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 The
band known as Downchild hasn't been
around forever --- it just seems that way. I've
been listening to stuff from this venerable
Toronto ensemble since my formative years as a
blues fan, going back to when they were known by
the longer name of The Downchild Blues Band.
Listening to this album takes me back to seeing
these cats live in Washington, D.C. in several
very memorable shows. While bandleader /
guitarist / harmonica player Donnie Walsh is the
only member left from those early days, this is
still one of the hottest bands on the circuit,
as evidenced by their new disc, Something
I've Done (Linus Entertainment).
The
first number here, the rollicking jump blues
"Albany, Albany" is one of the best songs I've
heard all year. If I had my way it would be up
for multiple awards at the end of the year. No,
it's not about the state capital of New York,
but rather about a woman that tantalizes and
intrigues them. Chuck Jackson provides strong
shouting vocals and Michael Fonfara's excellent
piano playing reminds me of when the late Jane
Vasey was tickling the ivories in the early
version of Downchild.
"Mississippi Woman, Mississauga Man" symbolizes
the band's connection with the blues from the
Delta and their Toronto roots (Mississigua is a
city just outside Toronto). Jackson shows off
his pipes here and also provides a superb
harmonica solo. According to the lyrics,
good things happen when a Mississippi woman
meets a Mississauga man .... everybody parties,
everybody dances. Just when the listener's heart
is beating beyond control from that song, the
tempo slows down as Fonfara's gospel-ish piano
intro leads into the slow, soulful "Take A Piece
Of My Heart."
Another heart-pounding number is the red hot
blues shuffle "Mailbox Money," with strong
guitar work from Walsh. The mid-tempo blues
shuffle "She Thinks I Do" is marked by a great
piano solo from Fonfara, who consistently excels
here on Something I've Done. But then he
outdoes himself on the boogie woogie title cut
that again has me thinking fondly of when Ms.
Vasey kept those 88s straight back in the late
'70s. We also get our first dose of Walsh's fine
harmonica playing on this number.
The
final number on Something I've Done is a
harmonica instrumental showing off Walsh's skill
on the Mississippi saxophone (or perhaps here we
should call it the Mississauga sax). He's
accompanied by Fonfara on piano, and it's a
simple tune that serves as a nice ending to this
excellent album.
Something I've Done is a very good
collection of ten songs by a very fine band. Get
it. Get it now!
--- Bill Mitchell
 Hard to believe that Kim Simmons founded
Savoy
Brown 50 years ago and is still going at it some
30 albums later with the same level of
enthusiasm and chops. With bassist Pat DeSalvo
and drummer Garnet Grimm in support on Witchy
Feelin' (Ruf Records), this 11-song set is chock full of those chops.
One of
the finest of the blues and blues rock guitarists
to come out of England, Simmons was highly inspired
by the Chicago blues scene of the late '60s.
Although he has moved on he has not moved away
from the blues. There is more blues rock,
perhaps, but blues remains at the core. From the
burning opener, "Why Did You Hoodoo Me?" it is
clear that this is a rocker. Guitar licks shoot
sparks that get the listener’s attention right
quick.
The following cut,
"Livin’ On The Bayou," he takes a new direction.
".... In the back woods of
town/close to Baton Rouge/there’s a creole woman
sings the blues ...." The guitar is super slinky,
fitting the mood he looks to convey. The changes
continue and the songs become more impressive.
"I Can’t Stop the Blues" is a funky blues number
with strong bass and drums backing the guitar
work. The title cut is a superb guitar blues on
which he sings, "I got a witchy
feeling/something bad is coming down."
The
shuffle on "Vintage Man" is something a lot of
us "older" folks can get next to. " .... I play a beat
up guitar made in ’55…that’s the way I am/I’m a
vintage man ...." The slide work on "Standing In The
Doorway" is exceptional and the wah wah on
"Thunder, Lightnin’ and Rain" is exquisite. The
closing "Close To Midnight" showcases his guitar
on an exquisite instrumental that stands with
his best work.
50 years? Hell yes!
--- Mark E. Gallo
 Billy Price has been wowing blues and soul
fans for many years, initially as lead vocalist
for Roy Buchanan in the early ’70s. Since the
late ’70s, he’s led his own bands in various
incarnations, including the current Billy Price
Band. His collaboration with the late Otis Clay,
This Time For Real, netted the duo a
much-deserved 2016 Blues Music Award for Best
Soul Album.
Most
recently, Price released Alive And Strange
(Nola Blue/VizzTone), a powerful set recorded
live at Club Café in the singer’s hometown of
Pittsburgh, featuring the Billy Price Band
(Steve Delach – guitar, David Ray Dodd – drums,
Tom Valentine – bass, backing vocals, Jim
Britton – keyboards, backing vocals, Eric DeFade
– tenor sax) along with guest artists Joe
Herndon – trumpet, Matt Ferrero – tenor/baritone
saxes, David Avery and DeWayne Chandler –
backing vocals, Jason Hollar – bass, and Bob
Matchett – trombone.
Price takes listeners through a ten-song set
that mixes originals and covers of classic and
shoulda-been-classic tunes in the blues and soul
vein. Carl Sims’ "It Ain’t A Juke Joint Without
The Blues" kicks off the set, and the band
really settles in nicely for an extended run
behind Price’s vocal. Next up is the perpetually
underrated William Bell’s obscure gem
"Lifestyles of the Poor and Unknown," followed
by a smoking read on the Bobby Bland standard
(penned by Oscar Perry) "This Time I’m Gone For
Good," where listeners get a great opportunity
to experience Price at his best.
