I have to
give Joe Bonamassa credit. Hs
latest record, The Ballad of John Henry, is
probably the most honest disc he’s recorded to date.
There are textures to this record that I’ve not
heard from Joe before, and it makes for some
interesting listening. So let’s give it a spin.
We open with the title track, an ode to the everyday
working man who’s toiling away at his job, earning
an honest living, working an honest day’s work.
America’s working class is slipping away day by day,
and The Ballad of John Henry is testament to
this. “Give me the hammer that killed John
Henry…cause it won’t kill me…who killed John
Henry…in the bottle of sinners and saints!” Next up
is Joe’s version of the Sam Brown tune, “Stop!” “You
better stop…before…you tell me all about it…you
better stop…before you break my heart!” Love is a
dangerous game and Joe’s relationship works in its
own mysterious way with the woman in question.
Here’s hoping she “stops” in time.
I find that “Last Kiss” is an interesting song.
Basically all the band knew was the key it was in,
E, after that it was all improvisation on the spot.
“I’ve been knocked down…stood up…all in the name of
goodbyes…and I’ve been locked down…beaten…all in the
name of goodbyes…and I don’t mind stealing the last
kiss before I die.”
Another interesting tune is one that Tom Waits
wrote, “Jockey Full of Bourbon.” Joe’s liner notes
indicate that he was able to get one of the biggest
guitar sounds ever on disc for this one. “I’m all
alone…with someone else’s wife…admire the view from
the top of the mast…hey, little girl…your house is
on fire….children alone!” Joe’s fretwork for this
song is definitely sonic approved and well done.
“Story of a Quarryman” is up next and it’s a song
about a piece of land that Joe moved to in Georgia.
It definitely didn’t agree with him and eventually
he moved on. “Left my home with the shirt on
back…fueled my empire on the dry haystack…to break
down…along my wall…back in Cali…tired and alone…I
broke it down by my own hands…story of a quarryman.”
Up next is “Lonesome Road Blues,” a song from Joe’s
misspent youth. “I don’t need your constant
heartache…all I have is my guitar and you…I turned
31 years old today…all you gave me was that store
bought blues…and I know how that lonesome…lonesome
old blues can be…lonesome road calling me.”
Joe is definitely crossing new boundaries on this
disc. Our next cut, “Happier Times”, reflects on the
woman Joe thought was the love of his life. Turned
out she wasn’t, but Joe is happy to reflect on when
he thought she was. “Friday…comes and goes…I guess I
won’t talk to you…anymore…so many things
unsaid…there’s so many things I want to say…never
trade you for the world…never do the things…I used
to…guess its not good enough…this I see…I remember
happier times.”
“Feelin Good” is up next. “Breeze drifting on by…and
you know how I feel…it’s a new dawn…it’s a new
day…it’s a new life…for me…and I’m…feeling good!”
Joe’s in rare form and he’s definitely appreciating
the fact that it’s a new day and he’s feeling good.
“Feelin Good” is cathartic and you can tell that Joe
appreciates the opportunity to just let loose.
Things get a little bit crazy on our next cut,
“Funkier than a Mosquito’s Tweeter.” “You know
you’re…funkier than a mosquito’s tweeter…you got a
mouth like a herd of boll weevils…same old game…same
old game…always rocking…the same old game!” I hear
horns in the background and the arrangement by Lee
Thornburg is spot on.
“The Great Flood” finds Joe reflecting on another
past love and the apology that he feels he owes her.
“It’s been too long…since I said I loved…it’s been
to long…since I cared…well my conscience is finally
clear…I’ve been waiting all these years…its
raining…all day and night…the great flood…has come
around.” An instrumental testament to Ry Cooder,
“From the Valley,” is up next. Joe gets a chance to
break out his 1931 National guitar and the result is
magical. I had the opportunity to see Joe play
acoustically at a benefit here in Phoenix a couple
of years ago and I’d like to see him play more
acoustic tunes.
Joe closes out The Ballad of John Henry with
another rocking tune, “As the Crow Flies.” “In a
dream last night…well…I heard you call my name…I
took it as an omen…and I jumped on the next train!”
I find that The Ballad of John Henry is
definitely the most diverse album that I’ve heard
from Joe in the three or four that I own. I
appreciate the fact that Joe shared personal
insights on “Happier Times” and “The Great Flood”
which made the disc a more personable one to listen
to. Joe is definitely growing as an artist and this
disc is one I’ll come back to shortly for another
spin.
Joe’s website is
www.joebonamassa.com and you can find his entire
discography there. Joe’s always been one to follow
his own muse and I like the direction The Ballad
of John Henry takes him in.
--- Kyle Deibler
It’s a straight shot down I-40 from Little Rock to
Memphis, and as I hit the road to Memphis for the
week-end the first disc in my CD player was Coco
Montoya’s new Blind Pig release, The
Essential Coco Montoya. Reflecting Coco’s
personal choices from his first three Blind Pig
releases of a decade ago, The Essential Coco
Montoya is exactly that. If you want a disc to
throw in the CD player, turn the volume up and hit
the road with, this is it.
The first cut up is “Fear No Evil,” and here Coco’s
telling his woman that he can face anything the
world has to offer as long as she’s by his side. “I
will fear no evil…I will fear no evil…just as long
as you're by my side…when I’m down…you pick me
up…Lord, when I’m thirsty…you give me a drink from
your cup!” Sounds like a damn good woman to have. I
wonder if she’s still around.
