Charlie
Musselwhite first arrived on the blues scene in
the early ’60s, when he moved to Chicago. Since that
time, he has played with just about everybody who’s
anybody in the blues world, plus he’s made quite a
name for himself, releasing over 20 albums since the
mid ’60s. That fresh-faced newcomer in the early
’60s is now considered one of the elder statesmen of
the blues harmonica scene, filling the considerable
shoes of such legends as Big Walter Horton, Little
Walter Jacobs, Sonny Boy Williamson, and Junior
Wells.
Coming off a year
which saw him garner Grammy nominations for projects
with Ben Harper (Get Up!) and the Blind Pig
Records tribute to Little Walter (Remembering
Little Walter) along with five BMA nominations
(including Best Harmonica Player), Musselwhite’s
latest release is a live set, entitled Juke Joint
Chapel, recorded at the Shack Up Inn in
Clarksdale, Mississippi for his own Henrietta
Records label. Backed by an excellent band
(guitarist Matt Stubbs, bass player Mike Phillips,
and drummer June Core), Musselwhite tears through a
powerful set of five original tunes and seven covers
with a vengeance, both on vocals and on his
“Mississippi saxophone.”
The cover tunes pay
tribute to several of Chicago’s harmonica legends of
the past and present, including a torrid
nine-minute-plus version of Little Walter’s “It
Ain’t Right,” Shakey Jake’s “Roll Your Moneymaker,”
and Billy Boy Arnold’s “Gone Too Long.” Musselwhite
also does a fine job on Eddie Taylor’s “Bad Boy,”
which opens the disc in great fashion. Tony Joe
White’s “As The Crow Flies” features some fine
interplay between guitarist Stubbs and Musselwhite.
Musselwhite’s own
tunes are equally effective ---- the
autobiographical tracks “Blues Overtook Me” and
“Strange Land,” the relentless boogie, “River Hip
Mama,” and the funky “Feel It In Your Heart,” which
reflects the harmonica player’s interest in
Brazilian music. While “Christo Redentor” is not
really his composition (it was written by jazz
pianist Duke Pearson and originally recorded by
trumpeter Donald Byrd), Musselwhite has really made
the track his own since he recorded it back in the
mid ’60s, and he closes the disc with an exquisite
version.
Recorded in a live
setting with an appreciative audience, Juke Joint
Chapel has studio-quality sound. Musselwhite’s
inspired performance and the superlative work of the
backing band help make this one of his best
recordings.
---
Graham Clarke
When you hear a
recording from Eric Bibb, you get so much
more than the blues. Throughout his career, Bibb has
been influenced by other genres such as folk, soul,
and world music (check out his last release, a
marvelous collaboration with West African
singer/guitarist Habib Koité), and all of his music
has a positive focus, focusing on the inherent good
of all people and offering encouragement.
Working with longtime
collaborator Glen Scott, who produced, engineered,
and played multiple instruments on the disc, Bibb
has created Jericho Road (Stony Plain
Records), a wonderfully elegant musical tapestry
which is not pigeon-holed into the blues category by
any means. Bibb’s acoustic and electric guitar is
supplemented on several tracks by a horn section
(Session Horns Sweden), multiple keyboards,
harmonica, wah wah guitar, djembe, kora, kalimba,
penny whistle, and accordion.
In the liner notes,
Bibb writes that if this record has a theme, it
would be “have a heart,” which happens to be the
title of one of the album’s best tracks, asking
others to reflect on the plight of others and the
struggles that many face to get to where they are.
“Drinkin’ Gourd,” a traditional song about the old
Underground Railroad, the upbeat “Freedom Train,”
“The Right Thing,” “She Got Mine,” and the
horn-driven “Can’t Please Everybody” are upbeat and
positive. Songs like “The Lord’s Work,” “With My
Maker I Am One,” and the exquisite “They Know” focus
on the spiritual side of life.
On the final track,
the inspirational “One Day At A Time,” there are two
bonus tracks tacked on following a brief pause, but
they’re not filler by any means. “Now,” written by
Bibb’s friend Ernie McNally, is a gentle call for a
new world where man helps his fellow man, and
“Nanibali” is a mesmerizing solo track that features
Solo Cissokho, who sings and plays kora.
Jericho Road
is the pinnacle of Eric Bibb’s musical journey to
date, combining all of his varied influences into
one incredible musical statement. It’s a recording
you’ll find yourself listening to again and again.