There’s also a fine take on Mighty Mike
Schermer’s "One More Day," along with Percy
Mayfield’s ballad "Nothing Stays The Same
Forever," which includes a lung-blasting solo
from tenor sax man DeFade. Price also ventures
into James Brown territory with "Never Get
Enough," with satisfying results from singer and
band, and gives a funky reading of George Torrence’s
"Lickin’ Stick."
The
band also shines on Magic Sam’s "What Have I
Done Wrong" (particularly guitarist Delach), and
finds the groove on "R.M. Blues." As a bonus
cut, there’s a studio cut, "Makin’ Plans," a
mellow after-hours ballad penned by Price and
Michael Karr that closes the disc on a high note
with a fine vocal from Price and excellent
support from the band.
Alive And Strange provides a great look at
one of the premier soul men (and bands)
currently practicing in a live performance in
front of an enthusiastic hometown audience. If
you’re not familiar with Billy Price’s work,
this is a great place to get started.
--- Graham Clarke
 Hokum is a particular type of blues music,
hugely popular in the Prohibition era of the
late 1920s and early 1930s, that were fairly
explicit in their references to sexual
practices, prostitution, homosexuality,
alcoholic consumption, among other things. Among
the most renowned sources of this brand of blues
were Tampa Red, Georgia Tom Dorsey, and Big Bill
Broonzy, whose Hokum recordings sold hundreds of
thousands of copies during that era.
Chris "Bad News" Barnes is a
musician/satirist who has written and performed
on Saturday Night Live, 30 Rock, Curb Your
Enthusiasm, Seinfeld, the Carol Burnett Show,
and many other shows. He got his start in the
late ’70s improvising original blues songs based
on audience suggestions, usually while opening
for various blues legends. During this time, he
became known as the King of Hokum.
Barnes’ second release, Hokum Blues (VizzTone),
pays tribute to the three above-mentioned
pioneers of the movement, dubbed the Hokum Boys.
Enlisting a stellar set of musicians, harmonica
master Steve Guyger, guitarist Jimmy Vivino,
bassist Will Lee, drummer Shawn Pelton, and
pianist Bette Sussman, Barnes covers 14 classic
tracks from the Hokum era, some of which will be
familiar to blues fans.
Tampa Red’s catalog is mined pretty thoroughly
on this set, and deservedly so. "It Hurts Me
Too," "It’s Tight Like That," "Let Me Play With
Your Poodle," and "Things About Coming My Way"
are blues standards. The first and last song
play it pretty straight, while the middle pair
are excellent examples of the Hokum genre. Tunes
like "You Can’t Get Enough of That Stuff," "I’m
Gonna Get High," and "Gin Mill Blues" take you
back to the Prohibition era, while "Somebody
Been Using That Thing," "Keep Your Mind On It,"
"Let Me Pat That Thing," the title track, and
"Caught Him Doing It," highlight the promiscuity
of the era.
Barnes does a wonderful job resurrecting this
classic music, occasionally with a reference to
modern times thrown into the mix. His somewhat
exaggerated vocal delivery is ideal for the
material, reverential and entertaining at the
same time. The band, with assistance on assorted
tracks from Steve Bernstein (trumpet), Charlie
Pillow (saxophone/clarinet), Clark Gayton
(trombone), and backing vocals from Dennis
Collins, Sharon Collins, Lee and Vivino,
provides excellent support that reflects both
the traditional and modern style of blues.
Hokum Blues is a fun re-creation of a classic
blues era that’s rarely heard from today.
--- Graham Clarke
 The
Kansas City band Trampled Under Foot earned a
lot of recognition with their win in the 2008
I.B.C. and subsequent success with a couple of
best-selling albums and a pair of BMA trophies
(for Band of the Year and Album of the Year in
2014). The brother and sister team remained
active until 2015, when they decided to pursue
their own musical directions (though they still
occasionally perform together). TUF guitarist
Nick Schnebelen took home the Albert King
Award for Best Guitarist at the 2008 I.B.C. and
now leads his own band.
For
his latest release, Live In Kansas City (VizzTone),
Schnebelen and his band mates (Cliff Moore –
bass, Adam Hagerman – drums) return to the scene
of their previous album, Knuckleheads Saloon in
K.C. The date, recorded on December 3, 2016,
captures the trio ripping through an
exhilarating ten-song set in front of a
receptive home audience that features several
songs from the TUF songbook, but also a couple
of Schnebelen originals and a few covers.
Schnebelen also enlists producer Tony Braunagel,
who also was behind the controls of TUF’s last
two releases.
The
seething opener, "Fool," kicks off the set in
fine fashion, with Schenbelen expressing
anguish, despair, and menace through his guitar
and his vocals. The reflective "Pain In My Mind"
settles things down a bit, as he laments a love
that’s lost. The next song is the rarely heard
"Herbert Harper’s Free Press News," a track from
Muddy Waters’ much-maligned Electric Mud
album from the late ’60s. Schnebelen takes an
extended guitar solo on this one and Moore and
Hageman add a funky edge to this seldom-heard
blast from the past.
The
mid-set songs will be familiar to TUF fans:"You
Call That Love," a fine traditional slow blues
showcasing some fine guitar work from Schnebelen,
the Diddley-esque "Bad Woman Blues," a
blistering cover of Johnny Winter’s "Mean Town
Blues," and the driving boogie "Jonny Cheat."
The Schnebelen original "Bad Disposition" also
appeared on Schnebelen’s first live set and
certainly deserved to reappear on this set. The
final two tracks, Chris Schulz’s "Schoolnight"
and the instrumental "Conformity Blues," give
Schnebelen the opportunity to strut his stuff in
a jazzy blues setting.