Seems like the question might be answered in “Am I
Losing You.” “I heard you talking in your
sleep…calling out, another man’s name…my suspicions
killing me…are you playing…the cheating game?” Not
knowing is killing Coco, “am I in…am I out…of your
plan?” He might be better off to just let her go.
Coco’s guitar playing is amazing and his solo on
this cut just takes off. “Seven Desires” is a song
about Coco’s quest for a new love. When he finds
her, seven desires/wishes is just not enough. “I
just want to fall down on my knees…waiting for you
to come to me…ready to cast to the fire…seven
desires!”
“Sending Me Angels” is one of my favorite songs and
I’m really appreciating Coco’s version. Ernest
Williamson is on the keyboards for this tune and I
appreciate the delicacy of his B3 work in the
background. “He keeps sending me angels…here they
come a flying…he comes sending me angels…to keep me
from crying!” Just a beautiful song and Coco really
nails this spot on.
Coco’s guitar provides the intro for our next cut,
“Too Much Water”, and shares his father’s advice
about women with us. “You know my daddy told me an
old saying…I never believed it was true….if you have
a good woman…love a good woman…don’t ever take her
for a fool”. Unfortunately Coco’s got a wandering
eye and there’s “too much water…under the bridge!”
This woman’s had enough and it’s too bad for Coco.
The shoe’s on the other foot in our next cut,
“Monkey See, Monkey Do.” “Let’s put our cards on the
table…shifting the plan…ain’t nobody winning…whose
playing the game….I believe this hand is
through….monkey see, monkey do!” It’s plain to see
that she’s the one hitting the road this time.
Blistering guitar notes emanate from Coco’s guitar
as he plays the intro to “Do You What You Want to
Do.” “You think you’re the only woman…that can
always keep me tied….ah, but you don’t know it
baby…you don’t know…what I got in store for you…I’m
going to give up everything…you can do what you want
to do!” Coco’s had enough and he’s ready to set this
woman free. He handles things differently, more
maturely in our next cut, “Just Let Go.” “Talk to me
baby…don’t say no…we should have done this…a long
time ago…we can’t ignore what’s plain to see…what’s
wrong with you and me…we gotta do what we gotta
do…why can’t we just let go?” This relationship has
run its course and the adult thing to do is just let
it go and move on. Easier said than done, that’s for
sure.
I have to say that Coco’s fretwork throughout this
compilation is outstanding and it continues on our
next tune, “Same Dog.” “Listen baby…you’re the kind
of person…that thinks about themselves…with no
remorse…you put my heart up on a shelf…I won’t be
hurt again…you better find somebody else…yes, I
know…bound to make mistakes in life…but mama always
told me…don’t let the same dog bite you twice!”
Coco’s lyrics speak for themselves; Coco will not
let this woman hurt him again. She’s definitely
gone.
Our tempo slows down as Coco plays the intro to “You
Don’t Love Me.” “You don’t love me…but a thousand
times you say you do…you keep telling
me…everything’s ok…but I know…soon we’ll be
through.” Mike Finnegan is at the B-3 for this song
as Coco’s woman tries to talk him out of breaking up
with her. But it’s the right thing to do and Coco
knows it. Coco even takes the time in our next cut,
“Give It to a Good Man,” to give good advice to a
woman looking to fall into love. “If you’re going to
give up your heart…give it to a good man….if you’re
going to give up your heart…give it all that you
can!” And he’s right, if you’re going to fall in
love, fall in love with a good man.
The last tune on what has been a great disc is
“You’d Think I’d Know Better by Now.” Here Coco
meets up with a woman from his past and old feelings
bubble to the surface and make themselves apparent.
“With old familiar feelings…you got me back home
somehow…once again I’m in misery…and you’d think I
know better by now!” We all have past loves that can
surface at any time to make us think twice, you
think we know better by now?
The Essential Coco Montoya has been a great
listen. With a cast of supporting players that
include Debbie Davies, Benny Yee, Mike Finnegan and
others, Coco has certainly played with some of the
best over the years. Each cut was personally
selected by Coco and I’m sure they provide an
adequate representation of the three discs they were
selected from. The disc sounded great in the car on
the way to Memphis and it continues to impress me.
You can probably grab a copy from Coco on his
website at
www.cocomontoya.com or you can grab it and some
other great discs from Blind Pig at
www.blindpigrecords.com. Either way, you can’t
go wrong!
--- Kyle Deibler
Nick Moss likes Chan’s out in Rhode Island. The
venerable venue has been very good to him and it’s
apparent on Nick’s second disc recorded at Chan’s,
Live At Chan’s – Combo Platter No. 2, that
folks out in Rhode Island love him too. Nick and
the Flip Tops, along with Lurrie Bell, tore the
roof off of Chan’s for two nights to record this
live disc and it’s a good one.
So it’s appropriate that the first cut up is “Spare
Ribs & Chopsticks,” a venerable instrumental that
gets the band warmed up for the party. Reading the
liner notes I find that Kate Moss is on the bass for
this one, I didn’t know Kate played bass but I’m not
surprised, she’s a very talented woman who does
everything else well. Everyone sounds in fine form
and the Flip Tops are definitely ready for the
party.
