eric Przygocki
and Ronnie James Webber (bass), Dunye Nasuhoglu
(percussion) and Chaz Marie (background vocals).
Cobalt is an
excellent release from a Texas bluesman who should
be better known than he is.
---
Graham Clarke
The
Ottawa-based band
MonkeyJunk has only been together for about
five years, but it didn’t take the trio long to make
their mark, finishing third in the 2009 I.B.C. in
Memphis and releasing two critically acclaimed
albums. That streak should move to three with the
release of their third album, the appropriately
titled All Frequencies (Stony Plain Records),
a disc which expands the band’s musical palate even
more than previously.
The best thing about
this group is that they’re not afraid to step
outside of their comfort zone. Since the last
release, front man Marriner has added a baritone
guitar to the mix to offset the band’s lack of a
bass player. He’s also running his guitar through a
Leslie cabinet (a la Buddy Guy, circa
Hoodoo Man Blues) on occasion. Lead guitarist
Tony D has added more slide guitar and use of the
wah-wah pedal on assorted tracks, and drummer Matt
Sobb continues to bang the skins like they owe him
money.
Like the album title
indicates, MonkeyJunk is coming at listeners from
several different directions this time around …. not
just blues tunes like “Once Had Wings,” “What I Got
To Give,” or “Sirens In the Night,” but rock ‘n roll
(“You Make A Mess,” “Say What?”), swamp rock (“Right
From Wrong,” a ferocious cover of Bobby Charles’
“Why Are People Like That?”), uptown funk (“Je Nah
Say Kwah”), country (“Yearnin’ For Yesterday”), and
the closing tune, “Swank,” a groovy seven-minute
instrumental that you wish would never end with
Marriner doing his best Booker T. on organ.
All Frequencies
is the best MonkeyJunk release so far. It’s hard to
imagine how they will top this effort, but then that
was what we were saying after their last release,
too, wasn’t it?
---
Graham Clarke
Mule,
the debut release of South Carolina’s
Port City Prophets, is a raw and ragged slice
of traditional Low Country blues and soul loaded
with emotion and fire. The Prophets are Tim
Kirkendall (vocals, bass), Troy Tolle (guitar), and
Henry Ancrum (drums), and their live shows are
reportedly the stuff of legend. If this disc is in
any way representative of that, I hope these guys
make it to my area soon.
Kirkendall is surely
one of the best vocalists you’ve never heard of. He
capably handles the tongue-in-cheek qualities of
“Jesus Saved My Soul, But…,” and blows you away on
the gospel-flavored “I Already Know,” the soul
number, “Let Me Breathe,” and the slow blues of
“Done Changed My Mind.” Tolle’s fretwork is a
highlight, nothing flashy but plenty of great tone
on numbers like “Mule In A One Horse Town,” “When
The Lights Go Down In St. Louis,” and “I Used To
Love You.” His slide guitar is excellent on “Jesus
Saved My Soul, But…”
Ancrum’s percussion
work is equally strong. Again, nothing flashy, but
absolutely perfect for the style. William Nance sits
in on several tracks, contributing some superlative
moments on keyboard, especially on the closing
instrumental, “Pluff Mud,” where each musician gets
a moment in the spotlight.
The Port City
Prophets have set the bar pretty high with this fine
debut release, showing that they’re equally versed
in blues, soul, rock, jazz, and funk. I can’t wait
to hear what’s next.
---
Graham Clarke
Detroit
guitar man Howard Glazer was recently
nominated for the 2013 Downbeat Critics
Choice awards for Best Rising Star – Guitar and Best
Blues Artists, and has won multiple music awards in
the Motor City, and deservedly so, based on the
sounds coming from his latest release, Stepchild
of the Blues (Lazy Brothers Records). Glazer
demonstrates his guitar chops on a variety of tunes
that move from scorching blues/rock to acoustic
country blues with several stops in-between.
The opener, “Don’t
Love You No More,” is your basic blues rocker, with
lots of impressive lead work from Glazer. “Shakin’”
updates the old Bo Diddley beat, and “Gas Pump
Blues” keeps things retro with Glazer on resonator
backed by Harmonica Shah as they address a familiar
topic to most of us these days. “Telephone Blues” is
a nice slow urban blues with some tasty guitar from
Glazer backed by Larry Marek on organ, and the
soulful “Honey & Spice” features some muscular slide
guitar and lead work.