Live In Kansas City is one of the more
impressive live blues albums I’ve heard this
year. Nick Schnebelen shows some mighty fine
skills on this entertaining and adventurous set
on guitar and behind the mic.
--- Graham Clarke
 Formerly known as JP Blues, the John Pagano
Band has released their first album, One
More Round (Midnight Circus Records), under
their new name. Though the band has a different
moniker, they still retain the rock-solid
blues-rock attack and superlative original
material as under their previous name. Based in
Georgia, the band consists of Pagano (guitar,
vocals), Shiloh Bloodworth (drums), and Tony
Hossri (bass). Pagano wrote 10 of the 11 tunes.
The
opener, "Bottoms Up," is a great pace-setter
with its restless rhythms, catchy lyrics, and
Pagano’s slide guitar and vocal. The slinky,
soulful "Lost In You" mixes funk and rock
effectively, while "Trouble On Heels" visits a
familiar blues theme, but with a fuzz-drenched
Hill Country twist. "Ain’t Mine" flirts with a
reggae rhythm, "Rise Up" is a rocking call for
self-improvement, and "Ain’t Gonna Lose You" is
a pop-ish blues-rocker that would find its way
to the radio if there was any justice in the
world at all.
The
band’s reworking of Ice-T’s "99 Problems," a fan
favorite of their live shows, is excellent, with
crunching guitar, clever lyrics, and steady
beat. The pace is finally slowed for "On My
Mind," a lovely heartfelt ballad. It’s only a
brief respite, because the band launches into
the edgy "Make You Shout," the raucous rocking
"Bad Habit," and the southern rock-flavored
"Catch That Train."
The
band complements Pagano’s guitar work and
singing well. Pagano’s tunes are well-crafted
and distinctive. One More Round is the
band’s best and most memorable work to date and
is a must-have for fans of blues-rock done well.
--- Graham Clarke
 Virginia-born singer/songwriter/guitarist Eli
Cook has been around for awhile now. He’s
played professionally since his mid-teens,
opening for B.B. King at age 18. High Dollar
Gospel (C.R.8 Records) is his seventh
release, and listening it will surely make you
wonder why you haven’t heard of him before now.
As a youngster, he grew up listening to the
radio and has been influenced by artists as
varied as Chet Atkins and Doc Watson to
Soundgarden and Rage Against The Machine. But
his heart is in the blues, as can be heard in
this wonderful collection of tunes, eight
originals by Cook and covers of songs from Muddy
Waters, Bob Dylan, and Roosevelt Sykes.
The
opener, "Trouble Maker," starts slowly, but
builds to a rocking slide-driven crescendo
quickly, "The Devil Finds Work" is a
irresistible country-blues toe-tapper, and
"Mixing My Medicine" is a haunting atmospheric
lament of heartbreak and despair. The next tune,
Pray For Rain," is a definite change of pace, a
disheveled electric blues with screaming guitars
and a driving beat from drummer Nathan Brown.
Cook’s slow and somber take on Waters’ "Can’t
Lose What You Never Had" is remarkable, his
vocal conveying unbridled pain and sorrow.
The
anthemic "King Of The Mountain" is a showcase
for Cook’s dynamic slide guitar playing and
vocals, and the tender ballad "Mother’s Prayer"
offers minimal accompaniment and a mournful
vocal from Cook, whose take on Sykes’ "44 Blues"
is in the same spare format, a change from the
usual somewhat boisterous interpretations of
this blues classic. "I’ll Be Your Baby Tonight"
is more understated than Dylan’s original
version, but no less effective, and the two
closing songs, the lively "Month Of Sundays" and
the optimistic "If Not For You," are both Cook
originals.
Cook, who plays acoustic and electric guitars,
mandolin, banjo, lap steel, percussion, and
electric bass, gets excellent support from Peter
Spaar (upright bass), Nathan Brown (drums), and
Zach Samel (percussion, drum loops, etc.). Blues
fans will savor every note of High Dollar
Gospel, an album that will appeal to fans of
traditional and modern blues alike.
--- Graham Clarke
 Singer/songwriter/pianist Scottie Miller
has been around long enough to be a member of
the Minnesota Blues Hall of Fame. He toured with
Bo Diddley before founding the Scottie Miller
Band in 2000. Stay Above Water is his
tenth album and it combines blues, rock, funk,
soul, Americana, and a little bit of jazz. The
band roster includes Miller (lead vocals, piano,
organ, mandolin), Mark O’Day (drums,
percussion), Patrick Allen (guitar, vocals), and
Dik Shopteau (bass, vocals), with a guest
appearance from Ruthie Foster, with whom Miller
as served as touring keyboardist since 2008, and
horns by Larry McCabe (trombone), David Eiland
(tenor sax), Scott Snyder (trumpet), and John
Croarkin (baritone sax).
Miller wrote all 12 tracks, including the
opener, "Burned All My Bridges," a blues-rock
shuffle. Foster contributes vocals on the
soulful, horn-driven "Keep This Thing Going,"
while the energetic title track has a country
feel, thanks to Miller’s mandolin. The lovely
ballad "Same Page" and "Come Along" venture into
Americana territory with satisfying results, and
"Falter," "Guardian Angel," and the closer
"Goodbye" are a trio of delicate ballads that
really show Miller’s vocal range.
There’s a definite Gulf Coast quality to several
of the tracks. "It Better Groove" has a nice,
smooth Crescent City vibe, and "Circles" will
remind listeners of Meters-era New Orleans with
Miller’s keyboards and funky rhythms, and the
Dr. John-styled "It’s What You Do" keeps up the
pace. The groovy "Rippin’ And Runnin’" is
decidedly retro with the ’60s-flavored
keyboards.