Gerry Hundt’s harmonica leads into the next tune, a
mournful ballad called “Try to Treat You Right.”
Nick’s in love but he just can’t seem to get it
quite right, “Darling…give me one chance…one more
chance with you…if you give me one chance…I’ll show
you something new”. Hopefully Nick got his second
chance. The nimble fingers of Willie Oshawny on the
piano are front and center on our next cut, “Whiskey
Makes Me Mean.” Nick’s in a drinking mood and that’s
not always good, “we’re going to drink…we’re going
to have a ball tonight…I need that whiskey…to make
me feel just right…look out boys…that whiskey sure
makes me mean…you want to drop tray…keep your
business clean!” Nick’s a big boy best left alone if
he’s been drinking, I’m sure of that.
The tempo slows down a little bit as Nick
pontificates on what kind of lover he is on “I Got
All Kinds of Love”. “Tell me baby…why you leaving so
soon…tell me mama…why you leaving so soon…I got all
kind of love…just waiting for you!” Nick sounds like
he’s got all the moves, wonder why she is leaving.
Hmm. Maybe the answer is in our next tune, “Lonesome
Bedroom Blues.” “Well…I said…a woman without a
man…just like a heart without a beat…and they tell
me there’s a woman for everything…I wonder where my
woman…is apart from me?” Gerry is back on his harp
and the mournful notes emanating from it let us know
just how lonely Nick really is. “Fill ‘Er Up”, an
instrumental is up next and Gerry leads us off with
more of some amazing harp work.
Lurrie Bell was part of the festivities at Chan’s
and he’s up next with his first tune of the night,
“Don’t You Lie to Me.” “There are two kinds of
people…that I can’t stand…a lying woman…and a
cheating man…don’t you lie to me…cause it makes me
mad…and I’m as evil as a man can be." It sure sounds
like Lurrie’s got a lying woman on his hands and
she’s about to hit the highway. Lurrie’s not going
to keep her around, that’s for sure. “Five Long
Year’s” is up next and mournful notes emanating from
Lurrie’s guitar tell me that he’s in a remorseful
mood. “Have you ever been mistreated…and then you
know what I’m talking about…you know I worked five
long years for one woman…and then she had the nerve
to put me out!” Lurrie’s definitely not happy, he
worked day in and day out at the steel mill to
support this woman and this is what he gets?” It
happens.
The Willie Dixon classic, “I’m Ready,” is our last
tune with Lurrie at the microphone. “I’m ready…I am
ready…ready as anybody can be…I am ready for you…I
hope you are ready for me!” I’m hoping Lurrie has
better luck this time but who knows.
Live at Chan’s – Combo Platter No. 2 closes
with both Nick and Lurrie on stage with Nick
singing, “I Wanna Know.” “I’m going to take from the
country…buy you a diamond ring…turn around and tell
your friends…I didn’t get you a goddamned thing…I
wanna know!” Sounds like a train wreck that isn’t
going to end well. Nick, you’d better move one.
This has been a very good live disc, it’s almost 80
minutes long and well worth the listen. Nick and the
Flip Tops are a well-oiled machine and having Lurrie
guest on the recording only enhances my opinion that
the good folks at Chan’s saw a helluva show. Catch
Nick and the Fliptops when you can; they were
recently nominated for BMA band of the year and I’m
thinking they’re a worthy contender. All of Nick’s
discs can be found on his website,
www.nickmoss.com or the Blue Bella site,
www.bluebellarecords.com.
Nick and Kate are working hard with their Blue Bella
Records label to keep the blues alive and have put
out some great discs. Check them out when you can.
--- Kyle Deibler
By his own admission, Glenn Patrik has been a
vagabond. He’s spent the last 40 years traveling the
roadways and railways in and out of Kansas City,
searching out other musicians and lessons to be
learned. By all accounts, it’s seemed he’s learned a
number of lessons well. His new disc, Nuthin’ But
A Thang, has been a pleasant surprise. So let’s
give it a listen.
Our first tune, “Don’t Call Me Daddy,” finds Glenn
in the process of sorting out a relationship with a
woman who definitely wants more than he does. “When
I left…you wanted to come along…I made the mistake
and told you…I don’t care…I can’t finance your
life…and I don’t want a wife…don’t call me daddy!”
Glenn’s message is loud and clear with this one.
“Dontcha Know” finds Glenn in love with the woman in
question. “Dontcha know…girl…I love you so…don’t
tell me baby…dontcha know?” Glenn is more than a
passing guitarist and I’m enjoying the licks on our
next cut, “Kansas City.” “I’m going to Kansas City,
Kansas…Kansas City here I come…they got a lot of
crazy women there…and I’m going to get another one!”
I’m left wondering why she has to be a crazy one,
but that’s his preference.
More impassioned guitar licks provide the
introduction to our next tune, “The Bossman.” Seems
his girl’s been spending an inordinate amount of
time with her boss. “Been running round with your
bossman…should only, ever be running with
me…sneaking round with your bossman…for the whole
wide world to see!” Sounds like this is one
relationship that’s going to end real quick.
“One More Day” has a gospel feel to it as Glenn
examines the life he’s living. “One more day…one
more day…sure nuff…the time will come…something here
gotta change…the way you’re talking to me…I’m not
likely to stay!” “4 P.M. Blues” is the next tune up
and this time the shoe’s on the other foot. “Don’t
know what I’m going to do…cause, baby I ain’t
cold…now I seldom think of you…no, baby I ain’t
cold.” This relationship has ended and Glenn is
moving on.