“Somewhere” is a bit
of a change of pace, more of a rock ballad that
mixes acoustic guitar with some piercing electric
lead and organ …. very well done. “Cried All My
Tears” offers more great slide work, and “Liquor
Store Legend” leans more toward the urban sound
again Glazer’s tight lead work is perfectly
complemented by Marek’s contributions on the organ.
The disc goes out on top with the magnificent
“Hurtful Feeling,” teaming Glazer with Harmonica
Shah once again. This time around, the duo really go
at it with Glazer’s electrifying slide guitar front
and center.
In addition to
Harmonica Shah, others contributing to the disc
include Chris Brown (bass), Charles David Stuart
(drums), Marek (organ), and Chuck Bartels (bass on
three tracks). The background vocals from Maggie
McCabe and Stephanie Johnson make a great disc even
better. Blues guitar fans will find a lot to enjoy
when listening to the talents of Howard Glazer and
Stepchild of the Blues.
---
Graham Clarke
Brazilian
guitar master
Nino Mindelis has recorded many albums in his
native country, but Angels & Clowns (Shining
Stone Records) is his first release for a U.S.
label. Though, little-known in the U.S., he is
renowned in South America as a guitarist,
songwriter, and singer, and this release, produced
by Duke Robillard, teams Mindelis with Robillard’s
band (Mark Teixeira – drums, Brad Hallen – bass,
Bruce Bears – keyboards).
One thing you will
notice about Mindelis, after you get past his
impressive guitar work, is how catchy his melodies
and rhythms are. On tracks like the cool opener,
“It’s All About Love” (with backing vocals from
Sunny Crownover), the rocker “It’s Only A Dream,”
the R&B-flavored title track, and the aptly titled
“Perfect Blues,” you find yourself singing or
nodding along, even though you’ve only heard it a
couple of times.
Mindelis composed
most of the songs, but left the lyrics to others.
Doesn’t matter, because he pretty much owns these,
with tracks like “Happy Guy,” seemingly having a
biographical edge to them. Indeed the songs run the
gamut from blues to R&B to jazz to pop/rock, and
Mindelis handles each change with relative ease. He
sings in an understated style, similar to ’70s era
J.J. Cale and Eric Clapton, that fits the material
well.
Angels & Clowns
is a well-styled set of modern blues that should
easily appeal to rock and pop music listeners as
well. Finally, the U.S. can see what all the fuss is
about in South America and Europe regarding Nuno
Mindelis.
---
Graham Clarke
New
York guitarist Jon Zeeman has been a regular
on the NYC music scene since the mid ’80s, working
as a producer, songwriter, and session musician, and
performing regularly in several downtown clubs. He’s
also performed and recorded with Susan Tedeschi,
Janis Ian, and the Allman Brothers. Down On My
Luck
(Membrane Records) is Zeeman’s third release, and
also marks his debut as a vocalist.
Zeeman wrote 10 of
the 11 tracks on this release, and his musical style
shows a mix of blues rockers like Johnny Winter, the
Allmans, Stevie Ray Vaughan, and even a nod to
Hendrix with more traditional blues players like
Muddy Waters and Freddie King. He’s backed by Phil
McArthur (bass), George Lilly (drums), Tom Regis and
Bob Taylor (keyboards), and his daughter, Zoe, plays
bass on three tracks.
Highlights include
the strong opening track, “You’re Right, I’m Wrong,”
the moody title track, the Allman-esque “Hangman’s
Bridge,” the stellar slow blues, “Waitin’ For The
Storm,” the funky rocker “Money,” and “So Bad,”
which will make fans of SRV smile.
Zeeman also does a
nice job on vocals, singing with confidence and
understated power. It’s hard to believe that this is
the first time he’s done it on record. That,
combined with his impressive guitar chops and solid
songwriting, makes Down On My Luck a set
that’s well worth seeking out.