---
Graham Clarke
Empty Roads,
the new CD released by Pennsylvania singer/gutarist
Dan Bubien, reminds me of those classic ’70s
rock albums by artists like Little Feat, a swampy
mix of blues, rock n’ roll, and funk with a heaping
helping of classic soul thrown in for good measure.
Bubien is a wonderfully soulful singer and his
versatile guitar work is equally effective. In
addition, he’s a talented songwriter, writing or
co-writing (with Roman Marocco or Jonathan
Vallecorsa) all 11 tracks.
It’s hard to pick a
standout track because they are all so good. Songs
like the title track, “Fight Club,” “To Youngstown,”
“Exile Blues,” and “Love Games” all have that
Southern blues/rock feel to them with traces of the
Louisiana swamp sound permeating. Other tracks, such
as the gorgeous “Keep Love In Mind,” the
Motown-styled “Irony” and “Crazy Days” (which both
recall Smokey Robinson’s Miracles days), and
“Brother” offer Bubien a chance to shine on vocals.
The track “Dizzy Eyes” mixes R&B with Latin rhythms
with pleasing results and the closing track,
“Sniper,” has a strong country feel, one of several
tracks on which Bubien plays Dobro.
Produced by Grammy
winner Jay Dudt, Empty Roads is a excellent
sampler of American music, blending the blues with
soul, R&B, funk, country, and roots music, and
should appeal to music lovers of all genres. It’s
one of those records that you used to slip onto the
turntable back in the day when you wanted to unwind
after a rough day and just take in some great music.
---
Graham Clarke
Possessing an
incredible voice, Ursula Ricks has, with no
formal training at all, become a crowd favorite at
blues clubs over the past 20 years. Like many
singers who have flown under the radar for most of
their careers, Ricks has a keen sense of what she
wants in her music, blues-based soul, and that is
made perfectly clear in her debut release, My
Street, on Severn Records.
Teaming with the
inimitable Severn house band (Kevin Anker –
keyboards, Steve Gomes – bass) along with guest Kim
Wilson (harmonica), guitarists Johnny Moeller and
“Monster” Mike Welch, and a monster horn and string
section arranged by Willie Henderson, Ricks proves
herself to be as talented a songwriter as she is a
vocalist, penning eight of the ten tracks on My
Street.
“Tobacco Road,” which
opens the disc, is not the old John Loudermilk song,
but a new work from Ricks, a funky R&B tune with
harmonica backing from Wilson. “Sweet Tenderness”
has that laid back early ’70s soul vibe, thanks to
the horns and strings. The title track is a funky
piece with great work from the rhythm section and
Moeller, who throws a little Jimmy Nolen (James
Brown-era) guitar into the mix. Moeller teams with
Welch on the next two songs (“Due” and “Right Now”)
and they complement Ricks’ sultry vocals perfectly.
Ricks also covers a
pair of distinctive tunes --- the Bobby Rush
classic, “Mary Jane,” and one of Curtis Mayfield’s
best, “Just A Little Bit of Love,” which, thanks to
the horns and strings and Moeller’s wah-wah guitar,
sounds like it came straight from the era when
Mayfield wrote it. On this track and others, Ricks’
powerful vocals are balanced perfectly by the
background vocalists (Caleb Green and Christal
Rheams).
My Street is a
nice addition to the recently resurging soul genre.
Hats off to Severn Records for getting this talented
artist into the studio for what I hope is the first
of many great releases.
---
Graham Clarke
A Canadian
institution, the band Downchild has been
entertaining The Great White North with their
irresistible blend of jump blues and classic since
1969. The inspiration for The Blues Brothers,
Downchild is led their founder, Donnie Walsh (a.k.a.
Mr. Downchild), guitarist and harmonica player
extraordinaire, whose life was changed back in the
mid ’60s when somebody played a Jimmy Reed record at
his girlfriend’s birthday party.
For the past 15
years, the band’s lineup has remained solid, with
Chuck Jackson on vocals, Pat Carey on tenor sax,
Mike Fitzpatrick on drums, Gary Kendall on bass, and
Michael Fonfara on keyboards. Guest trumpet player
Peter Jeffrey provides additional brass muscle. The
band’s latest album, their 17th overall, is called
Can You Hear The Music (Linus Entertainment)
and longtime fans will not be disappointed because
it features 11 songs, all original compositions, of
what the band does so well.
