Sugar Ray and the Bluetones have been going strong
for 35 years and show no signs of letting up. Their
latest release, Seeing Is Believing, is their tenth
album overall and their seventh for Severn Records.
The band is universally recognized as one of the
best in the business, with each member (Sugar Ray
Norcia – vocals/harp, “Monster” Mike Welch –
guitars, Anthony Geraci – keyboards, Michael
“Mudcat” Ward – bass, Neil Gouvin – drums) having
been nominated for Blues Music Awards and the band
being nominated as Best Band three times, including
in 2016.
The new disc consists of
11 new songs and one
cover, Welch’s gorgeous instrumental tribute to B.B.
King, “You Know I Love You.” Norcia contributes the
minor key title track, which would have been a good
fit on Otis Rush’s set list back in the day, the
wonderful “Keep On Sailing,” the hard-charging
“Blind Date,” “It Ain’t Funny,” the smoky ballad
“Not Me,” and the collaborative shuffle “It’s Been A
Long Time,” which closes the disc out.
Welch penned the opener, “Sweet Baby,” and provides
outstanding fretwork throughout the disc. Geraci,
who’s still on a roll coming off last year’s
excellent solo effort, Fifty Shades of Blue,
contributes a couple of tracks, “Noontime Bell” and
“Got a Gal,” and Ward authored the clever “Misses
Blues.” It may be cliché, but the band works like a
well-oiled machine, which actually makes
sense…..this particular incarnation of the band has
been together for 16 years.
Seeing Is Believing is a sterling showcase for one
of the finest blues bands currently in operation.
Their music is a fine tribute to those masters who
preceded them, and its blues well done overall. It’s
a safe bet that come Blues Music Awards time, these
guys will be on the ballot once again and deservedly
so.
---
Graham Clarke
One of the most productive musical relationships in
recent years has been between Delmark Records and
Lurrie Bell. The Chicago guitarist has battled back
from numerous obstacles and tragedies to become one
of the finest of the Windy City’s blues artists, and
his releases with Delmark (six over the past 20
years) have helped solidify his position. Few
artists today can match his highly original singing
(a perfect combination of power and emotion) and his
creative and intense guitar playing.
Bell’s latest Delmark release,
Can’t Shake This
Feeling, is another sparkling effort. As on his last Delmark album (2013’s
Blues In My Soul), Bell is
backed by his own band (Matthew Skoller – harmonica,
Roosevelt Purifoy – keyboards, Melvin Smith – bass,
Willie “The Touch” Hayes – drums) and is produced by
Dick Shurman. There are 13 marvelous tracks, nine
covers of Chicago blues classics and four
interesting originals from Bell.
Bell covers songs from Willie Dixon (“Sit Down
Baby,” part of Otis Rush’s Cobra output from the
late ’50s, and “Hidden Charms”), Eddie Boyd
(“Drifting”), T-Bone Walker (“I Get So Weary”),
Lowell Fulson (“Sinner’s Prayer”), Little Milton
(“Hold Me Tight”), Buster Benton (“Born With The
Blues”), Jimmy Davis (“One Eyed Woman”), and Bell’s
dad, Carey (“Do You Hear?”). The cool thing about
when Bell does a cover is that he basically makes it
his own, adding his own personal touch to each to
the point that it’s almost like he’s lived the
lyrics of most of these songs.
The personal touch carries over, of course to his
original songs as well. The title track is
particularly memorable and he turns in a bravura
vocal performance on “The Worrisome Feeling In My
Heart.” His fretwork is spot-on for “Blues Is Trying
To Keep Up With Me,” and the closer, “Faith and
Music” (co-written with Shurman), is a stripped-down
autobiographical track…just Bell and his
guitar….that should raise goose bumps.
Well on his way to achieving legendary status at
this point in his career, Lurrie Bell has blessed
blues fans with Can’t Shake This Feeling, yet
another fantastic release of Chicago blues. Simply
put, if you like the blues, you will love this
album.
---
Graham Clarke
Each Grady Champion release sets the bar just a
little bit higher for bluesmen everywhere. Two years
ago, Champion released his Malaco Records debut,
Bootleg Whiskey, to rave reviews, and the Canton, Mississippi
singer/songwriter/harmonica player manages to outdo
himself yet again with his Malaco follow-up, One of
a Kind, a superb set of traditional and urban blues
and R&B that now stands as Champion’s gold standard
release. Champion wrote or co-wrote 11 of the
12 tracks, and they’re a distinctive batch that
you’ll find yourself humming along to after
listening.
There’s plenty of traditional styled blues tunes
like “House Party,” Leave Here Running,” and “Stone
In My Path,” along with urban blues offerings such
as “Life Support” and “What A Woman,” in which
Champion and lead guitarist Eddie Cotton channel the
vintage Junior Wells/Buddy Guy days, with an assist
from Elvin Bishop on slide guitar. Champion also
mines heavily from the R&B side of the blues with
the title track, “Heels and Hips,” the ZZ Hill
classic “Bump and Grind,” “Move Something,” “Thin
Line,” and “When I’m Gone.”
Champion and Cotton have worked together a long time
and their musical rapport is seamlessly intertwined
throughout, but nowhere is this more apparent than
on the great instrumental jam, “GC Boogie,” that
closes the disc. The blues world is fortunate that
these outstanding young musicians’ paths crossed.
Additional guitar work is provided by Mr. Sipp,
Theodis Ealey, and the aforementioned Bishop. In
truth, the whole band (bass players Myron Bennet and
Ken Smith, drummer Sam Scott, keyboardist Carroll
McLaughlin, and The Jackson Horns – Kimble Funchess
– trumpet, Jessie Primer III – tenor sax, Sydney
Ford II – baritone sax, Robert Lamkin – trombone,
and the late Harrison Calloway – arrangements) is
superlative throughout, and backing vocals are
provided by Cotton, Champion, Lisa Palmer and Jewell
Bass.
Ten albums in (his first effort was a 1990 rap
release as MC Gold), Grady Champion continues to be
one of the most innovative blues artists currently
practicing. Each new release always holds a few
twists and surprises. His association with Malaco
has proved to be a productive one so far, with One
of a Kind being his best release to date, and one
that you should be hearing more about, come BMA
time.
---
Graham Clarke
JJ Thames will not be suffering from the
sophomore jinx based on her outstanding second release,
Raw
Sugar (DeChamp Records). Recorded at Malaco
Recording Studios and produced by Eddie Cotton (who
also plays guitar), this disc is so hot that it may
burn your fingers. The lovely Jackson, Mississippi-based
singer is in fine vocal form on these 13
tracks, mostly co-written with Cotton, which deal
with the effects and aftereffects of the end of a
relationship.
Thames really shows her range and depth on these
tracks, covering the blues with tunes like the
jumping “Hattie Pearl,” “I’m Leavin’,” an upbeat
shuffle with some sharp guitar from Cotton, the
fiery “Woman Scorned,” “Bad Man,” “Don’t Feel Nothin’,”
and the title track, a smoking, in-the-alley slow
burner.
“Leftovers” moves seamlessly between R&B, pop, and
jazz, and “Hold Me” blends blues and jazz. “Only
Fool Was Me” is southern soul at its finest, and the
upbeat “Want To Fall In Love” brings to mind ’70s
R&B. “Don’t Stop My Shine” is a pure funk number
with appropriate fretwork from Cotton and Darryl
Sanford on keyboard. Thames also shines on the
gospel opener, “Oh Lord,” where she teams with Joe Seamons (acoustic guitar) and Ben Hunter (mandolin),
and pours her heart out over the agonizing moral
dilemma presented on the soul-drenched track “Plan B
(Abortion Blues).”
Thames is backed by a powerhouse ensemble in
addition to Cotton and Sanford. The late Harrison
Calloway handled all the horn arrangements (provided
by The Jackson Horns: Kimble Funchess – trumpet,
Jessie Primer III – saxes, Robert Lamkin –
trombone), and the rhythm section (John “Lanky”
Blackmon – drums and Anthony Daniels – bass) is rock
solid.
JJ Thames brings to mind the stylish and classy soul
and blues singers of years gone by with her
formidable vocal talents, but she’s also firmly
entrenched in the modern world with her first-rate
songwriting. Raw Sugar is a great step forward, but
there’s still much more to be heard.