Miller is a talented vocalist with a catchy
songwriting style. His keyboard work is first
rate and so is the rest of the band. Stay
Above Water is a solid set of
southern-influenced music that takes in blues,
soul, R&B, and Americana.
--- Graham Clarke
 Joshua Jacobson’s latest release, Good
Little Thing (Fatmouth Records), is a cool
update of the legendary Piedmont style of blues.
The young Georgia guitarist doesn’t so much
update the musical style as he does put it to a
modern soundtrack with a sharp set of original
tunes that touch on very current themes and a
well-selected set of Piedmont classics from days
gone by. Produced by Scott Cable, the 13-song
set also features guest appearances from
harmonica ace Mookie Brill and guitarists Damon
Fowler and the legendary Dickey Betts.
Seven of the 13 tracks are Jacobson originals
and wisely, he incorporates modern flourishes
into his stories. So though the music is old
school, you’ll find yourself smiling at the
lyrical content of the rollicking opener,
"Baby’s Mama Really Don’t Care," the
ultra-clingy "Codependent Katie," the menacing
protagonist in "Pistol Packing Papa" (featuring
Betts on electric guitar), and the riotous
"Twerkin’ Lil’ Mama and "Bipolar Mama," neither
of which require much description. You could
possibly find yourself tapping your foot with
the cool ballad "Long Lonesome Day" or the
impressive "Mind Blowin’ Blues."
Jacobson also covers several legendary artists,
most of which will be familiar to blues fans
(especially those who dig the Piedmont variety).
Curley Weaver’s "Ticket Agent" gets a pretty
faithful reading, with Allan Jolley adding banjo
to Jacobson’s 12-string. You have to have a
Tampa Red song included on this type of album,
and Red’s "It’s A Good Little Thing," is a fun
choice, as is Blind Willie McTell’s swinging
"Baby It Must Be Love."
Willie Cobbs’ standard "You Don’t Love Me" finds
Jacobson leaning toward the Mississippi Delta a
bit with Brill and Fowler adding accompaniment
on harmonica and slide guitar respectively, and
he ventures into gospel territory with an upbeat
version of Georgia Tom Dorsey’s "Hide Me In Thy
Bosom" and the traditional "Cross The River of
Jordan," which closes the disc and features
Jacobson on 12-string and slide.
Jacobson’s guitar skills are the real deal and
he has a fine vocal style that fits the Piedmont
style like a glove. Combine those qualities with
his clever original songwriting and his taste in
cover material and you have an excellent debut
recording that will leave listeners wanting to
hear more.
--- Graham Clarke
 If
you’ve been listening to the blues for awhile,
there’s a better-than-average chance that you
have crossed paths with The Nighthawks,
either via one of their recordings or maybe
in-person. The band (Mark Wenner –
harmonica/vocals, Paul Bell – guitar/vocals,
Johnny Castle – bass/vocals, Mark Stutso –
drums/vocals) has been making mighty music for
nearly five decades and show absolutely no sign,
thankfully, of shutting down operations anytime
soon.
Currently enjoying favorable reviews and acclaim
for The Nighthawks – On the Blue Highway,
the award-winning documentary that traces the
band’s history, The Nighthawks also recently
issued their latest CD, All You Gotta Do
(EllerSoul Records), a typically fantastic and
diverse set of roots, blues, and rhythm. The
disc includes a dozen tracks, four written by
the band and the remainder covering blues, rock,
R&B, and soul, all delivered in the inimitable
Nighthawks style.
The
album lifts off with a rousing harmonica-driven
cover of Jerry Reed’s title track (originally
done by Brenda Lee) that should get booties
shaking in a hurry, and is followed by Larry
Campbell’s "When I Go Away" (first performed by
Levon Helm), an emotional gospel-fueled exposé
with lead vocals from Stutso and some nice
harmonizing from the rest of the band. Next is
the requisite Muddy Waters cover, "Baby I Want
To Be Loved," and this one is a good one.
The
band also offers an ominous take on Randy
Newman’s "Let’s Burn Down The Cornfield" and a
swampy version of Jesse Winchester’s "Isn’t That
So," which shows their continued expansion
beyond their original blues influences. Of
course, the blues always figures prominently
with The Nighthawks as heard by their Waters
cover, Sonny Boy II’s "Ninety Nine," and a
wonderfully funky, mostly instrumental capture
of R.L. Burnside’s Hill Country rouser "Snake
Drive," before closing with the Standells’
rocker, "Dirty Water."
The
Nighthawks also feature four originals this time
around. Castle’s "Another Day" is a rocking
protest song regarding political corruption and
animosity, while Stutso’s amusing "VooDoo Doll"
will bring a smile to listeners’ faces, as will
Wenner’s "Blues For Brother John," a fun
reworking of the old nursery rhyme "Frere
Jacques." While those are all good, solid
efforts, the standout track is "Three Times Your
Fool," penned by Stutso and Norman Nardini, a
gripping soul ballad that sounds like it came
right out of Muscle Shoals, complete with a
masterful vocal turn from Stutso.
All You Gotta Do is another superlative
effort from The Nighthawks, who as always, are
doing what they do best --- mixing blues, R&B,
and soul into a musical gumbo that’s sure to
satisfy all who want a taste.