As always, the jump
blues is present, courtesy of the opening title
track and the aptly titled “Fasten Your Seat Belt.”
The big-voiced Jackson figures prominently on the
old-school tracks “I’m Always Here For You,” and “I
Need A Woman,” and a dazzling slow blues, “Blue Moon
Blues,” with some nice liquidy guitar tone Walsh.
Walsh breaks out some sweet slide work for “This
Road,” and the dobro on the gospel-flavored “One In
A Million.”
“My Mississippi
Queen” has a touch of the swamp with a funky
backbeat and Fonfara’s supple keyboards, “Don’t Wait
Up For Me” is a raucous rocker with more splendid
slide from Walsh, and he blows some fine Windy
City-styled harp on “Worn In.”
The jump blues
instrumental “Scattered” was composed in the studio
and closes the disc. If nothing else, this track
should be an attachment for an e-dictionary
somewhere under the term, “Well-Oiled Machine.”
Nearly 45 years after
getting their start, Downchild proves with Can
You Hear The Music that they’re as formidable a
unit as ever, with no signs of slowing down. Blues
fans everywhere owe whoever took that Jimmy Reed
record to Donnie Walsh’s girlfriend’s birthday party
a huge debt of gratitude.
---
Graham Clarke
Before hearing
Billy Thompson’s latest release, Friend
(Soul Stew Records), I was not familiar with his
music, an issue I plan to rectify shortly.
Well-regarded as a guitarist, having played with
legends like Albert King, Little Milton, Earl King,
and Art Neville, Thompson also played at the 2002
Super Bowl Celebration and played lead guitar for
the Broadway show “Ain’t Nothin’ but the Blues.” He
also represented the DC Blues Society at the 2009
IBC, so the guitar credentials are there. In
addition, Thompson’s soul-drenched vocal style is
every bit a match for his formidable fret work, and
his songwriting skills are first rate, so we’re
looking at a triple threat.
On Friend,
Thompson shines on 13 tracks that mix the blues with
rock, funk, and R&B. “Soldier of Misfortune” opens
the disc with a funky backbeat and a sharp horn
section. The mid-tempo “Garden” has a Crescent City
flavor with some fine slide guitar from Thompson,
and is followed by the excellent slow blues ballad,
“Interlude,” and the swinging “Farmer Kenny.” The
title track, “Friend,” is a cool Southern rocker
that would be a chart topper in a perfect world, and
on “Half a Man,” Thompson offers one of his most
soulful vocal performances.
“Many Faces” should
get even the most uncoordinated steppers out on the
dance floor and “Satisfied” should keep them out
there for a while, with a relentless backbeat
(courtesy of Eric Selby) and some scorching slide
work from Thompson. “Then I, My Love” is another
blues ballad with another outstanding vocal, and the
rowdy closer, “While The World’s Winding Down” is a
third cousin to the old chestnut, “Further On Up The
Road.” The album’s lone cover tune is a good one,
Bill Wither’s “Ain’t No Sunshine.”
Thompson is joined by
a pretty impressive set of backing musicians, among
them keyboardist Bill Payne and bass player Kenny
Gradney of Little Feat, sax man Ron Holloway (Warren
Haynes, Tedeschi Trucks Band), bass player James
“Hutch” Hutchinson (Neville Brothers, Bonnie Raitt),
and keyboardist Mike Finnigan (Jimi Hendrix, Joe
Cocker).
Though Billy Thompson
has a well-deserved reputation as a guitarist’s
guitarist, I came away equally impressed with his
vocal talents. I also came away curious as to why we
haven’t heard more from him over the years as a
performer. Hopefully, Friend will go a long
way toward solving that problem. It’s a disc that
deserves to be heard by blues fans.
---
Graham Clarke
For his latest
release, The Rock House Sessions (Blue Heat
Records), guitarist Sean Chambers headed to
Delbert McClinton keyboardist Kevin McKendree’s
Nashville studio and enlisted former SRV keyboard
man Reese Wynans as producer. Joining Chambers and
Wynans on the session is bass player Tommy McDonald,
drummer Tom Hambridge, and a host of special guests.