Rusty Hall’s touch on the keys provides the intro to
our next tune, “Too Blessed to be Depressed.” “Job
is leaving town…dog is in the pound…they say my
check is on the way…I’m too blessed…to be
depressed!” I hear Pat Rizzo’s sax in the background
of our next tune, “Thang Thang.” “Baby…you got your
thing…you know I got mine…and when we get together…I
think its out of sight!” Pat’s back with a sax solo
and its obvious Glenn is happy with her “thang”.
Next up is “Friend of Mine,” a touching ballad. “You
got a problem…come to me…let it out and you’ll feel
better…cause…you’re a friend of mine.” Glenn’s got
real feelings for the woman he’s singing to and
maybe they’ll regain the magic they obviously once
felt for each other.
Nuthin’ But a Thang closes with a lazy, late
night instrumental, “Last Night,” and then “Other
Side of Town,” where we find Glenn questioning where
his woman might be. “I’m tired of trying…so tired of
crying…what really hurts…is all your lying…call you
on the phone…you can’t be found…for all I
know…you’re on the other side of town!” Can’t blame
Glenn for how he feels. He’s best off to let her go,
this one isn’t going to work.
I’ve enjoyed Nuthin’ But a Thang; it’s been a
very entertaining disc by a Bluesman who’s always
strived to make the best of all the opportunities to
learn and hone his craft. To that extent, Glenn
Patrik is an admirable Bluesman who’s disc has been
a treat to listen to.
You can find out more about Glenn on his website,
www.glennpatrik.com, and you might as well order
a copy of this disc while you’re there. I know
Glenn’s competing at the IBC this year and I’m
looking forward to the opportunity to catch more of
him live. See you there.
--- Kyle Deibler
I’ve not seen Guy Davis live in a very long
time but it’s been a real treat to listen to his new
disc, Sweetheart Like You, out on Red House
Records. It’s one of the great acoustic discs out
this year and another resident on my top ten list
for the year. So let’s see how Guy managed to earn
this distinction.
First up is Guy’s take on a Bob Dylan song,
“Sweetheart Like You.” “Well…snap out of it
baby…people are jealous of you…they’re smiling in
your face…but behind your back…they hiss…what’s a
sweetheart like you…doing in a dump like this?”
Mournful notes emanate from Guy’s harp as he let’s
us know the depths of despair this girl is feeling.
Next up is “Slow Motion Daddy,” a lesson to be
learned by all of us males who think we’re all that.
“I’m the slow motion kind…I like to take my
time…girls who come to my house like to play…some
boys play too fast…they slip and bust their arm…but
a slow motion daddy lasts all day!” I think that’s
about all that needs to be said on this topic.
“Follow Me Down” is Guy’s take on an old Lead Belly
song. “I got a woman…live by a stony hill…been sent
down gambling…by a pimp…Lord, it’s a wonder she
ain’t done got killed.”
Guy plays a soulful harp intro for our next tune,
“Sweet Hannah,” a song about a man who loves the
married woman he’s been seeing. “Come in sweet
Hannah…your man wants to see you…your man wants to
see you…tonight!” Being the back door man is never
easy and he obviously loves Hannah. “Bring Back
Storyville” is Guy’s ode to a different time, where
moonshine was illegal and people lived with
prohibition. “I had me a woman…used to hold my
jug…kept in a trapdoor…under the rug…I’d come
there…lay back and drink my fill…bring back….bring
back…Storyville!”
Next up is Guy’s testament to his mother, “Words to
My Mama’s Song,” featuring spoken word and vocal
percussion by his son, Martial Davis. “I could
change my life story…if I could start all over
again…let you pick all the cotton…I’ll let you
sing…all the blues…I’d let you be your own
mammy…I’ll let you shine…all of my damn old
shoes…well, I wish I could remember…all the word to
my mama’s song!” A very interesting song and
definitely one of my favorites.
A Son House traditional, “Down South Blues,” is up
next. “Down South…when you do…anything that’s
wrong…they’ll sure…put you down on the county
farm…put you under a man named Captain Jack…he’ll
sure write his name…up and down your back!” The life
of a black man in the South was never easy and he
had to be sure to take care and watch his back. A
Willie Dixon classic, “Hoochie Coochie Man,” is up
next. Guy’s the Hoochie Coochie Man and one we
should all watch out for.
“Steamboat Captain” is noted by Guy as the secret
expression of his soul. Let’s see what that looks
like. “If you ask me…I will tell you…when I’m grown
up….what I’ll do…I will be a steamboat captain….and
I’ll sail this…river through”. Fortunately for all
of us, Guy grew up to be a very talented Bluesman
instead. Up next is “Can’t Be Satisfied”, recorded
live in Cincinnati with Guy on the banjo. “If I feel
tomorrow…like I feel today…I’m going to pack my
suitcase…mama, make my getaway…I be trouble…Lord,
honey…I’m onward now…and I can’t be satisfied…just
can’t keep from crying!” He’s always wondered how it
would sound on the banjo and the answer is simple,
its great!
Up next is another traditional song, Big Joe
Williams’s “Baby Please Don’t Go.” “Turn your lamp
down low…baby, please don’t go….I love you so…baby,
please don’t go…down to New Orleans…I love you so!”