--- Graham Clarke
 Tulsa-based guitarist Scott Ellison
enlisted a formidable supporting cast for his
latest release, Good Morning Midnight
(Red Parlor Records), which includes over 20
musicians, plus producer Walt Richmond, who’s
previously worked with Eric Clapton, J.J. Cale,
and Bonnie Raitt. Richmond also served as
co-writer with Ellison on several of the 12
original tunes featured on the new disc, which
also includes a cover tune from the late Tulsa
guitarist Scott Pryor, a friend and associate of
Ellison’s who was killed in a motorcycle crash
in 2016.
On
the opener, "Sanctified," Ellison gives the mic
to singer Chris Campbell (who gets an able
assist from background vocalist Marcy Levy,
another longtime Clapton collaborator), allowing
himself to stretch out on guitar. Ellison takes
over vocals on the rocking shuffle "No Man’s
Land," and shows his versatility as he eases
into the soulful "Gone For Good," the
reggae-based "Hope And Faith," "Another Day In
Paradise," and the smoky blues ballad "You Made
A Mess Out Of Me."
The
rugged downhome title track is a keeper, too, as
are the rockers "Tangled" and "Big City." "Mysterious" has a bit of a funky New Orleans
vibe to it, and "When You Loves Me Like This" is
a old school blues shuffle that serves as a fine
closing tune. Ellison also turns in a fine jazzy
instrumental, "Wheelhouse," and the
aforementioned Scott Pryor cover, the ominous
"Last Breath."
Ellison is backed by a large number of
musicians, all of whom provide outstanding
support on this dynamic and far-reaching set. A
fine singer, excellent songwriter, and masterful
guitarist, Scott Ellison deserves to be heard,
and Good Morning Midnight is a great
place to get started.
--- Graham Clarke
 John Németh relocated to Memphis a few years
ago, and the move seems to have paid dividends
for both the artist and the city. Németh has
earned two BMA’s since the move, one for Soul
Blues Artist of the Year in 2014 and one for
Soul Blues Album of the Year (2014’s Memphis
Grease) and in addition to his own solo career,
he performs regularly with several Bluff City
bands, including the Bo-Keys and the recently
formed Love Light Orchestra, which consists of
many of the city’s artists who have banded
together in an effort to recapture the blues and
R&B sounds that were so prevalent in Memphis
prior to the Stax and Hi Records days.
Nemeth’s latest release, Feelin’ Freaky
(Memphis Grease Records), keeps that Memphis
vibe intact with contributions from his band,
the Blue Dreamers (guitarist Johnny Rhodes,
drummer Danny Banks, and bassist/guitarist
Matthew Wilson) plus Bo-Key Marc Franklin
(trumpet, flugelhorn), and the legendary Charles
Hodges on organ. North Mississippi All-star
Luther Dickinson serves as producer, and his
no-frills approach, along with a fine set of
songs and performances, make this Németh’s best
release to date.
Feelin’ Freaky has a decidedly modern feel
to it, which was Németh’s intent, and
successfully mixes the traditional Memphis
groove with more current sounds of pop, rock,
R&B, and even a little bit of hip hop. It
doesn’t hurt that Nemeth is one of the best
songwriters around, and the 11 songs featured
rank among his best efforts. There are plenty of
great party songs included, such as the rocking
title track, the funky and playful "You Really
Do Want That Woman," "I’m Funkin’ Out," and the
self-explanatory "Get Offa That Butt."
The
cover picture of a Kool Aid Pickle is a take-off
of the classic Velvet Underground album cover by
Andy Warhol, but it’s also the subject of an
amusing modern-day blues rocker about a love
gone sour. Németh also touches on a few more
serious matters as well, such as gun violence
("Under The Gun"), marijuana ("S.T.O.N.E.D."),
death (the somber closer "Long Black Cadillac"),
but there are several tunes of vintage soul and
blues included that will please more
traditionally inclined fans as well ("Rainy Day"
and "My Sweet Love" for soul fans, and the
excellent "Gave Up On You" for the blues crowd).
Németh’s vocals are top notch, as always, and
the musical backing and production are first
rate. Feelin’ Freaky should be appearing
on many blues fans’ end-of-year Top Ten list for
201. More than likely on this blues fan’s list
as well.
--- Graham Clarke
 If
you’re into sophisticated and swinging blues and
jazz, Kingdom of Swing (VizzTone), the
latest release from sultry chanteuse Adrianna
Marie and her Roomful of All-Stars is what
you’ve been looking for. Adrianna Marie and her
"Dream Team" band: L.A. Jones – guitar/vocals,
Al Copley – piano, Kedar Roy – bass, and Brian
Fahey – drums, with guest guitarist Junior
Watson, harmonica wizard Bob Corritore, and the
Roomful Horns (Doug James – baritone sax, Rich
Lataille – alto/tenor saxes, Doug Woolverton –
trumpet, Mark Earley – tenor sax, and Carl
Querfurth – trombone) all shine brightly on
these fourteen selections under the direction of
producer Duke Robillard.
Of
the 14 tracks, six are Adrianna Marie originals,
including the title track that kicks off the
disc and sets the stage for what’s to follow,
the rousing "Sidecar Mama," the smoldering
ballad "3 AM Blues," "Gimme a Roomful," a
swinging tribute to producer Robillard and the
band he founded (with guitar from the Duke), the
jumping "Memphis Boogie," and "Baby I Got You,"
a sweet mid-tempo ballad.
The
covers include Johnny Otis’ "Better Beware," a
silky smooth take on Duke Ellington’s "Mood
Indigo," a sweaty reading of Helen Humes’ "Drive
Me Daddy" (featuring Corritore on harmonica),
B.B. King’s "Jump With You Baby" (with Watson
joining Jones on guitar), Billie Holiday’s
classic "The Blues Are Brewin’," Joe Liggins’
"One Sweet Letter," and a fun romp (with vocals
from Adrianna Marie and Jones) through T-Bone
Walker’s "T-Bone Boogie."