---
Graham Clarke
With Blues Full Circle (Stony Plain Records),
guitarist Duke Robillard returns to his beginnings
as a musician, playing old school blues with his
regular small combo (Bruce Bears – keyboards, Brad
Hallen – bass, and Mark Teixeira – drums). The disc
also marks Robillard’s return to full-time
performing following rotator cuff surgery, and the
13 tracks indicate that the surgery was a
rousing success, with the guitarist sounding just as
sharp as ever.
In addition to his regular band, Robillard is joined
by Jimmie Vaughan (guitar), Sugar Ray Norcia
(vocals), Kelley Hunt (piano, vocals), Sax Gordon
Beadle (tenor/baritone sax), and Doug James
(baritone sax) on selected tracks. Vaughan and James
team up with the guitarist on the inspired
guitar-driven instrumental “Shufflin’ and Scufflin’.”
Hunt sings and plays piano on the swinging “The Mood
Room” (a song Hunt had penned about her experience
in Robillard’s studio of the same name), and Norcia
sings with support from Beadle on Jimmy Lewis’ “Last
Night.”
Robillard wrote 11 of the tracks, eight brand
new compositions plus three which date back to his
Roomful of Blues days in the ’70s. Some of the
standouts include “Lay a Little Lovin’ On Me,” a
textbook Duke Robillard cut, loaded with plenty of
six string swagger, the R&B-styled “No More Tears,”
“Rain Keeps Falling,” and the lovely “Mourning
Dove,” and the Crescent City-flavored “Fool About My
Money.” Speaking of New Orleans, Robillard also does
a wonderful, moving tribute to the late Guitar Slim
(“Blues for Eddie Jones”), and the guitarist does a
great job behind the mic on “Worth Waitin’ On,” a
ballad tailor-made for his vocal style.
Blues Full Circle is another superlative effort from
Duke Robillard, who’s been turning out quality
releases like this one with amazing consistency for
over 30 years.
---
Graham Clarke
Maxwell Street (Stony Plain Records), the new album
from Ronnie Earl and the Broadcasters, is named in
honor of David Maxwell, the late pianist and former
Broadcaster who passed away in 2015 at age 71. Earl
and his bandmates (Lorne Entress – drums, Dave
Limina – keyboards, Jim Mouradian – bass, Diane Blue
– vocals) have put together a ten-song set – six
originals, four covers – that’s described on the
back album cover as “An album of traditional,
healing and soulful blues rooted in gratitude.”
That’s a pretty tall order, but Mr. Earl delivers on
the promise, as always.
If listeners don’t get a sense of peace and
serenity, and even healing, while listening to
Earl’s supremely lyrical guitar work, then
counseling is strongly recommended. He hits it out
of the park repeatedly on numbers like “Mother
Angel,” where his fretwork walks a tightrope between
the blues and jazz, the sweet shuffle “Brojoe,” the
magnificent “In Memory of T-Bone,” a spot-on tribute
to the great guitarist, and the masterful “Blues For
David Maxwell.” Keyboardist Limina penned another
tribute to Maxwell, the moving “Elegy for a
Bluesman,” that features some nice interplay between
his piano and Earl’s guitar.
Diane Blue contributes vocals on five of the tracks
and she’s a wonderful addition to the ensemble,
doing excellent work on the original “Kismet”
(co-authored with Earl), Otis Rush’s “Double
Trouble,” Gladys Knight’s “I’ve Got To Use My
Imagination,” Eddy Arnold’s “You Don’t Know Me,” and
the blues standard “As The Years Go Passing By.”
Earl’s guitar accompaniment is perfect on all of
these vocal tracks, but his work on “Double
Trouble,” clocking in at nearly 12 minutes, is
positively spellbinding.
Maxwell Street is as good a release as I’ve ever
heard from Ronnie Earl, which is really saying
something. Blues fans will get nothing but sheer
listening pleasure out of this magnificent album.
---
Graham Clarke
Al Basile is a model of consistency. Every year or
so, he presents blues fans with a high quality set
of original songs that capture his musical
influences perfectly…..blues, jazz, and R&B. One of
the best and most original songwriters currently
practicing, his songs are like little short
stories….sometimes humorous, sometimes touching,
sometimes thought-provoking, but always compelling
and rewarding listening.
Basile’s latest set,
Mid-Century Modern (Sweetspot
Records), consists of songs composed over a two-week
period shortly after he completed work on the 2015
Knickerbocker All Stars release Go Back Home To The
Blues. That project reminded Basile of his days with
Roomful of Blues, so he decided to write a set of
tunes in the tradition of that great band, allowing
him to not only sing, but play his cornet more than
he had on previous releases.
As on all of Basile’s previous releases, Duke
Robillard takes the producer’s chair, guesting on
guitar on a couple of track. “Monster” Mike Welch
takes the lion’s share of guitar work on this
release, and several of Basile’s regular sidemen,
Bruce Bears (keyboards), Brad Hallen (bass), Mark
Teixeira (drums), Doug James (tenor and baritone
saxes/bass clarinet), Rich Lataille (alto and tenor
sax), and Jeff “Doc” Chanonhouse (trumpet) return to
provide their usual superlative support.
Basile’s whimsical side comes out on tracks like
“Keep Your Love, Where’s My Money?,” the ribald
“Tickle My Mule,” the lighthearted “I’ve Got To Have
Meat (with Every Meal),” and “Like A Woman, Like A
Man.” He ventures places that most blues composers
rarely venture, too, on tunes like “Like You or
Despise You,” the ominous “Blank Dog,” and “Lie
Under The House With Me,” and “No Truth To The
Rumor.” “Midnight Blue Persuasion” is a steamy
reflection upon affairs of the heart, “Listen To The
Elders” encourages listeners to heed the advice of
those who have traveled through life.
Basile’s robust cornet playing is front and center
on most of these songs, and Welch provides excellent
support on guitar (Robillard appears on a couple of
tunes, as well). As on his previous releases, Basile
provides liner notes to accompany each song and they
are always entertaining and informative. Mid-Century
Modern is another great set of high quality original
blues tunes from one of the most talented composers
and performers in the business.
---
Graham Clarke
Vaneese Thomas returned to her roots for her 2014
release, Blues For My Father (dedicated to her late
father, Memphis music legend Rufus Thomas), an album
that earned her two BMA nominations. The
Memphis-born chanteuse digs a little bit deeper on
her latest release, The Long Journey Home (Segue
Records), a marvelous twelve-song set that focuses
on the rich musical culture of her hometown, and on
Thomas’ talents as a singer and songwriter. Thomas
wrote or co-wrote 11 of the 12 tracks and
co-produced with her husband, guitarist Wayne Warnecke. She’s backed by her own road band, who
provide superlative support.
As stated above, the songs cover the broad spectrum
of styles that emanate from Memphis, from the Stax-like
opener, “Sweet Talk Me” and “Prince of Fools,” which
recalls the heyday of Hi Records, to the delightful
swinging sing-along “Sat’day Night On The River,” to
the funky “Rockin’ Away The Blues,” to the down-home
“Revelation.” Thomas also ventures into topical
items of interest with “The More Things Change,”
which recounts the civil rights movement and its
continued progress, and pleads for love and
understanding on the reflective “Mean World,”
accompanying herself on piano.
The blues is all right in Thomas’ hands, too, on the
shuffle “Lonely No More” and the blues rocker “I Got
A Man In TN.” “Mystified” is an impressive venture
toward modern R&B, and “Country Funk” is just that,
combining the blues with funk and country with the
addtion of fiddles, dobro, and banjo with fantastic
results. Speaking of fantastic, Ms. Thomas’ vocals
are just that. The closer, and lone cover on the
album is a fabulous acoustic reading of Fleetwood Mac’s
“The Chain,” and it shows the lady’s vocal talents
at their very finest.
The Long Journey Home is an amazingly diverse and
powerful set of music. Vaneese Thomas is taking the
music of her youth (blues and soul) and pushing it
into new and interesting directions.
---
Graham Clarke
The King Brothers (guitarist/singer Lee King and
drummer Sam King) have been playing together since
elementary school. Lee has played with Ike Turner
and Big Joe Turner, and the brothers backed Lowell Fulson, Jimmy McCracklin, Freddie King (their second
cousin), and Albert King, performing on the latter’s
classic Blues at Sunrise album. On their own,
they’ve released a pair of well-received albums,
Turnin’ Up The Heat (1997) and Mo’ Heat
(2001).
Get Up And Shake It (Club Savoy Entertainment Group)
may be the brothers’ first recording in 15
years, but it shows that they haven’t lost a step
during that time span, producing a blistering set of
blues that mixes in soul, funk, and rock. The
brothers wrote three of the ten tracks, two of which
are instrumentals, and chose seven blues classics to
recreate in their own inimitable fashion.