Our next tune, “The Angels are Calling,” is a tone
poem that Guy’s not sure he’ll ever be able to
perform live. “The angels are calling…calling me
home….open your eyes….turn your face from the
shadows…sail to the stars…on the wings of a
bird…come lick from me…the first breath of each
morning…I’ll always be near you…I’m giving my
word…the angels are calling.” An absolutely
beautiful tune, I can see why it might be tough for
Guy to sing this live.
According to Guy, he wrote “Going Back to Silver
Spring” for a girl from Maryland. She promised to
send him nude photos of her if he wrote a song for
her. He’s still waiting for the pictures. “Cold wind
is blowing…blow right through my clothes…the way I
love that little girl….Lord, nobody knows…going back
to!”
Guy closes what has been an excellent disc with
another Leadbelly tune, a field holler called “Ain’t
Goin’ Down.” “I ain’t going down…I ain’t going
down…baby to the well no more…I was a true
believer…but I ain’t going to believe no more!”
I’ve enjoyed this disc by Guy Davis immensely and
I’m glad to see he garnered a BMA nomination for
Acoustic Artist of the Year for this record. It’s a
tough field this year but Guy’s nomination is well
deserved, and Sweetheart Like You has
rightfully earned its place in my top ten list.
There’s a lot of great music that came out late this
year and you can pick up a copy of Guy’s disc on his
website,
www.guydavis.com.
--- Kyle Deibler
I definitely need to see Darrell Nulisch live
one time. His new record out on Severn, Just for
You, garnered him BMA nominations for Soul
Artist and Soul Record of the year, and deservedly
so. Let’s hit play on this disc and see what
Darrell’s got up his sleeve.
Darrell’s backed by a who’s who of players and it's
Johnny Moeller’s guitar that stands out on our first
track, “You Don’t Know Me.” Darrell’s woman
obviously isn’t completely in touch with who he is
and Darrell is pleading his case for her to take the
time to know him better. “It’s who I really am….not
who I’m trying to be…gonna do my own
thing…naturally…you don’t know me…why don’t you take
time and know me?”
Benjie Porecki’s keyboard is flawless as he provides
the intro to our next cut, the very soulful “The
Woman Don’t Live Here No More.” “Well I think I
know…what made her go…I treated her bad…behind
closed doors…and her friends keep dropping by…I
never really learned how to lie…the woman don’t live
here no more!” Sounds like she was one that Darrell
should have kept. Sometimes we just don’t learn.
Up next is “Work for Love,” with a great horn score
behind it. Here Darrell is trying to teach us that
love is work; “Now, if you want a love…that will
last forever…that kind of love has got to take some
time…you can’t sit around wishing all day…hoping for
love to come your way…open up the cover and take a
real good look…listen little girl…what you got to
do…work for love!” Real love is work and Darrell is
imparting wisdom I’m sure he’s acquired through a
heartache or two.
“I try…and I try…everything…to make her do…just to
prove…my love…is just for you!” “Just for You” is an
impassioned plea by Darrell to try and let his woman
know just how much he loves her. The score is filled
with great horn work to accompany Darrell’s attempt
to truly speak his heart. She can’t help but get the
message, what she does with it is another thing.
“It’s a Shame” finds Darrell smack dab in the middle
of a love triangle where he’s basking in the glory
of his good fortune. “It’s a shame…that she don’t
love you…it’s a shame…shame…shame…that she don’t
care!” She’s chosen Darrell and he’s good with that.
Our next cut, “Just a Little Blues,” finds Darrell
knowing that bad times will pass. “It’s just a crack
in my heart…that ain’t broke all the way…and it’s
just a little blues…sure ain’t nothing new…I’ll keep
moving on!” Johnny Moeller’s back with another great
guitar solo and its very easy to hear why Johnny is
playing as much as he is these days.
The mood picks up as Darrell tackles our next cut,
“Far Too Lonely.” “The words still ringing…as I hung
up the phone…I started thinking bout the quickest
way home…she didn’t say much…but her message was
strong…its been lonely since you’ve been gone….I’ve
been lonely…since you’ve been gone!” Sounds like
Darrell had better get his butt back home soon. He’s
only been gone a day but its obviously one day too
much!
Unfortunately for Darrell, we find his heart is
hurting in our next tune, “All the Love We Had.”
“You went your way…I went mine…did we even say
goodbye…I remember the way….you make me feel…and…I
remember your eyes…so if you ever hear this song…and
oh it makes you sad…just remember…how good we were
together…and all the love we had.” Sounds like a
tough break up for both of them. An upbeat tempo
indicates a better mood and we’re treated to it in
“Let a Woman Be a Woman.” “I just can’t get it
right…oh, though I do the best I can…you just got to
let a woman be a woman…and let a man be a man”.
Darrell lets us know that it took a whole lot of
learning for him to figure this much out, but at
least he got it right.
Another ballad, “Natural Thing,” gives the horns a
chance to air things out some more as Darrell lets
us know that the love he’s feeling now is good.
“There are some things…you can’t control…like the
tide…or which way the wind’s going to blow…I know
one thing…sure as I know my name…our love is…one of
those things!” This relationship is obviously strong
and Darrell is very happy to be in love with the
woman he’s singing about. Good for Darrell.