The
band gets ample opportunity for solos and
instrumentals throughout and they move smoothly
between blues, swing, and jazz. Adrianna Marie
grew up listening to this music and she leaves
nothing on the table with her performance. Her
six original tunes fit seamlessly with the
standards. Her husband. Mr. Jones. provides some
stellar fretwork throughout with several choice
solos before getting the spotlight to himself on
the closing tune, a magnificent cover of the Pee
Wee Clayton standard "Blues After Hours."
Adrianna Marie and her Roomful of All-Stars send
listeners back to the glory days of swinging
blues, jazz, and R&B with Kingdom of Swing.
For any music fans that enjoy this style of
music, this glorious set will be an essential
addition to their collection.
--- Graham Clarke
 This is Blues Country (Ain’t Skeert Tunes)
finds Kansas City native Jimmie Bratcher
returning to his musical roots. As a young
guitarist, he was a fan of both Jimi Hendrix and
Johnny Cash, with copies of Axis Bold As Long
and At Folsom Prison both receiving
regular play at the Bratcher household. For
Bratcher, it was a no-brainer to convert a set
of his favorite country music tunes to the
blues-rock format, so he’s collected ten
classics associated with the likes of Hank
Williams, Marty Robbins, Jim Reeves, Buck Owens,
Merle Haggard, and Hank Snow.
There are no rote reconstructions here, either.
Bratcher shows with these covers that the line
between blues and country is a thin one, indeed.
Hank Williams’ "Honky Tonk Blues" is played as a
straight-ahead rocker more in a manner that
Williams’ son, Hank Jr., would be more than
comfortable doing himself. The easygoing "You
Are My Sunshine" is recreated in a tense, but
lively jazz mode, with Amanda Fish providing
tough backing vocals. Marty Robbins’ "Singing
The Blues" is presented as a rocking
Texas-styled shuffle, while Hank Snow’s "I Don’t
Hurt Anymore" is re-crafted as a splendid slow
blues.
Bratcher gives Buck Owens’ "Under Your Spell
Again," a slick pop-soul sheen, and transforms
Jim Reeves’ "Am I That Easy To Forget" into a
deeply soulful tune in the Stax Records
tradition. Robbins’ "Don’t Worry About Me" gets
a lively shuffle treatment, and Williams’ "My
Sweet Love Ain’t Around" leans toward
atmospheric southern rock with a terrific guitar
run from Bratcher. Merle Haggard’s country
standard "Today I Started Loving You Again" has
been covered by blues artists previously,
notably Bobby "Blue" Bland, but Bratcher gives
it a true blue presentation, adding resonator
guitar to the mix. The final track, Don Gipson’s
"I Can’t Stop Loving You," is driven by a tasty
second-line rhythm.
Most
music fans are aware that there’s little
difference between country music and blues as
far as lyrical content goes. Most of the
difference is in delivery and instrumentation.
The great thing about Bratcher’s efforts on
This is Blues Country is that he didn’t
merely cover these classic tunes. He transforms
them into something fresh and unique that should
please fans of both genres.
--- Graham Clarke
 Blues-rocker Dudley Taft’s fifth studio
release, Summer Rain (American Blues
Artists Group), is dedicated to America’s men
and women in the armed forces who sacrifice
their time and lives to defend their country and
to support their families. That being said, fans
of Taft’s rock-edged blues will find that his
latest release largely explores the same
territory as his previous efforts. Returning to
assist Taft in this powerhouse effort are
keyboardist Reese Wynans, drummers Jason
Patterson and Mike Tapogna, bassists John
Kessler and newcomer Kasey Williams, and backing
vocalist Rachel Williams.
The
opening track, "Flying On Love," is a monster
and sets the bar really high for the rest of the
disc, with Taft really tearing it up on guitar.
"Dark Blue Star" leans heavier toward the rock
side of blues-rock and that’s perfectly fine,
while "Edge of Insane" has a bit of Texas
roadhouse flair. The title track has a pop feel
with a catchy refrain and guitar riffs (and
features Taft’s daughter Charmae on backing
vocals), and "Pistols at Ten Paces" is a moody
rocker with a political undertone.
The
ominous "Live or Die" is a ballad with a jagged
edge, thanks to the rugged guitar work. The
mid-tempo "Don’t Let It Fade" rocks hard and
"Moonbeam" is a lovely tune that mixes electric
and acoustic guitars effectively. "Come With Me"
is another hard-charging rocker, and the disc
closes with a pair of lovely gently rocking
ballads, "I Lost My Way" and "Find My Way Back
Home."
Summer Rain is another winner from Dudley
Taft, and a set that should find its way into
the collections of all fans of blues-rock done
well.
--- Graham Clarke
 Bay
Area-based slide guitar wizard Dennis Johnson’s
latest release, Rhythmland (Root Tone
Records), features Johnson with his band, The
Mississippi Ramblers (Tim Metz – drums, Jonathan
Stoyanoff – bass, Craig Long – keyboards/backing
vocals). On his previous releases, Johnson adds
a few new ingredients to the musical mix and on
this new release, he expands his blues vision to
include traces of Americana, rock, Latin, folk,
country, and gospel stylings. He also composed
nine of the ten songs on Rhythmland.
The
album kicks off with the lone cover, Son House’s
"Walkin’ Blues," only Johnson takes his version
at such a breakneck pace, it can just about
qualify as an original itself. The spunky
"Timbale" is the first single off the disc, and
it adopts a Latin rhumba beat while Johnson’s
slide guitar deftly works its way through.