Chambers, who is also
currently serving as front man for the legendary
Southern rock band Blackfoot, is in peak form on
these 11 tracks of blues rock heaven. Chambers wrote
three of the tracks, the power ballad, “Meant To
Be,” the funky “Your Love Is My Disease,” and the
excellent slow burner, “It Hurts To See You Go.” The
opener, “World On Fire,” penned by Rick Vito, is a
standout, as is “Since I’ve Been Down,” showcasing
Wynan’s keyboards and Chambers’ fiery fretwork, and
the scorcher, “Money In A Minute.”
Chambers also throws
in a trio of well-done, diverse covers --- the
Willie Mitchell/Earl Randle soul and rock standard,
“Come To Papa,” the Gary Moore ballad, “Holding On,”
and a ripping version of the Ten Years After rocker,
“Choo Choo Mama,” that closes the disc in rousing
fashion.
Wynans does a
fabulous job behind the controls and the backing
band, which also includes Rob McNelley (guitar), TJ
Klay (harmonica), Etta Britt (vocals), Chaz Trippy
(percussion), Bob Britt (guitar), Steve Herman
(trumpet), and Jim Hoke (saxophone) on selected
tracks are superb in their support.
The Rock House
Sessions is Sean Chambers’ best release to date,
which is no small feat, given the high standard that
the guitarist already has in place.
---
Graham Clarke
Deb Ryder grew
up in Chicago, where she was surrounded by the
blues. Her father, Allan Swanson, was a local singer
and exposed her to blues, jazz, and gospel. She
later delved deeper into the blues upon her family’s
relocation to Los Angeles, courtesy of the record
collection of her neighbor, Bob Hite of Canned Heat.
Her stepdad owned the famed Topanga Corral, where
Ryder opened nightly for many of the blues legends
of the time, and was mentored by the great Etta
James.
After working as a
studio musician, singing on TV commercials,
background vocals on several albums, and appearing
on the Las Vegas show “Splash,” Ryder returned to
her roots and formed the Bluesryders with her
husband, bass player Ric Ryder, some 20 years ago.
Ryder just released her debut album, Might Just
Get Lucky (Bejeb Music), and judging by its
contents, it’s long overdue.
Ryder wrote all ten
songs and produced the disc. The songs vary in style
but not quality, from the opening shuffle, “Get A
Grip,” one of several tracks that feature Kirk
Fletcher on lead guitar, to the jumping “Blue Collar
Blues,” driven by Stan Behrens’ wailing saxophone
and the other lead guitarist on the disc, the
legendary Albert Lee. The title track is a
show-stopper, a sultry slow blues featuring Greg
Hilfman on piano and a great vocal turn from Ryder.
Ryder gives us the
funk (with some nasty bass accompaniment from her
husband) on the steamy “Come On Home To Me,” then
heads to the country with Lee’s guitar in tow on the
Zydeco blues, “Ce Soir Ce Soir.” “Bad Bad Dream” is
another slow blues that really allows Ryder to
stretch out on vocals. “Love Stealin’ Liar” finds
her giving a cheating lover the old what-for to a
boogie backbeat. The closer is a gospel-flavored
acoustic track, “These Hands,” which pairs Ryder
with James McVay’s Dobro.
Throughout the
diverse mix of tunes on this disc, Ryder comes
through with flying colors, playing it sexy and
sultry when needed, tough as nails where required,
or vulnerable and tender. After 20 years of playing
local clubs and blues festivals, it’s hard to
believe that she hasn’t recorded her own album
before now. Based on Might Just Get Lucky,
the odds are pretty good that you’ll be hearing from
her much sooner than that.
---
Graham Clarke
I Am The Blues
(Iris Music Group) is Michael Packer’s life
story, told in narrative and in music. After
listening, you will have to consider Mr. Packer
fortunate to still be here to relate his story.
During his lengthy music career, which dates back to
the mid-’60s, Packer has recorded albums for
Atlantic, Buddha, and RCA , performed with the Matt
Murphy Band, battled alcoholism, drug addiction, and
spent time in prison and homeless on the streets of
New York City. He’s been clean and sober for 18
years and has become a respected member of the NYC
blues scene.
Packer pulls no
punches. He’s lived the hard way and learned from
it. The narrative portions of the album recount his
days with the band,Papa Nebo, in the late ’60s, his
’70s band Free Beer, his experiences with other
musicians (including Bob Dylan), both found and lost
love, his years at rock bottom, and his personal and
musical resurrection and rehabilitation.