Just for You is definitely a strong contender
for Soul/Blues Record of the Year. It features great
vocals from Darrell, one of the strongest supporting
casts you’ll ever hear and just a great selection of
songs by Darrell to sing for us. This record has
earned its position in my top ten for the year and
I’ll be coming back to it often. I know for sure you
can order a copy from Darrell on his website,
www.darrellnulisch.com and this is one disc I
believe everyone should wish for Santa to bring
them.
Well done, Darrell, great disc!
--- Kyle Deibler
On Already Free, the latest release by The
Derek Trucks Band on Victor Records, there is
more of a focus on songs than with the band’s
previous efforts, which have tended to focus more on
the music itself through extended jams and
improvisation.
That’s not a bad thing at all, but this latest
effort manages to do something new without
compromising what brought the band to where they are
today. Trucks’ previous releases have also mixed
rock, blues, jazz, and some Eastern Indian
influences. On Already Free, there is more of
a lean toward the blues side of things. In a way, it
sort of reminds me of those early ’70s blues/rock
excursions with the Allmans, Delaney & Bonnie
Bramlett, and even the sounds of Eric Clapton from
that era.
The disc was recorded at home in Trucks’ home
studio, with the band and their guests playing most
of the tunes live, usually from the floor. The
relaxed, sociable atmosphere carries over into the
recording itself. Trucks’ slide work is phenomenal
as always, and the band is incredibly tight in
support. Lead vocalist Mike Mattison is continuing
to make his presence felt not only with his gritty,
heartfelt vocals, but also with his compositional
skills. Mattison shares vocal duties with Doyle
Bramhall II (who guests on two tracks) and Trucks’
wife, Susan Tedeschi.
There are 12 tracks, with four well-chosen covers,
including the sizzling opening cut, Bob Dylan’s
“Down In The Flood,” which showcases Trucks’ slide
and Kofi Burbridge’s keyboard wizardry, along with a
horn section. The other covers are a funky take of
Paul Pena’s “Something to Make You Happy,” the old
R&B tune, “I Know,” which opens with the hum of
Indian guitars before jumping back into an uptempo
soul groove.
Best of all is “Sweet Inspiration,” the Dan
Penn/Spooner Oldham classic. It’s a gospel/blues
masterpiece straight out of Memphis, with a raucous
vocal from Mattison (with able assistance from
Tedeschi and the band members), punctuated by
Trucks’ incredible slide guitar and tasty B3 from
Burbridge. If that one doesn’t light your fire, your
wood must be wet.
The original tunes, all written or co-written by
Trucks, Mattison, Burbridge, Bramhall, or Trucks’
Allman Brothers bandmate Warren Haynes, are
first-rate. Highlights include “Maybe This Time,”
which has a New Orleans-vibe and features a strong
vocal by Bramhall, “Don’t Miss Me,” a hard-edged
blues tune, and “Get What You Deserve,” a powerful
roadhouse rocker. Tedeschi does a solo vocal on the
tender “Back When I Started,” with her husband
accompanying on acoustic guitar and sarod. “Down
Don’t Bother Me” and “Days Is Almost Gone” feature
stellar performances from Mattison.
This is another fine effort from Trucks and his
band, maybe their best overall release yet, but that
bar keeps getting reset with each release. If you’ve
not experienced this wonderful music experience
firsthand, Already Free is a great place to
start.
--- Graham Clarke
The Laurie Morvan Band’s latest disc, Fire
it Up! (Screaming Lizard Records), is
appropriately titled, since it features more of her
fiery brand of electric blues/rock. Morvan is a
first-rate guitarist, influenced by various genres
but most especially rock & roll (where she got her
start). Once she heard Stevie Ray Vaughan she was
hooked, and forged her own style by mixing rock &
roll with the blues. The band made the Top Five at
the 2008 IBC in both the live band and CD
competitions, a rare feat.
The new disc features 12 tracks, written by Morvan.
Songs like the double-entendre-laden “Come On Over
To My BBQ,” “Good Girls Bad Girls,” “Skinny Chicks,”
and “Livin’ In A Man’s World” focus on the blues
from a woman’s perspective, while songs like the
title track, “I Speak The Blues,” “Testify,” and
“Café Boogaloo” are crowd-pleasing house rockers.
“Lay Your Hands” and “”You Don’t Know About Me,”
showcase her strong vocals, and “Let Me Carry Your
Troubles” is a tender ballad about a friend battling
cancer.
The Morvan Band is a powerful three-piece consisting
of Morvan on guitar, Kevin Murillo on drums, and Pat
Morvan (Morvan’s ex-husband) on bass. Carolyn Kelley
and Lisa Grubbs (who co-produced the disc with Steve
Savage) provide stellar backing vocals throughout,
and Sammy Avila and Dave Matthews add keyboards on
various tracks.
Blues/rock fans will find much to enjoy with the
Laurie Morvan Band and Fire it Up! Morvan
shows herself to be a fine performer and talented
composer. You’ll be hearing more from them in the
future.
--- Graham Clarke
Beale Street To The Bayou, the debut release
from Victor Wainwright & the WildRoots on
WildRoot Records, offers a rousing set of blues,
soul, R&B with origins in that musically fertile
region that give the album its name. Wainwright is a
powerhouse piano man from Memphis via Savannah, GA
who has learned his lessons well, combining a
reverent respect for his musical predecessors while
adding his own exuberance to the mix.