"Faith" and "That Way No More" lean toward
gospel, the former in a soulful direction and
the latter with more of a country feel. Those
songs bookend the Crescent City-styled shuffle
"Fillmore Street," which showcases Long’s
dexterous piano-playing with Johnson’s slide.
The
easygoing "Valley of Love" is a keeper with some
smooth slidework interspersed with Johnson’s
weathered vocal, while "High Heeled Shoes" is a
fun-filled romp. The acoustic ballad "My Love Is
Here For You" is a playful mix of old school pop
and jazz, and the ebullient "Southbound Train"
pays tribute to the blues, with Johnson’s
imitation of the train’s whistle via the slide a
real highlight. The album closer is the rocker
"Revolution," calling for all to unite to change
the world for the better.
Dennis Johnson has improved with each
consecutive release, expanding his musical
palette by adding influences from other genres,
while also improving vocally and with his guitar
work. Rhythmland is his best, most
accessible release to date, and should be on any
slide guitar fan’s "Must Buy" list.
--- Graham Clarke
 Andrew Chapman become involved in the music
business in the late ’60s, after meeting drummer
Tony Braunagel in a Houston nightclub while
watching Johnny and Edgar Winter perform.
Braunagel was a member of the band Buttermilk
Bottom and Chapman became their manager and
helped them release a single on Polydor Records
in 1970. Later, Chapman and bassist Terry Wilson
formed The Bloontz All Stars, which later
included Braunagel as a member. That band
released an album and subsequently toured with
Johnny Nash of "I Can See Clearly Now" fame.
Eventually, Chapman left the music industry,
disgruntled with the business end, and began a
successful business career though he still
occasionally performed with friends in the
studio. Recently, he looked up his former
Bloontz All Star bandmate Wilson, now a
successful producer and engineer, and recorded
an album in L.A., London, Houston, Nashville,
and Mobile. They sent the tracks to keyboardist
John "Rabbit" Bundrick, who liked what he heard
and enlisted Braunagel to add drums. The result
is Chapman’s "debut," the appropriately-titled
Well, It’s About Time! (Upisland
Records).
Chapman has a warm vocal style that fits well in
a soulful mode or cranking out Texas/Gulf
Coast-styled roadhouse rock and R&B. He ventures
into Louisiana territory with the funky opener,
"That’s The Kind of Day I Had Today," and makes
one of several journeys to late ’60s/early
’70s-era rock and pop with a lively take of
Stephen Bruton’s "Face of Love," his own "Harley
Hotstuff," "The Fit & The Feel," "Will You
Recognize Me," "Plane Ride From Paris," and the
closer "Butterfly," where his vocals take on a
warm sensitivity.
He
also stands out on tracks like the driving blues
"Bag of Bones," the funky rocker "She Don’t Mess
With My Buzz," the catchy "Still Got The
Message," the tough Delbertesque "That Takes
Some Balls," and the countrified "You’ve Got A
Lover," which also includes backing vocals from
Teresa James and lap steel guitar from James
Pennebaker. There’s also a wonderful cover of
the Little Willie John classic, "Talk To Me,"
which had to be a personal favorite for Chapman,
given his passionate reading.
Lending a hand on this fine release are Wilson,
who plays bass, guitar, and keyboards (in
addtion to co-producing with Chapman), his wife
Teresa James on backing vocals and keyboards,
Braunagel on drumps, plus Bundrick and Jeff
Paris (keys), Pennebaker (lap steel), Billy
Watts (guitar), Willie Ornelas and Jim Christie
(drums), and Shake Russell (backing
vocals/composer).
Well, It’s About Time has a warm,
comfortable feel that will certainly appeal to
blues, roots, and old school rock and pop fans.
The versatility of the songs and performances
are first-rate and raise hope that Chapman will
return to the studio in a more timely manner
next time.
--- Graham Clarke
 The
Southern California band Dry River
started out as an acoustic duo (Dave Forrest –
harmonica, Oliver Althoen – guitar/vocals)
playing vintage blues from Mississippi Fred
McDowell, Skip James, Slim Harpo, and Robert
Johnson, as well as modern tunes from Gary
Primich, Tom Waits, ZZ Top, and Randy Newman.
Eventually, they released their debut, Lost
In The World, a set of original tunes
recorded live into a single mic.
For
the group’s sophomore effort, Prayin’ for the
Rain, the duo has expanded to a quartet,
adding Joel Helin (bass) and Ruben Ordiano
(drums). The disc consists of 14 originals,
mostly written by Althoen (who also produced),
and is split between electric and acoustic
numbers, which address life, death, desperation,
and redemption in the finest blues tradition.
Althoen has a warm and personable writing and
singing style and the mix between plugged and
unplugged works really well.
The
opener is "Lift This Stone," a spare acoustic
blues that showcases Althoen’s spirited vocal
and Forrest’s harmonica. "Dry River Blues" and
"Lost In The World" feature the whole quartet.
The former is an upbeat rocker and the latter is
more midtempo, but Althoen’s vocal is edgier.
The acoustic country blues "Breakfast" is an
entertaining number as Althoen paints a vivid
picture of a new love, while "Divided For Love"
is a crisp blues rocker, and the acoustic
standout "Hildegard" is a memorable venture into
folk territory.
The
powerful "Death Comes Knockin’" is a
slow-building old school electric blues with a
superlative vocal from Althoen, and "Free Man"
wanders between folk and country. Still in a bit
of a country vein, the rocking "Lovesick Blues"
picks up the pace before the group tears into
another splendid slow blues, the emotional "Lay
Down and Die." Forrest’s contributes the moody
instrumental "Makin’ Biscuits," before the album
closes with a flourish with the upbeat "Shine
Your Light On Me," the rowdy blues "Tryin’," and
the meditative closer "Who Am I."