---
Graham Clarke
Gina
Sicilia
has a huge voice, one honed by singing at the jams
for years at Warmdaddy’s in Pennsylvania and getting
out on the road performing. It’s smoky, sensual,
passionate and provides us with a full gamut of
emotions inspired by her view of the human
condition. Gina expands her understanding of the
human condition in her latest release, It Wasn’t
Real, on the Vizztone label and it’s a soulful,
old-school disc that’s got me good. So let’s get to
it.
Gina opens with the
title cut, “It Wasn’t Real,” and here we find that
her affections are being toyed with by a man with
less than honorable intentions. “It was not a
genuine wish…When he said he wished that we could
get to live happily….It wasn’t real…no, it wasn’t
real!” Up next is Gina’s take on an Etta James hit,
“Don’t Cry Baby.” “Don’t cry…don’t cry babe…dry your
eyes…let’s talk it over again!” A broken heart is a
broken heart and both Etta and Gina are guilty of
that here! The shoe’s on the other foot in our next
tune when Gina finds a man she loves and wants in
“Please Don’t Stop.” “The way he makes me feel…you
know he’s always been trouble….I said
no…no…oh…oh…oh…baby, please don’t stop!”\
Wanting to be loved
by another is human nature and Gina continues to
explore this theme in “Wake Up Next to You.” “Do…you
wanna go home with me?...the sun will be rising
soon…there’s nothing left for us to do…Baby, I wanna
wake up next to you!” It’s never clear if he stays
or not but it is clear what Gina wants to happen in
this tune. Sometimes out of the depths of despair
good things happen and Gina learns this for herself
in our next cut, “Walkin’ Along the Avenue.” “Love
can bring you up…or make you blue…but take it from
me…and my history…that love could be waiting for
you!” Following her man along the avenue with his
lover led to a chance encounter with the man of her
dreams and a love that was real. Good for you Gina!
Not all memories are
bad ones and Gina tells of some of her good ones in
“City By the Water.” “And I’m gonna remember…all the
nights we spent…in the city by the water…gonna meet
you my little baby…where we used to kiss!” Some
great sax by Jay Davidson and acoustic guitar by Jef
Lee Johnson provide the perfect backdrop for Gina’s
memories of the “City by the Water.”
Gina continues to
search for love in our next cut, “Write a Little
Song With You,” with songwriting the metaphor for
falling in love. “I wanna sing with you so bad….wanna
have what I’ve never had….I want it to be only us
two…just making sweet music on a train to Houston…I
wanna make a little song with you.”
Gina also realizes
that love and passion can also lead to regret, a
topic she explores in “Don’t Wanna Be No Mother.”
Stuck in a loveless marriage with twin daughters,
Gina finds herself at wit’s end. “The stale air of
the airplane…smells like my life…don’t wanna be no
mother….don’t wanna be no wife”. Life has dealt her
a tough hand to play and there’s definitely not an
easy way out for Gina in this case. Sometimes
though, wishful thinking can take your mind off your
problems and we see that in “Oh Me, Oh My.” “Oh me,
oh my…look what we have here…another ray of
light…shining down right on me…I sing…la-ti-da…maybe
that was all just a dream!”
Gina closes It
Wasn’t Real with “Walkin’ Shoes,” a tune of
optimism and survival. “A long way to go…before you
reach that land…a long way to go…before you can
stand…in a place where you can say…I’m here now…but
I’ve come a long way…oh…you got a long way to go.”
The net result is
Gina’s finest work to date and a very strong disc.
She’s backed by a tight band, sings her heart out,
and I find that Gina is a very astute and talented
songwriter to boot. It all makes for a great listen
and a disc everyone will appreciate. Can’t wait to
hear what’s next from this very talented
singer/songwriter. Time will tell!
---
Kyle Deibler
I
had the pleasure of meeting Bobby Messano for
the first time last summer. Deanna Bogart was
sitting in and I learned about the gig through D’s
calendar. She knows I can’t go a summer without
hearing her play at least once and this was a great
opportunity to do so in my own backyard. I remember
now that I’m supposed to ask Bobby a story about
Aretha Franklin and coffee but it’s probably a
little too late for that. The entire band played
their rear ends off that night and Bobby was
extremely proud of his forthcoming new disc,
Welcome to Deltaville, and it’s a great listen!