Some of the covers will be familiar to blues
fans……”Rock Me Baby,” “Hound Dog,” “Hoochie Coochie
Man,” “Close To You”….. but there are a couple that
may be fairly new to a few listeners. ”Big Leg
Woman” and “Tore Down” were both tunes previously
recorded by their cousin Freddie back in the day,
plus there’s a sharp take on Bobby Rush’s “Blind
Snake.” The brothers pump these tunes up with some
energetic and skilled musicianship. Lee King has got
guitar chops to burn and Sam King’s time-keeping is
impeccable.
The instrumental tracks are “Just Driving Around”
and the title track. Both are extended jams that are
heavy on the funk and should get a few tail feathers
shaking. The remaining original is “Just The Way I
Like It,” which is in the same vein, with a solid
vocal from Lee King, who ably handles all the
singing on the disc.
The Kings are backed by a tight rhythm
section --- Ellis Hall, who really shines throughout
with his versatile keyboard work, and bassist Al
Threats. Michael Fell adds harmonica on several
tracks.
This disc was a wonderful surprise. The King
Brothers’ first release was one of my favorites when
it was first released and it’s great to see them
back in the studio. Hopefully, they won’t wait
another 15 years before blessing us with
another album. For now, Get Up And Shake It is
highly recommended to all blues fans.
---
Graham Clarke
For South Louisiana Blues, the 11th release by
Smoky
Greenwell, the New Orleans-based blues icon has
surrounded himself with some of the Crescent City’s
finest musicians. Greenwell (vocals, harp, and tenor
sax) and his regular working band (Jack Kolb –
guitar, David Hyde –bass) are joined on this winning
set (four originals, eight covers) by keyboardists
Joe Krown and Johnny Neel and drummers Doug Belote,
Willie Pankar, and Pete Bradish, along with backing
vocalists Dana Abbott and Lynn Drury.
All of the songs on
South Louisiana Blues were
written by artists from the area, or with deep
connections to the area. Greenwell covers three
songs from Lonesome Sundown, which is never a bad
thing (“Lonesome, Lonely Blues,” “I Had A Dream Last
Night,” and “I’m Glad She’s Mine”). There’s also
Wilbert Harrison’s “Let’s Work Together,” the Snooky
Pryor classic “Boogie Twist,” Willie Dixon’s “Two
Headed Woman,” Lee Allen’s “Walking With Mr. Lee”
(one of several featuring Greenwell on tenor sax),
and Nobel recipient Bob Dylan’s “Dirt Road Blues.”
The four originals are Greenwell and Kolb’s “Animal
Angels,” a modern blues rocker, the Chicago-styled
“You Can’t Take It With You,” and a fine and funky
pair of instrumentals. The first, “Pick It Up,” has
echoes of James Brown with Kolb’s ringing guitar,
and the second, “The Hunch,” is New Orleans funk
with a bit of Memphis grease thrown in.
South Louisiana Blues is a very enjoyable set for
those who like their blues on the swampy side.
Greenwell is an ace on harmonica and his warm,
honest vocals are a plus as well. He has excellent
taste in cover material and the interplay between
the band members indicates that this record was as
fun to make as it is to listen to.
---
Graham Clarke
Why Dan Bubien isn’t more widely recognized for his
soaring guitar work, his gritty, soulful vocals, and
his ability to craft vivid and imaginative songs is
a mystery to me. His sophomore release, Grinding
These Gears, is an earthy, absorbing mix of blues,
rock, and soul from an artist who deserves to be
heard. Loaded with ten potent original tracks
(written by Bubien or co-written with Roman Marocco),
this disc is sure to satisfy blues and roots fans.
The opening cut, “Palest Rider,” has a western movie
soundtrack vibe with Bubien’s slide guitar, the
ominous drumming and eerie keyboards. The title
track follows and picks up the pace with an almost
pop/rock rhythm tempered by Bubien’s rugged vocal
and slide. “Forever Yours” is a soulful blues ballad
with a great vocal turn from Bubien, which is
followed by the crunching rocker “Vagabond” and
“Dark Hearted Woman,” a tantalizing slow burner that
meshes soul, rock, and the blues.
The funky “Second Hand Man” adds horns and backing
vocals with an island-like sensibility, while
“Memphis Murder Blues” is a hard-driving boogie
track that really takes off about midway through and
is one of the strongest cuts on the disc. “I Will
Take Care of You” is a smoldering ballad that proves
to be another showcase for Bubien’s fine vocals and
guitar, and “Coming Clean” follows suit, although
with more emphasis on Munroe’s keyboards. The
closer, “The Struggle Is Real,” is a keeper,
invoking a hot, sultry Delta day while incorporating
the sound of a chain gang.
Bubien is backed by a muscular rhythm section (Andy
Taravella – drums/vocals, Joe Munroe –
keys/vocals/bass), with support on selected tracks
by guest artists Tim Mabin (keys), Gary Ripper
(bass), Eddie Manion (sax), David Buffalini
(trumpet), and Jeff Davis (sax). Grinding These
Gears shows Dan Bubien continuing to develop into
one of the more exciting and unique voices in blues
and roots music today.
---
Graham Clarke
Last September, I reviewed a single by
2Ton Bridge,
a.k.a. Alexander Wright, an Americana/roots artist
with deep roots in Southern music. The single was
designed as a preview of his upcoming album, 2Ton
Bridge (Monkey Room Music), which has just been
released, and the entire set follows the example of
those singles, with traces of blues, country, and
Americana in each of the remaining ten tracks.
The two songs included on the single, “I’m a Hoot
Owl” and “Pennies On The Shore” are included, but
there are other standouts as well. “Post Hole
Digger” is one of the best, and the serene “She’s So
Steady” is pretty close. There are songs about
ordinary, everyday folks dealing with the hardships
of life (“Waterman Town,” “Take Your Hands Off My
Land”).
The haunting “Parchman Prison Clay” is the closest
pure blues song on the disc, and even it shows the
blurred line between blues and country music --- same
themes, different instrumentation. “The Beast”
provides maybe the most vivid lyrical imagery of a
train that you’ve likely heard in years. “Last
Winter” is a somber contemplation on roads taken and
not taken. The album’s lone cover is a brief
snapshot of the Rev. Gary Davis’ tune “I Will Do My
Last Singing,” which features Wright’s voice and
guitar.
Wright himself plays acoustic guitar, steel guitar,
mandolin, and banjo, and he’s accompanied by Eric
Haywood (pedal steel, lap steel, electric guitar,
nylon guitar), Marvin Etzoni (electric mandolin,
keyboards, bass, electric guitar, mandocello),
Joachim Cooder (drums/percussion), Dylan Cooper
(bass), Jerry Donahue (electric guitar), Phil
Parlapiano (accordion), Tammy Rogers (fiddle, viola,
backing vocals), Mark Serridge (bass), Jonah Tolchin
(harmonica, electric guitar), David Ralicke (horns),
and Taylor Brasheer (backing vocals).
This is a great album of songs about regular people
and their regular life experiences that continues to
reward listeners with each spin. Blues fans will
find much to enjoy here, but anyone who enjoys any
kind of American music will enjoy this disc.
---
Graham Clarke
Kat Riggins was born in Miami and was raised singing
in the church and at local gatherings with her
family, being exposed to a variety of music in the
process. However, she was always drawn to the blues
and it has always worked its way into whatever music
she’s performed during her career. Her current style
is the blues mixes with influences from hip hop,
pop, rock, and even country, and her latest release,
Blues Revival (Bluzpik Media Group), blends many of
these sounds together, but it’s still the blues
through and through.
The diminutive Ms. Riggins may be small in stature,
but she’s blessed with a powerhouse voice that will
grab listeners. She’s backed by the versatile
guitarist Darrell Raines (who provides lead and
rhythm guitar, plus keyboards) and a tight rhythm
section (George Caldwell – bass, Doc Allison – drum)
who put the “unk” in funk. She penned eight of the
ten tunes, the lone covers being a masterful take on
the Sam Cooke standard, “A Change Is Gonna Come,”
which Riggins opens with an acapella reading of the
traditional “Let It Shine,” and a tasty version of
“Blues Is My Business,” first done by Etta James.