Expanding their sound seems to have paid
dividends for Dry River, enabling them to move
seamlessly from acoustic to electric blues and
roots music. They are equally adept in both, so
Prayin’ for the Rain should be rewarding
listening for fans of both styles.
--- Graham Clarke
 The
Ten Years After Collection is a significant
piece of blues and rock music history because it
charts the meteoric rise to supergroup status
between 1967 and 1974 of a virtually unknown
sixties British band from Nottingham. Indeed, by
1969 Ten Years After had become a global
phenomenon and when they split up their legacy
continued due to brilliant song writing, mesmerising live performances and outstanding,
creative musicianship. All of this is
encapsulated for posterity thanks to expert
re-mastering from the original 1/4" production
master tapes alongside record producer Chris Kimsey’s superb mixing of the bonus disc
comprising five Alvin Lee previously unreleased
compositions. As a result, on this 50th
anniversary limited edition 10-CD box set, every
track sounds as if it was recorded yesterday.
In many respects the first, eponymous album is
the best because its freshness and authenticity
reflect the British blues-rock explosion of that
era. What stands out on Ten Years After is the
emergence of founding member Alvin Lee as an all-around musical genius. His vocal range is immense
through songs of various genres whilst his
trademark guitar tricks are all there at this
early stage. Alvin plays superb harp on "Love
Until I Die" and his carefully crafted lyrics
are evident on tracks like "Feel It For Me."
However, it is the influence of Lee’s father Sam
who loved American blues and introduced his son
personally to Big Bill Broonzy which is manifest
on "Spoonful" and "Help Me."
By the time
Undead was released, the band was
touring regularly in America and needed a follow-up album, hence this live recording. This
combination of blues and jazz jams culminating
in what was to become the band’s national
anthem, "I’m Going Home ," cementing Lee’s
reputation as the fastest guitarist in the west
with fleet-fingered fretwork of a velocity
rarely witnessed previously. Stonedhenge was the
second studio album and much more experimental
and psychedelic, representing the trends in
progressive contemporary rock whilst also being
innovative. "Going To Try" sets this scene with
various effects added to improvisations such as
"No Title" and the finale "Speed Kills," the
ultimate train song.
It was
Ssssh, released in August 1969, that
confirmed the British quartet’s definitive
blues-rock direction epitomised by the extended
jam on Sonny Boy’s "Good Morning Little
Schoolgirl" and the classic blues finale of
Hopkins’ "I Woke Up This Morning." The same
month saw Ten Years After performing the now
legendary set at the Woodstock Festival. Lee’s
scintillating guitar solo on "I’m Going Home"
was given high profile in subsequent soundtrack
and film recordings, thus securing his place in
music history as well as boosting album sales.
By now, the band was already promoting the next
album, Cricklewood Green. combining
blues-rock and clever sound effects, "50,000 Miles Beneath
My Brain" and the number four chart success "Love
Like a Man" are classics of what had become a
distinctive TYA genre thanks to Alvin’s lyrical
prowess and unique guitar licks and riffs.
Watt is a powerful mixture of blues, rock and
roll and jazz influences which showcases Alvin’s
incredible vocal range. The opening tracks,
‘’I’m Coming On" and "My Baby Left Me" sets the
scene for a more laid back approach which many
fans appreciated. A Space In Time reflects the
popularity of the hit single "I’d Love To Change
The World," and has a more acoustic guitar feel
relative to previous albums alongside some axe
grinding jamming.
Fans also welcomed the back to basics of
Rock &
Roll Music To The World with its classic title
track plus "Choo Choo Mama" and "Standing At The
Station" from a tight and powerful band. Positive Vibrations from 1974 will be remembered
most as the final album before the band split up
(although a re-formed Ten Years After recorded
About Time in 1989.) If vibrations were
negative given that Alvin was already pursuing
other projects, then it did not show and there
are strong compositions here, notably "Nowhere
To Run."
The Cap Ferrat Sessions comprises the unique
Alvin Lee songs which did not make the Rock &
Roll Music To The World album due to vinyl time
limitations. The titles are, "Look At Yourself,"
"There’s Somebody Calling Me", "Holy Shit",
"There’s A Feeling" and "Running Around". Those
last two did appear on Alvin Lee’s In Flight
album but the grooves are different enough to
give them special appeal here. Evi Lee
discovered her late husband’s recordings which
Kimsey set about mixing with astonishing
results.
Most TYA fanatics will already have the
nine albums in the box set but they won’t have
the most prized possession. Are these 30 minutes
of new music worth the price of the whole set?
You bet they are! The drumming of Ric Lee is so
clear and precise, enhanced by the acoustics of
the south of France recording location, and he
plays technically complex rhythms with aplomb.
The interplay between Leo Lyons and Alvin
reaches new levels and the extended solos from
Alvin and Chick Churchill flow with an ease and
beauty rarely surpassed on the other albums.
Alvin is in fine form both vocally and on
harmonica, his guitar riffs as distinctive and
compulsive as his most acclaimed works. This is
half an hour of some of the best music from the
band’s era.
Alvin Lee was the charismatic talisman of Ten
Years After whose solo career took him to
another stratosphere until his untimely death in
2013. The rest of the band, retaining its name,
toured without him from the start of the new
millennium. Now comprising only two original
members, Ten Years After have become something
of a pastiche, even a parody. This magnum opus
therefore presents the best and only opportunity
to hear the blues rockers at their peak.
---
Dave Scott
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