While Deltaville is
actually “The Boating Capital of the Chesapeake,” to
Bobby and his band, it’s actually a state of mind, a
feeling to be treasured. The unusually loquacious
John Hammer describes Deltaville this way, “It is a
promise of beautifully conceived stories masterfully
shared from the heart, deliver with consummate
perfection.” Let’s hit play and get our journey
started.
So of course Bobby
and the band start out with their version of the
Rush classic, “All Your Love.” Deanna’s sax figures
prominently in the background as Bobby shares his
take on the love he needs and is missing. Up next is
an original, “The Invisible Man,” and the rock blues
side of Bobby is at the forefront of this tune. Here
Bobby finds that he’s no longer the object of his
woman’s affection, a situation that took him
completely by surprise. “The invisible man…here I
am…but disappearing wasn’t in the plans!” Sadly
Bobby, it’s time to move on my friend. Bobby’s an
amazing guitarist and we hear his rock influences
front and center in the amazing riffs that
accentuate his pain.
The title cut,
“Welcome to Deltaville,” is next and has a much
mellower vibe. “There’s a place…I can go…where I can
lie in the sun…if I lie low…not a care in the
world…I’m safe and warm…nothing can hurt me
there….welcome to Deltaville!” Deltaville sounds
heavenly, a place where we all can let our cares
drift by the wayside as we lie safely in the arms of
the sun and let its warm rays wash over us. We all
should head there soon!
A reggae vibe appears
next in the form of “That’s the Way of the World”
and is the perfect complement to the relaxing vibe
of “Welcome to Deltaville.” The world can be a cruel
place and Bobby is telling us to hang onto what we
need. “When you got something special child…they
want to take it from you…that’s the way of the
world!” Deanna takes off into a blistering sax solo
that reminds us all to hang onto what we need to
survive in this crazy world. Definitely one of my
favorite tunes on this disc.
Bobby slows the tempo
down and eases into a ballad on our next cut, “My
Crazy Dreams.” “When you’ve lived a life…that’s been
a helluva fight…it’s the only life...that you’ll
ever have….that’s what your dreams become….my crazy
dreams…always get the best of me…pick me up when I’m
feeling down…there are times in my life…that always
feel right…my crazy dreams…never let me down!”
Bobby’s passionate guitar work is proof enough to me
that his crazy dreams do matter! “I Ain’t got
Diddley” has a definitive Bo Diddley influence but
here Bobby is telling the woman in his life that he
doesn’t have all the answers…or all the money! “I
ain’t your gangster of love…pick your number between
1 and 10….I ain’t got diddley…ain’t got diddley for
you!”
Deanna’s intricate
keyboard strokes provide the intro for Bobby’s take
on another classic, “The Way You Do the Things You
Do.” “You could have been anything you wanted
too…and I can tell by the things you do!” Love this
tune and Bobby’s version of it with D’s sax in the
background. Another Messano original, “Lonely Town,”
is next and here we find Bobby describing the life
of an individual living in despair. “You got a
bad…bad feeling…inside your heart…cause it’s been
ripped apart…you’re in Lonely Town!”
Bobby and the band
ease into a beautiful instrumental, “Sleepwalk,”
featuring passionate riffs by Bobby with Deanna’s
piano complimenting Bobby’s emoting before finishing
with a Stevie Winwood tune, “The Low Spark of High
Heeled Boys.” While it starts out with a jazz feel,
“The Low Spark of High Heeled Boys” heads into a
world of its own and becomes a fitting end to Bobby
and the band’s efforts on Welcome to Deltaville!
Welcome to
Deltaville is definitely a satisfying disc to my
ears. Bobby’s band with Steve Geller on bass, Mel
Watts on the drums and percussion with Deanna
sitting in on piano and sax is a very tight unit and
their expertise shines throughout. Bobby’s a
phenomenal guitarist and shines his own light on
this project as well. Bobby’s on the road a lot so
catch him when you can, and take the journey to
Deltaville, you’ll be glad you did!