Riggins’ originals include the sizzling opener, “Now
I See (Ooh Wee),” the moody “Good Girl Blues,” which
includes some of Raines’ exemplary fretwork, which
is also featured to great effect on “Wail Away,” an
ideal vehicle for both him and Riggins. “Queen Bee”
is a sassy shuffle, and “Murphy’s Law” is a strong
and defiant soul-blues burner. “Music Fiend’ is an
autobiographical track with an irresistible funky
backdrop, and the simmering “Devil Is A Liar”
continues the funk at a slower tempo. The feverish
gospel-styled closer, “Blues Is The New Black,”
proclaims that the blues are back in style.
Kat Riggins has big talent, both as a singer and a
songwriter, and she gets fantastic support from
Raines and the rhythm section on these tracks, and
with any luck at all, Blues Revival may very well
start one.
---
Graham Clarke
You may not be familiar with
Owen Campbell, but
chances are good that you will be soon. The
Australian blues singer/songwriter was a one-time
finalist on the TV show Australia’s Got Talent.
Active as a performer since the early 2000s, he’s
traveled and busked in many countries around the
world. Since 2011, he’s released three albums,
including this year’s Breathing Bullets (ROC
Records), which was recorded in Memphis and produced
by Devon Allman, with whom Campbell will be touring
in the U.S. this fall.
Campbell is an excellent songwriter, painting vivid
pictures with lifelike characters and situations,
such as “Eagle Man” and the reflective title track,
“On My Knees.” The acoustic “Howling” is a keeper,
too, as Campbell’s weathered vocals yearn and plead
to a lover to take him in. “Rise” is a sharp
reminder of the need to look within to solve your
problems, and “Rattlin’ Round” and “Keep On Walkin’”
are representative of a restless spirit, but the
rousing closer, “Coming Home To You,” shows that
there’s no place like home.
Campbell’s rugged vocals and songwriting are worth
the price of admission, but he completes the
hat-trick with his nimble guitar work, whether using
pick or slide. He’s backed by a solid group that
includes Rick Steff (keyboards), Ben Isackson
(drums), Landon Moore (bass), Jana Misener (cello),
Von Dé Namlla (guitars, percussion), and Wendy Moten
(backing vocals).
It’s easy to see why Owen Campbell is so popular in
his Australia. A strong set like Breathing Bullets
should go a long way toward doing the same
everywhere else.
---
Graham Clarke
Keyboardist Bruce Katz has been an in-demand sideman
for many years, playing on over 70 recordings. He’s
also toured with Barrence Whitfield and the Savages,
Ronnie Earl and The Broadcasters, Duke Robillard,
John Hammond, and Gregg Allman, in addition to
leading his own band with whom he’s released seven
albums since the early ’90s, the most recent being
Out From The Center (American Showplace Music),
which features guitarist/vocalist Chris Vitarello in
a prominent role.
Of the 11 tracks featured here, seven are
instrumentals that showcase Katz’s keyboard
dexterity and creativity. “Schnapps Man, “Dis-Funkshunal,”
“Think Fast,” “You Got It,” and the title track
feature Katz on Hammond B3, and “Blues From High
Point Mountain” and “Bessie’s Bounce” are
piano-driven pieces. While they’re all based in the
blues, Katz takes each into different directions,
touching on jazz, funk, New Orleans R&B, and even a
bit or rock n’ roll in the process.
The other four tracks put Vitarello front and
center --- the boisterous rocker “Don’t Feel So Good
Today,” the after hours smoker “The Struggle
Inside,” “All Torn Up,” a Texas –styled shuffle, and
“Another Show.” He is a skilled guitarist with a lot
of versatility. He also has a fine voice, and
certainly should have an entire album of his own in
him. Katz’s complementary keyboard accompaniment is
as nuanced as his work on the instrumentals. The
remainder of the band (Ralph Rosen – drums/backing
vocals, Jimmy Bennett – lap steel guitar/guitar, and
Peter Bennett (bass) provide sublime support to Katz
and Vitarello.
Katz says that his music travels “the wide world of
blues,” and Out From The Center is verification of
that. It’s a vivid image of what makes modern blues
so interesting. Blues is the roots of most music
today, so it’s pretty cool to see those other genres
that sprung from the blues being returned to the
source and generating something fresh and exciting
to hear.
---
Graham Clarke
Johnny Nicholas is now in his fourth decade of
playing his own unique brand of blues. The Austin,
Texas musical mainstay has performed, toured, and
recorded with scores of blues legends such as
Mississippi Fred McDowell, Robert Lockwood, Jr., Big
Walter Horton, Roosevelt Sykes, Johnny Shines, Snooky Pryor, Robert Pete Williams, Eddie Taylor,
Hound Dog Taylor, and many others. He produced and
played guitar on Shines and Pryor’s award-winning
album, Back To The Country, in the early ’90s. He
served as one of Asleep at the Wheel’s lead vocalist
during their salad days and also gave Ronnie Earl
his first gig with his band, Guitar Johnny and the
Rhythm Rockers.
Fresh Air is Nicholas’ latest album, and it features
13 tracks, 11 originals written or co-written by
Nicholas and two cover tunes that blues fans will
love. Actually, they should love the entire disc.
Nicholas has turned in a splendid set of tunes, and
his warm vocals and instrumental expertise (he plays
piano, harmonica, guitar, baritone guitar, national
resonator guitar, and acoustic guitar) are on full
display. He’s joined by a pretty prestigious group
of backing musicians, too, including Scrappy Jud
Newcomb (guitars, mandolin, mandocello), Cindy
Cashdollar (lap steel and other guitars), John
Chipman (drums, percussion), Bruce Hughes (producer,
bass, percussion), and Steve Riley (accordion).
Nicholas wastes no time on
Fresh Air, kicking things
off with the Delta blues original, “Moonlight
Train,” where he lays down some sweet harmonica. As
mentioned above, the originals are standouts, from
“Red Light” (great lap steel from Ms. Cashdollar
here) to the Gulf Coast stylings of “Bayou Blues” to
the impressive after-hours ballad “How Do You Follow
A Broken Heart” to the menacing “Sweet Katrina.” The
reflective title track and “Wake Up Bobby,” with
its Crescent City rhythm, are also keepers, but the
best of the bunch is probably “Play Me (Like You
Play Your Guitar),” a sensual tale that leaves
little to the imagination ….. you’ll love it.
Fresh Air also has two cover tunes. The first is a funked-up reading of Sleepy John Estes’ “Kid Man
Blues,” with fine performances by Cashdollar on
steel guitar and Newcomb on mandolin, and a
stripped-down take on Willie Dixon’s crowd-pleaser,
“Backdoor Man.”
It’s great to have Johnny Nicholas back on the
recording scene and, hopefully, we will be hearing
more from him in the near future. In the meantime,
make sure you take in some Fresh Air, an album that
will appeal to any self-respecting fan of blues and
roots music.
---
Graham Clarke
Music fans may not realize it, but there’s a whole
musical genre called roadhouse music. It’s been
around for years and most people are familiar with
it, but in these days of endless categorizing and
compartmentalization of music, it now has a name. If
you’ve heard artists like Delbert McClinton, Marcia
Ball, Lee Roy and Rob Roy Parnell, and the like,
well then, you’re familiar with it. It combines the
blues with country, R&B, zydeco, and soul, all with
a truly southern, Gulf Coast flair. It’s a truly
unique and irresistibly catchy brand of music.
Brian Langlinais has been immersed in the elements
of roadhouse music all of his life. His dad played
sax with the swamp pop band The Shondells in the
’60s, and Langlinais himself majored in trumpet and
vocal performance in college, and played in bands
that covered soul and blues standards. He recorded
two acclaimed Americana albums, but has returned to
his roadhouse roots with his latest release, Right
Hand Road (Patoutville Records).
Recorded in Langlinais’ hometown of Lafayette, Louisiana
with producer/guitarist D.L. Duncan, Grammy-winning
engineer Tony Daigle, and several Lafayette and
Nashville (Langlinais’s current home base) musicians,
Right Hand Road started out as just a group of guys
laying down a few cover tunes over a couple of days.
Then, an ice storm hit Nashville and the band was
stranded a few extra days. Sometimes, good things
come out of bad situations, and that’s what happened
here.
Langlinais and Duncan wrote six of the ten songs,
all during this time frame, and the songs are
remarkable given the quickness of the work. Songs
like the laidback opener "You Can’t Say I Didn’t
Love You,” the New Orleans-flavored “Louisiana
Love,” the soulful “One Desire,” the boogie rocker
“Tumcumcari Tonight,” and the country blue title
track and closer, “Our Love Is Slipping Away,” are
simple, straightforward tunes but show a freshness
and emotional depth that lift them above the normal
fare.