The sections of the
narration describing his low point (“Christmas on
the Bowery” and “Doing Time At Riker’s Island”) are
jarring in their imagery. Throughout all of it,
Packer takes responsibility for his actions and
their results, addressing all of it with brutal
honesty and good-natured humor. There’s also a story
and song about Packer’s great uncle, Alfred Packer,
the infamous murderer and cannibal.
The songs between the
narrations represent Packer’s 50-year musical
journey. There are tracks with Packer’s blues band,
Papa Nebo, and Free Beer and a few solo tracks. They
blend easily with Packer’s narration and subject
matter. The two closing songs, the traditional “This
Train” and “See That My Grave Is Kept Clean,”
address the inevitable end we all face and Packer’s
performance on these (and the other musical tracks)
strongly dispute the claims that he heard early in
his career that a “white boy can’t sing the blues.”
Despite (or maybe
because of) its sometimes tough and frank subject
matter, I Am The Blues makes for riveting
listening. Once you plug it in, you will be hooked
on Michael Packer’s story and his music, too. Though
it’s been a hard life, you’ll discover that it’s one
that worth hearing about.
---
Graham Clarke
Chris Watson
impressed many (including this reviewer) with his
2012 release, Pleasure and Pain. The young
Texas guitarist’s sophomore effort was a
well-rounded, well-performed set of blues that also
mixed soul, R&B, and gospel, and he showed that he
had the vocals to match his formidable guitar
skills.
To whet his fans’
appetites between album releases, Watson has issued
a two-track single, called Last Train Home
(Gator Music), that features a pair of interesting
new songs. The title track is a horn-driven slice of
nirvana for Southern soul fans, with Watson turning
in a stellar vocal performance and fretwork.
The second track, “Hooked On You,” is a sweaty funk
track that’s just as good as the opener. This great
pair of tunes are guaranteed to keep Watson’s fans
eager for his next release, and should prompt
newcomers to backtrack and see what they’ve missed.
---
Graham Clarke
The back cover of
Brad Wilson’s new CD, Hands On The Wheel
(Blues Boulevard Records), reads that the California
guitarist “plays high-octane rocked-up Blues.” Yeah,
and Moby Dick was a big fish. That statement is the
only understated item about this electrifying CD.
Brad Wilson rocks the house, y’all…..pure and
simple. If you’re looking for a disc to plug into
your car stereo, crank up to 11 with the windows and
top down, look no further.
With relentless
roadhouse rockers like the hard-charging title
track, “Rocket,” “All Kinds of a Fool,” “Hot Stuff,”
and the awesome “Slide On Over,” blue rockers like
the slide-driven boogie track, “Nobody But You,” and
the Z.Z. Top-flavored tribute to John Lee Hooker
(“The Ballad of John Lee”), jazzy blues tracks like
“Blues Magic,” and blues ballads like “I’m Still
Breathing” and “Last Call,” Hands On The Wheel
should be pleasing to blues rockers of every ilk.
Though Wilson is
certainly an inspired guitarist with tremendous
chops, he doesn’t pound you over the head with
endless guitar antics. His playing fits the material
perfectly …. there’s no overplaying and no endless
meandering solos, enough to leave you wanting to
hear more. His songwriting is equally effective and
his vocals are very versatile, tough when they need
to be, but silky smooth when the mood suits.
“High-octane rocked-up Blues” just scratches the
surface of Hands On The Wheel. There are
mulitple tracks on this disc that should receive
airplay and should also ensure that Brad Wilson gets
the attention he deserves as a performer and
songwriter.
---
Graham Clarke
Florida-based
guitarist Randy Stephens’ latest release is with the
The Randy Stephens Band, otherwise known as
RSB. No Strings Attached will be good news to
those who enjoyed Stephens’ previous release,
American Guitar, since it offers more of
Stephens’ versatile guitar work, solid vocals and
songwriting, and choice selection of cover tunes.
Stephens is backed by a tight rhythm section (Carl
Grieco – drums, Randy McCormick – bass), and is
joined by local singer Lauren Mitchell, Jesse
Stephens (bass), and Aaron Neville quartet member
David Johnson (keys, bass) on several tracks.