---
Kyle Deibler
I
was fortunate enough to be in the audience at the
finals of the 2006 International Blues Challenge in
2006 when San Diego’s Aunt Kizzy’s Boyz took the
stage with Sugaray Rayford captivating all of
us with his booming vocals and undeniable charisma.
Since then he’s parlayed his unique talents into a
career as one of the rotating front men for the
Mannish Boys and has finally released a disc of his
own, Dangerous, on the Delta Groove label. If
Sugaray’s not dangerous, he’s at least on the loose,
so let’s give him a listen.
This Texas Bluesman
opens with “Country Boy” and Sugar Ray Norcia is
backing him up strong with amazing harp riffs as
Sugaray tells us about his beginnings in the
country. “I’m a little country boy…rolling through
this big ol town…yes…and when I’m with my baby….I
wanna show her around.” The energy is there from the
get go and I’m thinking we’re in for a party. Up
next is an original, “Stuck for a Buck,” and we’ve
all been there. “Baby took the credit cards…went
down to the mall…bought herself a new wardrobe….yes,
she maxed them all…took my guitar down to the
pawnshop…cuz, I’m stuck…stuck for a buck!” Times get
tough and we’ve all got to do what we’ve got to do
to keep keeping on.
“I’m Dangerous”,
written by Delta Groove chief Randy Chortkoff finds
Sugaray telling us what a bad man he is. “You don’t
know what you got…til you ride around with me…I’m
telling you people….I’m dangerous…dangerous as I can
be.” With that deep growl of Sugaray’s, I’m
convinced he’s a bad man.
Up next is a tune
Norcia wrote specifically for this record, “Two
Times Sugar,” as if one wasn’t enough. I like the
exchange between the two and Monster Mike Welch sits
in to play the lead on this tune. “I know they call
you the sugar…but that’s what they call me too. Two
times sugar….two times better than one.” I’m a fan
of both “Sugars” so I’d have to agree with them in
this case.
The tempo slows down
now as Sugaray gives us his version of the Pee Wee
Crayton classic, “When it Rains it Pours”. “When it
rain…it pours…the sun stop shining bright…and
everything seems wrong…nothing I seem to do is
right.” Love the slow tune from Sugaray and he
definitely takes me back to a different time and
place. A funkier beat ensues and Sugaray next tells
us about a “Pretty Fine Mama.” “She wiggles when she
walk…she got a healthy fine frame you know…she’s got
long blonde wavy hair…Lord, I love that little girl
you know.” The tune was written by Randy Chortkoff
and he’s on harp for this song, laying it down
strong.
Fred Kaplan’s piano
is in the background while Sugaray sings our next
tune, “Depression Blues,” a song written by
Gatemouth Brown. “My papa stole a chicken…my mama
fried it hard….the reason why she did it baby…he
couldn’t steal no lard…these depression blues.” Kim
Wilson lends his harp to another tune written by
Chortkoff, “Going Back to Texas,” as Sugaray tells
us of his desire to go back home. “Well, I’m going
back down to Texas…you know it was where I was born
and raised…I’m going to drop down right in Tyler…I’m
going to get right down and play.”
A tune written by
Sugaray, “I Might Do Somethin’ Crazy,” is next and
I’m not sure Sugaray is quite right. “Like a pot
left unattended….on a hot burning stove….I might do
something crazy….I might explode.” Kid Anderson
takes the guitar lead on this tune and his riffs are
telling me that something’s definitely not right
with Sugaray. Sax notes from Ron Dziubila and the
trumpet of Mark Pender fill the background in nicely
as Sugaray gives us his take on the Junior Parker
classic, “In the Dark.” Kid Anderson continues his
guitar wizardry as Sugaray tells us, “what goes on
in the dark…will soon see the light.”
More harp from Kim
brings Sugaray back to the mic on “Surrendered.”
“Put out the white flag…and realize what you always
had…give yourself a break…and surrender.” Sometimes
it’s better to take a step back and appreciate what
you have as opposed to leading the charge for
something more. Another Rayford original, “Need a
Little More Time,” is next and Sugaray’s woman is
trying to elicit a commitment from her man. Franck
Goldwasser is laying down the steel guitar as
Sugaray ponders his life. “You want to get me to the
courthouse…get me up in front of the judge…you want
to make this thing official….I say…honey…sure
enough….but I need a little more time.” Tying the
big man down is tough and she might not get it done.