The four covers are equally impressive. Wilson
Pickett’s “Don’t Let The Green Grass Fool You” gets
a Cajun reworking that really works well (nice
backing vocals from Jonell Mosser). The Muddy Waters
classic “Don’t Go No Further” is a fun track, and
Langlinais’ cover of William Bell’s “Every Day Will
Be Like A Holiday” is splendid, really capturing
that Stax Records feel. Darrell Scott’s (via his
dad, Wayne Scott) “It’s The Whiskey That Eases The
Pain” combines country with a bit of Crescent City
funk for a cool effect.
Brian Langlinais has struck gold with
Right Hand
Road, a stellar set of roadhouse music. It’s a fine
set of originals and cleverly reconceived cover
tunes that will satisfy anyone who digs any brand of
southern music.
---
Graham Clarke
Hard Swimmin’ Fish is a four-piece ensemble that
play a modern brand of blues with one foot planted
firmly in the vintage sounds of yesterday’s blues.
The group (Demian Lewis – guitar/vocals, Waverly
Milor – harmonica/vocals, Jason Walker –
drums/percussion, Randy Ball – upright/electric
bass) play the down-home blues, but they include a
few dashes of funk, jazz, swing, and rock in the
mix, with electrifying results.
Their fourth album,
True Believer, offers a dozen
tracks --- eight originals and four familiar
covers --- that will bring a smile to the faces of most
blues fans. The gritty title track opens the disc
with a swampy groove, and moves to the funky “Five
Years Hard Labor,” an amusing track about escaping
the clutches of a miserable romance. “No Shortage of
The Blues” is a sterling mid-tempo blues rocker, and
“Ooh, That Was Close” blends blues and rockabilly
seamlessly. “Love Me Or You Don’t” is a cool blues
on the traditional side, and the country blues “Come
Together” chugs along nicely.
The band does a fine job on the four covers. First
up is a rocked-up version of Howlin’ Wolf’s “Howlin’
For My Darlin’,” followed by a smoky version of
“Need Your Love So Bad,” which has a smooth
after-hours feel. The classic “Mess Around” is
transformed into a breakneck, countrified hoe-down
and segues into a rocking take on “Don’t Let The
Devil Ride” (stick around a few seconds after this
one ends for a short bonus cover, “I Wish I Was In
Heaven Sitting Down,” that’s tacked on the end).
The members of Hard Swimmin’ Fish have been at it
for over two decades. It’s obvious that they’ve
learned their lessons well with True Believer, an
engaging, ragged-but-right set of rocking blues that
blues fans will be spinning over and over again.
---
Graham Clarke
Houston and Boston-based singer/songwriter/guitarist
extraordinaire Eric Sommer will blow guitar fans
away with his latest CD, Brooklyn Bolero (Clyde Is
Thinking Records), a dazzling display of guitar
wizardry coupled with a unique songwriting
perspective. Sommer plays acoustic guitars and
telecaster, stomp box, and blows a mean harp. He’s
backed by Jim Oakley (percussion, stomp box,
harmonies and hand claps) and Zach Smith (bass
guitars, vocals and harmonies, claps, groove
accelerator).
The disc clocks in at a crisp and concise 28 minutes
of music, but Sommer covers a lot of ground in a
short amount of time. “Red Dress” is a sharp
acoustic blues with tasty slide guitar and
irresistible beat, while the country blues and rap
are mixed with fun results on the clever “Cereal
Song.” The ballad “Best Foot Forward” has a smooth
pop feel, and the old-school “Doin’ Wrong” would
have been a good pop/rock hit back in the ’60s. The
easygoing country rocker “Cover My Soul” is next,
followed by the loping “What A Day I Had,” and the
subtle, but wacky “Death Ray Cataclysm.” Sommer
closes the disc with the catchy rocker, “Hold Your
Hand.”
Sommer displays a deft versatility on guitar,
whether playing slide or fingerpicking style. His
songwriting is also first rate and he has a warm,
comfortable vocal style that meshes well with his
playing. Guitar fans will want to pick this one up,
but there’s plenty to offer other fans as well.
---
Graham Clarke
The Backtrack Blues Band is one of Florida’s
longest-lasting original blues bands, having been
founded in the 1980s. Winner of the past three
Tampa Bay Music Awards for Best Blues Band, the band
(Sonny Charles – lead vocals/harmonica, Kid Royal –
lead guitar, Little Johnny Walter – rhythm guitar,
Joe Bencomo – drums, Jeff “Stick” Davis – bass)
recently released their fifth CD, Way Back Home (Harpo
Records), a ten-song set that has a solid mix of
modern and traditional blues.
On the tough opening cut, “Goin’ To Eleuthera, “ as
in the island stop in the Bahamas, you can almost
feel the warm ocean breezes and the gentle island
vibe. That is just one of six originals, all penned
by Charles. The funky “Tell Your Daddy” has the
swampy feel of Excello Records, while “Shoot My
Rooster” is pure vintage Chicago and “Heavy Built
Woman” swings hard. Other originals include the Lone
Star shuffle “Rich Man Blues” and the thumping
closer, “Help Me Just This Time.”
The cover tunes are well chosen and well done; Sonny
Boy Williamson II’s “Your Funeral, My Trial” and
“Checkin’ On My Baby,” Little Walter’s “Nobody But
You,” and the blues standard “Baby Please Don’t Go.”
Though all of these are familiar tunes, the band has
a ball playing these and it shows. In fact, the
entire disc has a nice live in the studio feel and
it really plays a key role in capturing the band’s
energy and enthusiasm.
With over 30 years under their belt, the
Backtrack Blues Band shows that they’re not resting
on past accolades. Way Back Home is an excellent set
of blues like they used to do them back in the day.
Thank goodness they’re still being done that way.
---
Graham Clarke
The Jeremiah Johnson Band, based in St. Louis,
consists of Johnson (guitar/vocals), Jeff Girardier
(bass/backing vocals), and Benet Schaeffer (drums).
Previously residing in Houston, the band won the
Houston Regional Blues Challenge three years in a
row. Since returning to St. Louis, they won the St.
Louis Blues Society’s International Blues Challenge
in 2011, advancing to the semi-finals in Memphis.
Their fifth album, Blues Heart Attack (Connor Ray
Music), captures the band’s high-energy blues and
southern rock attack in top form.
Johnson wrote all 12 of the songs on Blues Heart
Attack, and they’re a hearty bunch, beginning with a
pair of nifty rockers, “Mind Reader” and “Room of
Fools,” both of which feature some sizzling guitar
work from Johnson. “Flat Line” has a jazz undertone
with Girardier’s walking bass, sax from guest Frank
Bauer, and an understated guitar break from Johnson,
“Get In The Middle” is an irresistible stomper with
a honky tonk bent, and “Summertime” is a terrific
ballad that finds Johnson doing a soulful turn
behind the mic.
The southern rocker “Skip That Stone” will remind
listeners of mid ’70s Allman Brothers with Johnson
playing a Dickey Betts-styled riff and Nathen
Hershey emulating Chuck Leavell on the piano (Tom
“Papa” Ray add harmonica on this track). “Talk Too
Much” is a stylish shuffle with Johnson punctuating
each verse with stinging guitar fills, and the band
gets funky on “Sun Shines Through,” and moves toward
the country side of the blues with “Southern Drawl.”
“Everybody Party” is pretty self-explanatory
---- a
loose-limbed celebration designed to get listeners
on their feet. “Here We Go Again” is a ballad that
showcases Johnson’s expressive vocals, and the
closer, “It’s Been Hard,” mixes blues with southern
rock and ends things on a high note.
Blues Heart Attack is not your everyday blues/rock
effort. It’s a cut above, thanks to the inspired
songwriting and spirited performances from Jeremiah
Johnson and the band. This release should please
fans of several musical genres.
---
Graham Clarke
Argentinian guitarist
Gonzalo Bergara is one of the
foremost practicioners of Gypsy jazz guitar,
headling festivals around the world as frontman for
his own Gonzalo Bergara Quartet. However, the blues
has always been near and dear to his heart, and as
John Lee Hooker once said, “it’s in him and it’s got
to come out.” With that in mind, blues guitar fans
are strongly encouraged to check out Bergara’s first
(hopefully not last) blues recording, Zalo’s Blues,
an outstanding release from a guitarist that Charlie Baty calls “one of the most talented guitarist in
this universe.”