Teaming up with former rocker Stephen Dees (Novo
Combo, Todd Rundgren, Hall & Oates, Pat Travers),
who writes, produces, and plays bass in the band,
Wainwright has found the ideal catalyst to get the
band to the next level. Dees also produced
Wainwright’s previous release, Piana’ From
Savannah, which also included two current
members of the WildRoots in support, guitarist Greg
Gumpel and drummer Brian Kelly. After some live
performances together, the group decided to join
forces fulltime and WildRoots were born.
Beale Street To The Bayou consists of 14
tracks. Thirteen were written or co-written by Dees.
They include the opener, “Mighty Man,” a fond
tribute to the music of Chicago legend Willie Dixon,
the acoustic Delta-drenched “Sold Down River,” and
“Blues In The Rain,” a gut-wrenching track featuring
an excellent vocal from Wainwright. “What You Want”
is a robust slice of Memphis soul, driven by guest
Chris Stephenson on keyboards, and “WildRoot Jam” is
a funky jam session that gives all the band members
a moment to shine on their own. “School of Hard
Knocks” is a deft blues rocker that was co-written
by Pat Travers.
The jazzy “Square” features a duet vocal turn with
Wainwright and Patricia Ann Dees, and “Blues Grass”
has a country flavor to it, courtesy of Mark Hodgson
and Gumpel’s mandolin. The title track captures the
feeling of traveling on the road perfectly. The lone
cover on the disc is of Ray Charles’ “What’d I Say,”
which doesn’t break any new ground, but manages to
retain the good-time feel of the original very well.
Wainwright has a strong and passionate voice and is
a top notch piano man. The band offers wonderful
support, moving smoothly from acoustic Delta blues
to smooth Memphis soul to blues/rock to country.
Beale Street To The Bayou is a superlative set
that will satisfy fans of any of those genres. Visit
CDBaby and give it a listen.
--- Graham Clarke
If you like your blues old school, you will love the
latest release by The Georgia Healers. For
over 20 years, the band has been the premier blues
band on the Athens, GA music scene, rarely venturing
far from the region. Their latest recording, on King
Shifty Records, is called Heal This!
The disc features 15 tracks, ten rocking blues
covers and five tracks written by singer/harmonica
ace Donnie Ray Simonds. Among the cover tunes are
two tracks by T-Bird frontman Kim Wilson (“Low Down
Woman” and “Wait On Time”), Willie Love’s
“Automatic,” Nick Curran’s “Beautiful Girl,” and
tracks by Howlin’ Wolf (“Ridin’ In The Moonlight”),
Willie Dixon (“Taildragger”), and Little Walter
(“Mean Old World”).
The original tracks include the swampy “I’ve Got My
Eyes On You,” the rowdy rocker, “Why Do You Say You
Love Me?” and “Ten Years of Marriage.” These
originals blend almost seamlessly with the cover
tunes, mixing elements of Texas and Chicago blues
with Southern soul, and Swamp blues.
The Georgia Healers feature a potent twin guitar
attack with Jimmy Boleman and John Davis and a tight
rhythm section (John Straw – bass, Steve Harding –
drums). The disc was recorded in less than a day
with no overdubs or effects and it sounds like it
was a blast to be there. Producer John Keane
deserves a tip of the hat for capturing that vintage
blues sound so effectively.
If you like your blues played straight, in the
recent tradition of bands like the Fabulous
Thunderbirds or Anson Funderburgh and the Rockets,
this set belongs in your collection. Ramble on over
to
CDBaby and give this disc a spin.
--- Graham Clarke
Jacob Merlin’s latest release, Alchemy of
Soul (Backline Records), combines soul, jazz,
funk, gospel, rock, and a touch of New Orleans. The
Portland native has been playing piano since age
four and is an accomplished performer and
songwriter, having penned all eleven tracks on his
latest disc, showing influences as diverse as Steely
Dan, Earth, Wind, & Fire, Chicago, James Brown, and
Jack Johnson.
A highlight of the disc is the muscular horn section
that punctuates the songs throughout the set.
Featured performers are Tower of Power’s Mic
Gillette, who plays trumpet, trombone, and
flugelhorn, Andy Fuller, who plays trumpet, Renato
Caranto, who plays tenor and soprano sax, and Rick
Tippets (Merlin’s father), who plays tuba, trombone,
and bass trombone. Tippets also did all the horn
arrangements and you’ll definitely be reminded of
the ’70s, when brass ensembles like Tower of Power
and Chicago were mainstays on radios and stereos
everywhere.
Merlin is a wizard (sorry) on the keyboards and has
a suitably gritty voice for the material. The rest
of the band isn’t slouches either. You’ll be
hard-pressed to find a tighter rhythm section than
Erik Mimnaugh (bass) and Jordan Ruback (drums and
percussion), and Michael Suffin’s guitar work keeps
things interesting as well.
Merlin’s songs are standouts. The highlights include
the incredibly funky “Déjà vu,” which brings to mind
the old fusion tracks from artists like George Duke
or Herbie Hancock, “Madness,” which swings
incessantly, and the soulful opening track, “Come To
Papa.” It might be impossible to sit still through
“Hammerhead” or “Donut.” “Muddy Right Foot” is about
as bluesy as the disc gets with some impressive
guitar provided by Suffin.