It seems that Sugaray needs “a little more time” for
just about everything.
Big Pete takes the
lead on harp as Sugaray gives us he take on Franck
Goldwasser’s tune, “Keep Her at Home.” “She affect
my brain…my soul…and my body. Pete’s an animal on
the harp and brings an edge to this tune that is
definitely appreciated. Franck’s back on slide
guitar with Bill Stuve on acoustic bass as we close
this album with Sugaray’s take on the Son House
tune, “Preaching Blues.” “And the blues is an
aching…aching heart disease…well, it’s killing me by
degrees.”
The big man from
Texas has put out a stellar effort and I expect
bigger and better things from Sugaray Rayford in the
future. He’s got an undeniable stage charisma to go
with that big voice of his, and the sky’s the limit
in terms of where he might choose to go.
Dangerous is an excellent debut record for
Sugaray on Delta Groove and I need to see a live
performance from him pretty soon. Well done, Sugaray,
well done!
---
Kyle Deibler
I
threw my buddy Eric Hughes’s new disc,
Drink Up, into the CD player this morning and
had an epiphany. I know at least 12 different blues
bandleaders who live in Memphis and they’re all
distinctly different from one another. Kudos to Eric
for being part of the musical melting pot that is
Memphis, Tennessee and the Blues. He’s by far one of
the best lyricists of the bunch, so let’s give his
new disc a listen.
Of course, he opens
with the title cut, “Drink Up.” To Eric’s way of
thinking none of us have had enough to drink and he
lets us know that in no uncertain terms. “Don’t tell
me you’ve had enough….drink up…drink up…drink up!”
Our second cut, “That’s My Baby’s Mama,” is
indicative of the genius that is Eric’s songwriting
to me. “Me and the boys was at the curb…seen a girl
so fine….they refused to believe me….when I said you
once was mine…that’s my baby’s mama….that’s how it
used to be.” Change happens and Eric’s a happy go
lucky guy, but damn, the girl was fine!
Eric manages to slow
the tempo down on our next cut, “Blues Magician,”
and breaks out that harp of his to get it going.
“I’m a blues man…I’m only happy when I’m down…and
when I’m down and broken-hearted…that’s when I get
my finest sound.” Eric’s a great guitarist too and
lends some tasty guitar licks to this tune as well.
All of the male
species has encountered the cold shoulder on
occasion and Eric describes this girl to a T in the
next tune, “Frostina.” “Frostina…why do you have to
be so cold…Frostina..you’re just too chilly to hold”
We find Eric not feeling well on our next cut and
thinking a doctor’s visit is in order in “Tested
Positive for the Blues.” “You’re ragged and you’re
wore down…you’re in the club all night…I’m going to
recommend some vegetables…some rest….and some
sunlight” Even the nurse said, “You tested positive
for the blues” Eric staying out of the clubs?
Resting? Not hardly if you know Eric at all. Moving
on, to hear Eric tell it, Mama was strict in “Mama
Don’t Allow.” “You see what happened…Mama went to
the store…she said…”Don’t go in the living room and
mess with the piano while I’m gone.” Next thing you
know she’s out the door, in the car and what does
Eric do? Why tickle the ivories of course.
I hear Robert
Nighthawk Tooms handiwork on the organ when Eric
takes the mic for our next cut, “Repo Man.” “Repo
man…coming to get your stuff…I’m the repo man…should
have kept those payments up” Envisioning Eric as a
repo man is a stretch, but why tempt fate? Keep
those payments up! Rain and thunder provide the
background for Eric’s next cut, “Raining on Beale.”
I’ve been caught in the rain on Beale Street more
than once so let’s see what’s up. Turns out “Raining
on Beale” is an instrumental and gives the entire
band a nice opportunity to stretch their collective
wings and let it fly. Good job, guys!
“Going to
Brownsville” seems like an odd duck in this musical
menagerie with its old school ’20s blues feel to it,
but Eric is persistent in his attempts to get to his
girl’s house. “I’m going to Brownsville…going to
take the right hand road…not going to stop
walking…'til I get to my sweet baby’s door.”