Consisting of 12 tracks,
11 originals with
one tasty cover, Zalo’s Blues is sure to satisfy
blues guitar fans, but it features several guitar
styles ranging from shuffles, swing tunes, rockers,
country, and of course, blues. There are several
fine instrumentals, including “Drawback,” which
combines the blues with surf guitar, the jazzy “Been Runnin’,” “Dirty Socks,” a funky blues rocker,
“Levi,” a tough Texas shuffle like SRV used to do,
and the lovely ballas, “Ines.”
Bergara shows himself to be a talented, versatile
vocalist, too, on tracks like “Drinking,” a tough
boogie track, the smoky ballad “Singing My Song,”
the countrified “Gotta Go,” the hard-charging
shuffle “No More,” and the blues rocker “Woosh.” He
also does a fine job on the acoustic closer, “Won’t
Stay With You,” both on guitar and with his
impassioned vocal. The album’s lone cover is a good
one, too --- Jimmy Reed’s “You Don’t Have To Go,” with
Gonzalo perfectly capturing the rhythm and feel of
the blues legend’s guitar work and his laconic vocal
style.
Bergara is backed by his rhythm section on these
tracks (Mariano D’Andrea – bass, Maximiliano Bergara
– drums) with bassist Vince Bilbro and drummer
Michael Bartlow sitting in on “Woosh.” While Gonzalo
Bergara appears to have a great future in the Gypsy
jazz guitar field, it would be great to hear more
from him in a blues vein as well. Zalo’s Blues
proves that he has plenty to say in that genre as
well.
---
Graham Clarke
James “Buddy” Rogers grew up listening to the blues
in his native Vancouver. His dad worked for the
railroad and often brought home recordings and a
guitar, which the youngster started playing at age
10. By 13, he was gigging at local blues clubs and
by 15, he had formed the band Texas Storm and was in
demand as an opening act at local concerts. By 19,
he moved to Kansas City and began a five-year tour
with former B.B. King bassist Russell Jackson. He
formed his own band in 2000 and played clubs across
Canada and Europe, while appearing on several U.S.
tours and recordings with other acts.
Rogers’ recent CD, By My Side (JBR Records), is a
razor-sharp set of rocking blues that show him to be
a talented guitarist (he cites Johnny “Guitar”
Watson, Jimmie Vaughan, and the three Kings as
influences) and a strong vocalist. I hear a bit of
Albert King (and Otis Rush) in his fretwork on the
opening cut, “Come Back To Me,” but he shows he has
the churning boogie down, too, on tracks like “Can’t
Get You Off My Mind” and “Hell To Pay.” The laidback
blues rocker “Runnin’” is a cool track, too.
Rogers knows his way around a ballad, too, showing a
fine set of pipes on the title track, “You Belong,”
“You and I,” and “Change.” His vocals are tough on
the upbeat tracks and appropriately soulful and
vulnerable on the ballads. He also turns in a
terrific cover “Goin’ Down,” a hit associated with
another of the three Kings, Freddie King, sticking
pretty closely to the original ….. if it ain’t broke,
don’t fix it. As a bonus, Rogers also includes
acoustic versions of two of his songs, “You Belong”
and “Can’t Get You Off My Mind.”
I’m not sure if this is Rogers’ debut release, but
if it is, By My Side is a very confident and assured
one, with well-crafted tunes and excellent
musicianship, and is unreservedly recommended for
blues fans.
---
Graham Clarke
Lex Grey and the Urban Pioneers.
Remember that
name. The NYC-based blues-rock ensemble has put
together one of the most distinctive sets of the
blues-rock genre in quite some time with their sixth
release, Heal My Soul (Pioneer Productions). Ms.
Grey’s voice is an impressive instrument, capable of
going from quiet and soulful to raw and raucous, and
that really describes this 10-song set as well,
which rolls from traditional blues to rowdy rockers
to rootsy Americana.
Eight of the songs were written by the band, and
they cover a wide range of styles. “Factory” is a
whimsical blues rocker, while “Hobo Soup” is an
all-acoustic story song inspired by actual events in
the neighborhood that Grey lives, and the haunting,
but catchy “Ghost” has an ’80s alt-vibe.
The somber “Blues All Around” is another highlight
with a soulful vocal from Grey, and the fun
“Junkman” veers toward jazz with a swinging rhythm
and clarinet accompaniment. Other standouts include
the rugged “Lightnin’ (In A Jar)” and splendid
covers of Jaik Miller’s “A Quiet Place” and Rhett
Tyler’s “Survive.” The title track, which closes the
disc, is a seven and a half minute slow-burner.
Grey’s vocals are mesmerizing at times. She can go
from roadhouse ragged to silky smooth to tough but
tender, sometimes in the same song. The Urban
Pioneers provide most impressive musical support.
Heal My Soul should do just that to blues and blues
rock fans.
---
Graham Clarke
The Ally Venable Band has been lighting up the
Houston music scene with their rock-fueled blues
attack. The band won the East Texas Music Award for
Best Blues Band and singer/guitarist Venable has
been voted East Texas Female Guitarist of the Year
in 2014 and 2015. She also placed in the Top 10 of
the Under 20 years old category at the last two
Dallas International Guitar Festivals. You read that
right --- under 20 years old. The talented Ms. Venable
is all of 17 years old, and recently released her
debut CD, No Glass Shoes, on Connor Ray Music.
Venable’s coming-out party includes eight
pulse-pounding tracks, five Venable originals, plus
two covers and a reworking of an old blues classic.
She’s joined by guitarist Bobby Wallace, bassist
Zach Terry, and drummer Elijah Owings, with special
guests Steve Krase (harmonica) and Randy Wall
(keyboards).
The originals include the funky opener, “Trainwreck,”
the rocking title track, “Woke Up This Morning,” a
crunching boogie number in the best ZZ Top
tradition, and the bluesy “Too Much Too Soon.” The
covers include a fun reading of Junior Wells’
“Messin’ With The Kid,” a crisp take on Bonnie
Raitt’s “Love Me Like A Man,” and an electrifying
remodel of the Alberta Hunter classic, “Downhearted
Blues.”
Venable sings and plays with a confidence and
swagger that belies her youth. In addition, she has
excellent support from her bandmates. This is a fine
debut release and bodes well for this young lady’s
future in the blues.
---
Graham Clarke
Even though British guitar slinger
Laurence Jones
looks like he should be waiting on the school bus to
pick him up for high school, the prodigious
24-year-old recently released his fourth album of
high-powered blues rock. Take Me High (Ruf Records)
teams Jones and his killer band (Roger Inniss –
bass, Phil Wilson – drums/percussion, Bob Fridzema –
keyboards) with the legendary producer Mike Vernon,
who’s produced one classic blues album after another
since the ’60s.
One of the pleasant surprises of Jones’ previous
album, What’s It Gonna Be, was his songwriting.
Already acknowledged for his guitar work and his
strong vocals, he showed a maturity beyond his youth
with his compositions. That’s certainly the case
with this album’s batch of songs as well. Tunes like
“Got No Place To Go,” the funkified “Something’s
Changed,” the hard-rocking “Live It Up,” the ballads
“I Will” and “Thinking About Tomorrow” stand out for
their originality and versatility.
The title track is a mid-tempo rocker with an
interesting arrangement, in more of a rock mode than
the rest of the album, but Jones shows that he’s
comfortable in that genre, too. “Down & Blue” mixes
funk with blues and rock and includes an impressive
guitar run from Jones. “The Price I Pay” includes an
appearance from former Manfred Mann frontman Paul
Jones, who blows a mean harp.
The album’s lone cover is a fine choice, a fierce
reading of the Stevie Wonder ’70s smash, “Higher
Ground.” Jones is joined on lead vocals by soul
belter Reuben Richards, and Jones really steals the
show with a ferocious solo in mid-song.
The main thought regarding Laurence Jones and
Take
Me High is that if he’s this good at age 24, how
good will he be as he continues to develop and grow
as an artist? He’s leaps and bounds ahead of many of
the other young guns were at this point in their
careers. It will be exciting to see where he goes
from here.
---
Graham Clarke
NYC guitarist/singer/songwriter
Lee Delray took in
all sorts of music growing up in the city; country,
soul, doo-wop, rock, funk, hip-hop, and traditional
blues. The blues stuck with him the hardest, but
Delray manages to include a few flourishes of the
other genres within his brand of blues. Listeners
will notice that pretty quickly on Delray’s second
release, Brand New Man (JAC Records).