Alchemy of Soul is a delightful disc that
will bring to mind those heady days of the ’70s,
when funk and soul ruled supreme on the airwaves. If
you remember those days fondly, you owe it to
yourself to check out this album.
--- Graham Clarke
Floorwalker, the latest release from the
Sam Marshall Trio, is an interesting acoustic
foray into the modern world of the blues, with
flourishes of jazz, rock, and hip-hop added to the
mix. Guitarist/vocalist Sam Marshall’s nimble
fingers and raspy vocals are complemented by the
sparse, driving rhythms laid down by Bennett Kling
on upright bass and Collin Andresen on drums.
Of the ten tracks, nine are originals, written by
Marshall. The highlights include the upbeat “Tell
All My Friends and Brothers,” the title track, which
has a hard-driving beat, the moody “Breaking Bones,”
the funky “Valley Tune,” and “Waiting For A Train,”
a ballad that showcases Marshall’s slide guitar. The
lone cover on the disc is the traditional “Skinny
Woman,” reworked into a breakneck-pace romp
(featuring some more fine slide guitar work) to
close the album.
Floorwalker stands out from your traditional
acoustic blues guitar album due to the imaginative
rhythm section and some impressive string bending
from Marshall. Guitar fans of all genres will be
well-satisfied with this release. Visit
CDBaby and give it a listen.
--- Graham Clarke
For 20 years, The Hitman Blues Band has been
rocking the New York area with their searing brand
of blues/rock, drawing favorable comparisons to
Johnny Winter, Joe Bonamassa, and Kenny Wayne
Sheppard along the way. Led by founding member,
guitarist/singer Russell “Hitman” Alexander, the
band has made various personnel changes along the
way, but Alexander remains the constant with his
gravelly vocals and gritty blues fretwork.
Pale Rider (Nerus Records) is the band’s
fourth release. It’s loaded with crowd-pleasing
blues/rock tunes that feature Alexander’s exemplary
guitar work. Though the emphasis is on blues/rock,
Alexander’s guitar work is firmly rooted in the
blues. His guitar playing is on par with the artists
mentioned in the previous paragraph, but I also hear
Donald Kinsey occasionally in his soloing at times,
notably on the second track, “Trouble On The Line.”
Choice tracks include “Blues Can’t Hit,” “Red Hook,”
which showcases Alexander’s slide guitar, the
grinding rocker “I Know About The Blues,” the jazz
swinger “Miss Catherine,” which provides an
interesting change of pace, “This Too Shall Pass,”
and the scorching title track. The disc’s lone cover
is a plugged-in take of Son House’s “Death Letter.”
The remainder of the Hitman Blues Band consists of
Kevin Rymer (keyboards), Mike Porter (bass), and Ed
D’Alessio on drums, and they provide rock-steady
support. On “Miss Catherine,” the band is augmented
by Mike Snyder (piano, clarinet), Greg Mercado
(tuba), Eric Altarac (trumpet), and Mike Mulieri
(guitar). Jim Sabella takes a guitar solo on the
track “I’m Coming For You,” and backup vocals are
handled by Joanne Alexander, Angelique Alexander,
and Nancy Hampton.
Pale Rider is a strong, satisfying set of
high-energy blues/rock that will please fans of the
genre. Check it out at
CDBaby.
--- Graham Clarke
After a few years experimenting with solo acoustic
blues Gerry Jablonski is back in the blues/rock
arena in which he belongs, backed up by the amazing
blues harp of Peter Narojczyk and the astonishing
rhythm section of Dave Innes on drums and Grigor
Leslie on bass. Having already taken the Edinburgh
Blues & Jazz Festival, The Dundee Blues Bonanza and
the Wizard Festival, by storm, Gerry Jablonski
and the Electric Band are currently on, what
Gerry describes as, a perpetual tour of the North
East of Scotland.
The
opener, "Breaking the Stones," of their new
self-titled CD on Fat Hippy Records, starts like a crackly old
gramophone playing old slide blues but then bursts
into the actual track (warning: don't turn up your
headphones to compensate for the start or you'll
blow your brains out). The track, a testimony to all
hard working, underappreciated men, pushes with the
earthy drive of classic '70s rock. Certainly the
influences of Free, Zeppelin and Bad company can be
heard here.
Now I could summarise each of the nine tracks on the
album but that would be boring and only steal some
enjoyment from your own interpretation of
Jablonski's lyrics. So I shall just point out some
of the (for me) highlights.
"Black Rain" is a deep, bass driven song that
showcases Narojczyk's excellent harp work. There is
nothing lightweight in this song yet despite it's
dark lyrics (who knows what despair Gerry was going
through to pen this) it remains a favourite for live
audiences and album listeners alike.
"Cold Outside" is a heartfelt blues ballad featuring an emotional guitar and harp duet that
tears at the soul. The lyrics tell a tale of lost
love that ends with new love being found. Think of
Gary Moore's "Still Got The Blues," but less long-winded, and you have a feel for this song.
"Under Cover" is an upbeat up-tempo song with a
great sing along chorus This track is perhaps one of
the best on the album. Dave Innes' drum work is so
inspired drawing on popular '70s beats to compliment
the guitar vs harp sparring. Ever popular with
audiences you may even see that rarely spotted beast
of the rock and blues circuit.... The dancing
human!!!
--- Steve Crowe