Drink Up
closes with the vaudeville-style “The Ballad of
Weevil Point Willie” and the more anthemic “My Baby
Got a Black Cat.” It seems that Willie just couldn’t
get it right. “A Friday afternoon…as the sun began
to sank…Willie strolled into the lobby of the Weevil
Point Bank….fired his shotgun twice…into the crystal
chandelier…and said, ‘You people put the cash…in
this bag right here'." Turns out the teller knew him
from a child and he wasn’t going to get far so it’s
fair to assume that Willie’s goose was cooked. Of
course the Sherriff’s bullet holes in Willie’s chest
were proof of that. In “My Baby Got a Black Cat,”
Eric’s the one who’s fearful of the forces swirling
about him in his life. “And so my baby…tried the old
black cat on me…now I’m standing on the wrong
side…trying to get back to Tennessee.” Good Luck
getting back home, buddy.
Eric continues to
write great songs and surrounded himself with great
players on this disc in the form of Leo Goff on
bass, Walter Hughes on guitars and mandolins, Robert
Nighthawk Tooms on keyboards, Doug McMinn on drums,
congas and percussion, and Chris Stephenson took a
turn or two on keyboards as well. You can grab a
copy of Drink Up at any club you find Eric
playing in up and down Beale Street or order it from
him on his website at
www.erichughesband.com. Well done, Eric ---
drink up!
---
Kyle Deibler
Franco
Paletta is a lover, not a fighter. And while I’m
sure the good folks in the Rose City know this for a
fact. When I threw Franco & the Stingers new
disc, I Like It Just Like That, into my CD
player, all I wanted to do was break open a bottle
of wine, call somebody special over to the house and
fire up the fireplace. And while I mean that in the
sincerest kind of Bobby “Blue” Bland fashion,
there’s a review to write, so let’s hit Play.
I think it’s
important to note early on that all the songs were
either written by Franco himself or Franco and his
bassist Timmer Blakely, with the one exception being
“Livin’ the Blues Again,” written by Jason Thomas.
With that out of the way, let’s get started.
Franco and the band
move into “Oh Baby,” and right away Franco is
lamenting the love of his good woman that he needs
desperately. “Hey there, Sugar…I just need your
kiss…you’re the apple of my eye…the one I can’t
resist.” Franco’s heart is definitely with the good
woman in his life (Jeri) and that’s not a bad thing!
The guitar of JT Thomas provides a quick intro as
Franco again pleads for the love of his woman in our
next cut, “Born to Please.” “When I watch you
dancing…I hear what the people say…you shake and
then you shimmy…turn your back and then walk away…oh
if you love me baby…I would fall down on my
knees…cause I was born to love…darling, I was born
to please!” This one’s a tough catch and as hard as
Franco’s working it, I’m not convinced he’s catching
this one.
So of course we move
on to another discussion of the feminine wiles in
“When She Do That She Thing She Do.” “Well…she gets
a drink…she might give you a wink…if you happen to
catch her eye…and every man in town…drops straight
down to the ground…every time she passes by…she’s a
source of great frustration…to every single guy in
town…though I must confess…I’m quite impressed…when
she do that thing she do." Good luck, guys, this
one’s a shark in the water.
Tempo picks up and
our next tune, “She’s My Little Girl,” has a nice
edge to it. “She’s my little girl…I just love her
so…I see on the dance floor…just takes my breath
away….well she wants to give me loving…hugs and
kisses all the time…she’s my little girl.” The title
cut, “I Like It Just Like That,” is dedicated to
Franco’s wife Jeri and I think it’s cool to
acknowledge her in song. The song starts out with
Franco blowing harp in a cool, laidback, summer kind
of vibe. “Well you got me…and I got you…there’s not
a damn thing we can’t do…I know you love me baby…and
I like it, just like that.” Well done, Franco! I’m
going to leave the sentiment right there out front
where it belongs. JT kicks in with some sweet guitar
and this is just a great tune for a variety of all
the right reasons.
Franco continues to
cater to the ladies in the next cut, “Pretty Baby.”
“I can tell by your figure…and your bedroom eyes…if
you give me a tumble…I would win first prize.”