When Delray was getting ready to release his debut
in 2013, he sent a copy to Alligator Records founder
Bruce Iglauer, who praised his efforts, saying it
was better than 95% of the self-produced CDs he
received each year. Listening to Brand New Man, it’s
pretty obvious what Iglauer enjoyed about Delray’s
sound. Songs like “Meet My Maker,” “Blues Came
Callin’,” “Gotcha,” “Cookin’ In My Kitchen,” and
“Holler” would be a great fit on current Alligator
releases with their high-energy approach to the
blues, keeping things grounded in the traditional,
but putting a fresh spin on the genre.
Delray also ventures into the southern rock area on
“Love Line,” a funky little number that combines
blues, rock, and soul very effectively. “Mine All
Mine” is a great loose-limbed rocker and
“Yesterday’s Tears” is a Skynyrd-esque ballad with
harmonica accompaniment from Mike “Sweetharp” Smith
and acoustic guitar from Lenny Hayden. Delray also
combines blues and hip-hop on the interesting “First
String Man,” which boasts a rap chorus from Young
Chizz and turntable from Deejay Nogood.
There’s also a cool bonus track at the end of the
disc, an a capella reading of Son House’s “Grinnin’
In Your Face,” that showcases Delray’s vocal
talents.
Delray is backed by his regular band (Scott Ward –
bass, Ken Conklin – drums) on nearly all of the
tracks. For “Yesterday’s Tears,” he’s joined by Rick
Fleming (bass) and Papa John Mole (drums), in
addition to Smith and Hayden. Brand New Man is a
fresh and innovative look at the blues. It’s always
fascinating to hear this sort of album because it
gives you an idea of what directions this wonderful
music could possibly move toward.
---
Graham Clarke
It’s been ten years since we last heard from
Lew
Jetton & 61 South, but after hearing their new
release, Rain (Coffee Street Records), all will be
forgotten and forgiven. Jetton, the former Tennessee
news anchor/meteorologist turned singer/guitarist,
and his bandmates (Otis Walker and James Sullivan –
bass, Erik Eicholtz – drums, Sam Moore – guitars,
and Dan Bell – keyboards/guitars) have turned in a
first-rate set of blues spiced up with a healthy
shot of southern rock and soul. Jetton wrote eight
of the ten songs, which are complemented by two
covers that assist in capturing the mood perfectly.
Jetton’s originals are pretty cool, whether he’s
putting a modern spin on age-old issues (“Who’s
Texting You”), humorously moving on in a
relationship (“Move On Yvonne”), cranking out tough
blues rockers (“Mississippi Rain,” “Keeping Me
Awake”), sweet southern rock ballads (“Lay Me
Down”), country-flavored blues (“Sandy Lee,” “Done
Done It”), or trying to save souls (the rockabilly
rave-up “Glory Train”). He has a great,
whisky-soaked vocal style that’s a perfect fit for
any of these styles, and boy, does the band burn it
up behind him.
As mentioned, Rain includes a pair of dandy covers.
The first is a gorgeous reading of John Hiatt’s
“Feels Like Rain,” that’s really takes it’s time and
is so good that you can almost feel the “sticky
heat” that Jetton sings about in the first verse.
Closing the set is a moving take on the Allen
Toussaint’s R&B classic “It’s Raining,” which Jetton
tackles solo, accompanied only by J. Solon Smith’s
piano.
Other guest musicians include Jetton’s former
bandmate Colonel J.D. Wilkes (of the Legendary Shack
Shakers) on harmonica, IBC semi-finalist Alonzo
Pennington on guitar, former Lonnie Mack back-up
singer Miranda Louise, and the Reverend Joann Green,
who’s sermonizing opens up “Glory Train.”
Rain is a great and powerful set of southern-styled
blues and rock with excellent tunes and
performances. Hopefully, Jetton and the gang won’t
wait ten years for the next album release.
---
Graham Clarke
Singer Mary Jo Curry studied voice and theatre in
college, eventually touring with theatre companies
before discovering the blues some five years ago and
joining a Central Illinois blues band, who quickly
began to feature her as their lead vocalist. Things
have happened pretty fast in that five-year span,
and now Curry has released her self-titled debut.
It’s the first release on James Armstrong’s new
Guitar Angels Records, with Armstrong serving as
producer.
Curry penned two of the nine tracks on her album.
Two were written by her husband, guitarist Michael
Rapier, who teams with Armstrong to offer some
terrific fretwork throughout. The originals include
the celebratory opener, “Ooooo Weeee,” the sassy
“Husband #2,” “Homewrecker,” and the funky “Smellin’,”
The covers include Junior Wells’ “Little By Little,”
Tom Hambridge’s slow burner “Wrapped Around My
Heart,” and a spicy reading of Koko Taylor’s “Voodoo
Woman.” “Steppin’,” originally done by Café R&B, is
another standout, with a terrific vocal turn from
Curry on a disc full of fantastic vocal turns. Her
interpretation of Dennis Walker’s “When A Woman’s
Had Enough” is evidence enough that the lady knows
how to deliver a tune.
Rapier and Armstrong do a great job on guitar,
accentuated with several great slide guitar solos
from both. The rest of the band (Darryl Wright &
Lawrence Baulden – bass, Andrew Blaze Thomas –
drums, Brett Donovan – keyboards, Dick Garretson –
trumpet, Mike Gillette – sax, Larry Niehaus –
trombone, L.A. Davidson – backing vocals) provides
superlative support, but the instrument of choice is
Ms. Curry’s spectacular voice. Anyone who enjoys
blues singing done well needs to check out Mary Jo
Curry at their first opportunity.
---
Graham Clarke
A friend of mine once said, “Just about all the
music I hear is blues. The instruments may be
different, but the songs all cover the same
ground --- good times, bad times, happy times, sad
times.” OK, I think he may have been drunk at the
time, but there is definitely something to what he
said. For proof positive that the blues permeates
every American genre of music, I give you The Coal
Porters, an interesting assembly of musical talent
fronted by former Long Ryder Sid Griffin.
No. 6 (Prima Records) is the band’s newest release
and while the band’s sound is on the bluegrass side,
it’s definitely the “blue” side of bluegrass with
tales of everyday life and tragedy. The opening cut
is “The Day the Last Ramone Died,” an elegy of sorts
for the late, lamented band Gabba gabba hey!!
Other cool tracks include a couple of entertaining
story songs (“The Old Style Prison Break” “Train
10-0-5”), “Save Me From The Storm,” a tale of faith
and perseverance, the story of “The Blind
Bartender,” and the rowdy instrumental “Chopping The
Garlic.” There’s also an intriguing cover of The
Only Ones’ late ’70s punk rocker “Another Girl,
Another Planet.”
The Coal Porters (Griffin – mandolin, autoharp,
clawhammer banjo, vocals, Paul Fitzgerald – banjo,
dobro, vocals, Neil Robert Herd – guitar, bajo sexto,
dobro, acoustic guitar, vocals, Kerenza Peacock –
fiddle, ukelele, vocals, and Andrew Stafford –
doghouse bass) have put together an excellent, if a
bit left of center, set of classic American musical
styles that encompasses the blues, bluegrass, and
folk music in equal portions.
---
Graham Clarke
Paul Mark’s latest single release, a dazzling cover
of the old Yardbirds tune, “Heart Full of Soul”
(Radiation Records), should be just enough to keep
his fans amazed and entertained until the artist
decides to release another full length album. While
it’s quite unusual for Mark to release a cover tune,
he’s a highly original and creative songwriter with
an impressive catalog, this version of the classic
tune is taken at a much slower pace than the
original. Mark’s weather–worn, brooding vocal gives
the song an edge that the original doesn’t have. His
guitar work, played on a vintage Contessa, has a
fuzz-tone that compares favorably to the energetic
fretwork from Jeff Beck on the original. Though this
is a cover, Mark makes it his own with this creative
interpretation.
--- Graham Clarke
JL Fulks, former lead guitarist for Memphis harp
master Brandon Santini, recently issued his debut
EP, On Down The Road (JL Fulks Enterprises), and it
will definitely leave blues/rock guitar fans
clamoring for more after they’ve given it a spin.
Fulks wrote all five of the featured tracks, and
shows a deft and versatile hand on the frets as well
as a strong and confident vocal style.