No Strings
Attached consists of ten tracks, six written by
Stephens and they’re all well done with highlights
like the humorous “Bad Economy” the blues rocker
“The Fool”, the slow burners “Ambient Love,” the
anthem “Everybody Knows The Blues,” and the funky
“Ain’t No Lease,” along with the jazzy instrumental
“Summer Rain.” The cover tunes include a soulful
remake of Bill Withers’ “Use Me,” Al Bernard’s “Read
‘Em & Weep,” a great duet with Mitchell (Brook
Benton’s “Rocking Good Way”), and the gospel
standard “I’m Doing Fine.”
No Strings
Attached is a fine and varied set of blues from
Randy Stephens that should expand his market well
beyond the southeastern part of the U.S. if there’s
any justice in the world.
---
Graham Clarke
It never ceases to
amaze me how diverse the musical influences are in
the Bluff City. I heard rumblings about Nick
Black’s record, The Soul Diaries, before
I ever met Nick in person. I knew he was the lead
guitarist for Victor Wainwright’s band, the
Wildroots, but at that point I had not seen Victor’s
band perform live. So I was honored that Nick
personally delivered his disc to me this summer when
he was sitting in with Southern Hospitality and I
was genuinely impressed by how deep his soul roots
ran when I threw the disc into my CD player. Nick’s
a soulful young soul and that’s definitely reflected
in his music, so let’s give the disc a spin.
An amazing group of
musicians backed Nick on this disc, and an amazing
horn section provides the backdrop for our first
tune, “Confirmation.” Here we find Nick searching
for approval of the woman he loves. “I need your
help…I need your confirmation…I’m finding the truth
in me was just a part of you…I’m finally getting to
know myself…respect your point of view.” As Nick
segues into a blistering guitar riff, it's apparent
that her respect and belief in his music is an
important part of his journey.
A smoother, more
soulful guitar intro continues the story in “You &
Your Love.” Nick is definitely in love with one girl
and one girl only. “It’s hard to admit to
myself…that there is no one else…who’s burning 98.6
degrees…it’s you and your love.” Definitely a
romantic at heart, Nick knows what he wants and no
one else will do! Tempo slows down as Nick tackles a
more acoustic tune with the sweet sounds of violins
and violas in the background of “Fairweather
Friend.” “Clear sky brother…you only want to see me
when there’s sunshine….unless the sky is clear…I
never see you near…and when the storm begins….you’re
nowhere in sight…you’re my fair weather friend.” You
judge your friends by where they are in the hard
times and this friend of Nick’s is not there to
support him when times are tough…the times when he’s
needed the most. Nick’s got an amazing voice and I’m
impressed by the notes he reaches in his higher
octave when singing about his fair weather friend.
“Hanging On Your
Mind” is definitely more upbeat tune and those
infamous horns are present once again. Here we find
Nick singing about a woman he knows that is single
and looking. “It seems for a long time…that things
have been bad…but what can you do….it’s just what
you’ve had….don’t blame me…if you want love…wait
patiently…you’ll find the love that’s been hanging
on your mind.” Hopefully she has the patience to
wait for the love Nick is promising will happen.
Darryl Sanford’s work on the keys is stellar on this
cut and adds a nice touch to the tune.
Next up, “Sucker By
Nature,” features a rap by Butta MD. Here we find a
rival of Nick’s telling him he can lay it down
better than Nick. “He’s got his accent…he’s trying
to liberate my feet from where they stand…bring it
on…you’re a sucker by nature.” Nick’s not lacking
for confidence and he’s sure the funkiness of his
groove is the winning ticket! More horns lead the
charge into our next groove, “Lover for Life.” Here
Nick has chosen to speak his truth and tell the
woman he loves exactly how he feels. “Baby…living
for you…it ain’t hard for me….your one condition…was
my loyalty…finally…you found a lover for life.”
Nick’s love is true and he’s meeting all the
conditions the girl has set forth to have him in her
life. Nick’s definitely a lover, not a fighter, so
the girl is in good hands!
A gentle touch on the
cymbals and a smooth piano intro bring us to our
next cut, the melodic “Take It Back.” “Oh, the past
is spoken…memory stays in time…you took a good thing
and broke it…now you can’t take it back.” What’s
done is done and Nick refuses to revisit a love gone
bad, even though she’d like to. “Dear Lady” has a
funky beat and we Nick with another relationship
gone bad. “No matter the ends you must go to…to find
the one meant for you…you’ve got to start all over
again.” Nick is admonishing this girl from his past
to take a stand and demand better treatment from the
men in her life than she has been. Only then will
she find a man with the love she’s looking for.