Definitely a sweet talker here, there’s little doubt
that Franco is a lady’s man of the first degree.
JT’s guitar kicks in
to provide the intro for “Livin’ the Blues Again,”
and it’s probably my favorite track on a very good
disc. “Wherever I’m going…wherever I’ve been…I’m
livin’ the blues again.” Tight, passionate guitar
riffs from JT lend the right sense of desperation to
this tune and Franco’s vocal is spot on for the
sentiment this song conveys. Nicely written, Jason!
More frenetic guitar
work leads to Franco telling us about the “Gypsy
Woman.” “Her movements draw me closer…I feel a sense
of dread….I’m paralyzed by what I
feel…visions…dancing in my head…ah…gypsy woman…I
just got to know.” Franco’s sense of wonder has him
out of control, “If I give to you this lonely
man…will you make me more than what I am?” That’s a
lot to put on an encounter with a gypsy woman, but I
have a feeling she’s more than up to the task. This
obsession with women continues with Franco blowing a
mean harp while contemplating the mysteries of “Red
Hot Lovers.” “I’ve never been so nervous…never felt
like this before…when I’m with you darling…I want
you even more…hold you close…give you a long...long
kiss…you got me so worked up baby…I just can’t
resist…we’ll be red hot lovers.”
Franco finally moves
on to a tune about love lost in “It Brings a Tear.”
“We were together for so long…I never thought…that
you would hurt me…thought we’d be lovers…for all
time….it brings me to my knees….when I think about
you baby…guess you were never really mine.” Franco’s
pain is real and she must have been an amazing
woman.
Jonathan Barber’s
drums and Steve Kerin’s keyboards bring this disc to
a close with the intro to our final cut, “I Really
Want to Sing the Blues.” “I like to rock…I like to
roll…but I really want to sing me some blues…we’re
going to get right down…sing some rocking rhythm and
blues.”
I’m reminded of the
plethora of great blues talent that inhabits
Portland and the surrounding area, knowing full well
that I need to get back up that way and visit soon.
Franco Paletta & the Stingers are an amazing band
that has captivated Portland blues aficionados for
almost 20 years now, and rightfully so. The band
writes great tunes, plays them with such heart and
conviction, and quite honestly, made my day.
I Like It Just
Like That is a wonderful representation of their
talent and will visit my CD player on numerous
future occasions. You can learn more about Franco &
the Stingers at their
website. It’s a long URL, but well worth the
effort to type it and grab a copy of this disc while
you’re there. It will keep you and your significant
other smiling for a long, long time.
---
Kyle Deibler
Todd
Wolfe has been a force on the blues/rock scene since
the late '70s, including a stint backing Sheryl Crow
at the beginning of her recording career. More
recently he's been the leader, guitarist, vocalist
and principal songwriter for the Todd Wolfe Band,
with their latest disc, Miles To Go, out now
on American Showplace Music. Wolfe is a solid
guitarist and at least a competent vocalist, and is
backed by a steady rhythm section of Justine Gardner
on bass and Roger Voss on drums.
Wolfe wrote or
co-wrote eight of the ten songs on Miles To Go,
with one of the covers being a dirge-like version of
Howlin' Wolf's "Forty Four." Voss frames the
background with his primal drumming, giving the
right accompaniment for Wolfe's guitar work. It's
only natural that I would prefer to bluesier cuts,
but I also like Wolfe's guitar playing on the rockin'
original "Day To Day."
Another cut that will
excite the more hardcore blues fans is the sparse
blues, "Sunnyvale," which kicks off with a nice
slide guitar riff. Another favorite is the more
mellow tune, "I Stand Alone," on which Wolfe adds
tasteful mandolin playing.
Just when you think
you've figured out this band's formula, they close
the disc with two real shockers: "Come What May," a
blues rocker with a heavy reggae backbeat, and the
ethereally pyschedelic George Harrison cover, "The
Inner Light."
Miles To Go
covers a lot of different styles, with Wolfe's
strong blues/rock guitar being the consistent
foundation. Your mileage will vary depending on your
own musical tastes, but for me there were enough
high points to make it a worthwhile disc.
---
Bill Mitchell