The opener, “The River,” is a powerful, churning
rocker that gets things off to a perfect start. The
upbeat title track follows, which teams Fulks with
guest guitarist Matt Schofield, then an outstanding
slow burner, “I Believe In Love,” that showcases
Fulks’ vocals as much as his guitar work. The Jimmy
Reed-esque mid-tempo shuffle “Honey, Ain’t That
Love,” is next, with engaging vocals and clever
lyrics from Fulks. The interesting closer is the
instrumental “Phrygian Dance,” a five-minute tour de
force that mixes the blues and world music very
effectively.
As stated above, this EP will leave listeners
wanting to hear more. It’s a short, but very
effective introduction to a guitarist that blues
fans will be hearing much, much more from in the
near future.
---
Graham Clarke
I suppose EPs are
fast becoming a way of life for new artists anxious
to get some material in front of fans as they build
a base audience for their music, and JL Fulks
is no exception. His EP, On Down the Road, is
a byproduct of time spent on the road with Brandon
Santini and his own foray into the Blues hotbed to
be found in South Florida. JL’s EP is dedicated to
David Shelley, a South Florida bluesman and a friend
who we lost just over a year ago. That’s good enough
for me, let’s give JL’s disc a spin.
JL leans to the
Blues/Rock side of the plate and that’s apparent
with the strong intro to “The River,” a tune of love
gained and lost. Muggie Doo plays a mean B3 while
Rachel Brown lends her vocal talents to the mix. The
core trio features JL on guitar and vocals, Ken
Burgner on bass and Ian Jones on the drums, the
result is a hard charging trio playing their butts
off. JL’s heart’s been captured by a woman with a
black cat bone and he’s hoping that a dip in the
river will wash away all of his pain and sorrow.
“Went down to the river, fell on my knees…bathed in
the muddy water…set my soul free…and my blues…all my
blues…were washed away.” If only it were that easy,
JL, but keep on believing…and get away from that
woman with the black cat bone.
Ian’s drum intro
leads us into our next tune, “On Down the Road,” and
Matt Schofield lends his considerable instrumental
talents as the lead guitarist for this tune. JL’s
lingered for awhile, but now it’s time for him to be
moving on. “Want to stop by my baby’s house…tell her
good-bye…and that I might be back some day…she don’t
got to sit around and wait…cause I’m a travelin’ man
and I’m going to head on down the road.” Matt
provides an aggressive guitar solo and it’s time for
JL to keep moving on. “I Believe in Love” is our
next cut and a ballad that opens with a sad guitar
solo from JL, echoing the pain he must be feeling as
the result of a relationship he’s in. “I believe in
love…love is going to set me free…I believe in
love….oh, love is going to set me free…but it hasn’t
found me yet…but, it’s going to find me….some sunny
day.” The woman JL loves is ignoring his intentions
and it’s probably best he takes the hint and leaves
her alone, “but I still believe in love…it’s going
to find me…some sunny day.” Good luck, JL. Love is
an elusive thing at times and it will find you when
you least expect it.
We move on to “Honey,
Ain’t That Love,” and again JL is in pursuit of the
thing he treasures most. The woman he loves isn’t
satisfied and she’s trying her best to mold JL into
the man of her dreams. “Told me to wise up…and told
me not to lie…I did all these things for you…and
still I hear you sigh….honey, ain’t that love.”
JL and the band close
out the disc with an instrumental tune, “Phrygian
Dance,” a song that has some Middle Eastern
influences and could easily feature a belly dancer
or two. It’s an odd choice to me on a disc that has
serious Blues/Rock tendencies, but it’s well done
and the band is enjoying a great opportunity to just
let loose a bit. I appreciate the fact that JL Fulks
wrote all of the material for his EP, On Down the
Road, and I think we’ll be hearing more from him
in the future. He’s just getting started and South
Florida is a great area of the country to be playing
the Blues.
---
Kyle Deibler
The recording of
Doug Macleod’s Live in Europe actually
was part of a video project for Black & Tan Records
that was recorded in 2006. The audio sat in the can
for a number of years until Jan Mittendorp of Black
& Tan suggested to Doug that maybe the audio should
be put out as a record. Doug was hesitant at first
but Jan encouraged him to give it a second listen
and that’s the reason the disc is in the world
today. Doug would readily admit he wasn’t at his
best that day but the result is typical of any show
that Doug performs, just him and his guitar…letting
the music find its own way out. That it did, so
let’s give it a listen.
Doug starts out
picking on the National guitar he calls “Spook,” and
the first track to reach our ears is “I Want You.”
“Oooh, baby…what you do to me…I said it before…you
make a blind man see…I ain’t blind…I got my
sight…sure like lady, what I’m looking at tonight…I
said…oooh, I want you…every word is true…this man
wants you.” We never really know if Doug caught her
but I think it’s safe to say he definitely tried.
Doug gets amazing tone out of his National and the
next tune up is “Bad Magic,” a tune about a little
town called Tawana, Virginia. “Bad magic…don’t you
know it true…you don’t watch yourself…got its evil
eye on you.” Definitely a town of mystery, bad magic
is all around Tawana so watch yourself.
Doug moves on to
“Ain’t the Blues Evil” and his picking is very stark
and somber here. “Lonely nights….I got one more
night alone…and my blues…my blues are evil…but now
my baby…she’s gone home.” Doug feels himself
slipping and that glass of whiskey is doing its best
to tempt him toward the dark side as he mourns the
loss of his woman. I have the feeling that glass of
whiskey is going to be the winner here. Up next is
“The New Panama, Ltd.,” the only song on Doug’s disc
not written by him. This happens to be a take on the
original tune written by Bukka White. Definitely a
train song and Doug’s version is bright and lively.
The Panama Limited ran from New Orleans to Chicago
with stops in Memphis and St. Louis. Within the tune
is a story from Doug about a brandy drinking session
he had with David “Honeyboy” Edwards and whether or
not he was ever able to catch a ride on the Panama
Limited. More story than song, this is Doug at his
absolute storytelling best.
We move on to “Home
Cookin’,” and Doug’s picking is bright and lively.
Doug calls it a song about a natural law, the
natural law is “If you can’t get home cooking in
your own home…you’re going to go to someone else’s
home and get you some.” “You never liked the kitchen
woman, ain’t something you want to do…I’m going to
find a brand new lady…and let her cook something
better than you.” Doug’s a man whose stomach is the
fasted way to his heart, and a woman who can cook
definitely has a leg up on the competition. Dark
tunes emanate from Doug’s National as he picks the
intro to “Cold Rain.” “My woman said…oooh…I don’t
believe I want you no more...now there’s a cold rain
falling…deep hole in my soul.” Doug had a feeling
something wasn’t right and she confirmed his worst
suspicions.
Doug’s picking and
mood lighten considerably as he moves on to our next
track, “Long Time Road.” “Long time road…and I’ve
made this by myself…course I left behind…there
wasn’t somebody else…I sit on mountains…and I look
down my long time road…I’m looking at my time…I will
know no more.” Doug’s a thinker and his
self-reflection is an important part of the process
he uses to look at his life and where he’s headed.
Up next is Doug’s reflection of the fairer sex,
“Turkey Leg Woman,” as he says, “Don’t give me no
bird leg woman….I want a turkey leg woman with the
meat dripping off her bones.” Doug goes on to tell
us that like every good Bluesman, he takes pieces
from here and there to come up with the tunes he
writes. This particular tune has its roots in the
Mississippi Hill Country tunes of Junior Kimbrough
and R.L. Burnside. The song goes on to extol the
virtues of a turkey-legged woman, with a built in
cushion, and we’ll leave it at that.
The final tune on
this disc from Doug is called “Masters Plan,” and it
features some of the most beautiful picking that
Doug does on the record. “One man lives…one man
dies….one man blind….one man sees….ain’t that
something…ain’t that something to understand…you
look inside yourself…and find you the Master’s
plan.” God has a specific journey for each of us to
follow and the sooner we divine what the Master’s
plan is for our lives, the better off we’ll be.
Doug Macleod is
rightfully one of the finest storytelling Bluesmen
we have in our genre today. It’s safe to say that
Doug, Rory Block and John Hammond are carrying on
the traditions of the ones who came before them and
they honor the lessons they’ve learned with every
recording. I, for one, am extremely appreciative of
Jan’s suggestion that Doug give the audio from the
video session another listen and bring it to us in
the form of Live in Europe. You will find
information on Doug’s schedule and discography on
hiss website,
doug-macleod.com, and I encourage you to hear
one of the masters in person next time Doug Macleod
visits your area. Live in Europe will hold
you over in the meantime, but Doug Macleod is a
delectable performer best heard live.
---
Kyle Deibler