More violins make
their presence and “Mockingbird” definitely has a
huge orchestral feel to it. “I am afraid…that I’m a
mockingbird…that I’ll sing…only what I’ve had
heard…and on the day…that all the others stop to
breathe…you’ll hear a sound…cause this mockingbird
will still be copying.” Nick’s stopping to realize
that a good bit of his style is the copied work of
others and he’s afraid to step out on his own with
something new and fresh. The road more traveled is
definitely the easier road for sure and even Rufus
Thomas has copied from time to time. Fortunately,
Nick’s a good songwriter in his own right and the
best is yet to come.
A funkier beat
returns for the final cut on The Soul Diaries,
“Different Man,” and this tune also features a rap
by Butta MD. “I ask, sister…what can I say…I’m a
man…a different man than yesterday.” Standing up for
himself will probably cost Nick this relationship,
but at least he’s chosen to make a change. Butta’s
rap emphasizes this: “Listen up…I ain’t your
maid…this is my show now…so get off my stage…I gave
you a chance…you decry my notion…I’m changing…but
that was yesterday’s cries.” The girl isn’t having
any of Nick’s claims that he’s a different man, and
she’s out of here!
I liked The Soul
Diaries. Nick is definitely a talented musician
and the plethora of players on this disc indicates
that the good folks of the Bluff City are behind
him. While the best is yet to come, I’m glad that at
least one Memphian is true to his soul/blues roots
and took the time to share them with us. Nick is on
the road a lot with Victor Wainwright, but I’m
hoping somewhere down the line I’ll be able to
attend one of his own performances. Good job, Nick!
---
Kyle Deibler
Last Train
(SonicRecords2) is refreshingly good music from the
British band, Sonic Blue, consisting of Steve
Brayne, Les Davidson, Steve Shone and Richard
Marcangelo. The CD opens with a great original,
“Ain’t The Blues,” written by bass player Steve
Shone, and it sets the scene for a great album. This
is a well-written track and features some good
harmonica playing from vocalist Steve Brayne.
There is one other
original track amongst the 11 on the CD, and that is
track seven, the title track, “Last Train.” This is
a great up-tempo fun number, again with good harp
playing, written by Brayne, Shone and Marcangelo.
The other nine tracks
are very good covers of tracks from a lot of old
favourites – Bo Diddley, Sonny Boy Williamson, Tampa
Red. Track nine is an excellent version of the Bobby
Womack song, “All Over Now,” which was made famous
by the Rolling Stones. The band put their own spin
on it, rather than just copying the Womack version
or the Stones version.
There’s a nice cover
of “Little Wing” and one of my favourite tracks –
Sonny Boy Williamson’s “Help Me.”
All in all, this is a great CD – get it and have a
listen to some top-class Brit blues.
---
Terry Clear
The Charles Burton
Blues Band, a San Diego-based blues/rock
ensemble, returns with their follow-up to last
year's self-titled offering with a heaping, helping
of Sweet Potato Pie (no label). Burton's
power trio takes us on a fun romp through 13
original compositions covering a wide array of blues
styles.
The cut that stands
out for me, mostly because it's so different than
the rest of the album, is the jazzy instrumental
"New York Jump," on which Burton shows off his
significant guitar chops, getting a deep resonant
tone from the instrument.
Burton represented
one of the San Diego blues organizations in the 2009
International Blues Challenge, a trip he
recounts in the snaky, mid-tempo blues number "Goin'
To Memphis." Burton's fingers then fly all over the
fret board on the up-tempo instrumental shuffle,
"Crackdown," asserting his place as a guitarist
looking to make his place in the blues world.
Thee band takes us
down to New Orleans for the funky title cut, on
which Burton insists on having just one more piece
of sweet potato pie before hitting the road. While
he's not a real strong vocalist, Burton does some
nice singing here to go with his dirty slide guitar
and Asmus Jensen's polyrhythmic drumming.
Guest instrumentalist
Karl Cabbage contributes his tasteful harmonica
playing on three cuts, most notably on the plodding
blues shuffle, 'Used To Love That Woman." That one's
followed by the up-tempo blues of "Brown Paper Bag,"
on which Burton rips off a killer slide solo.
Sweet Potato Pie
ends with another jazzy number, "Drop A Dime," a
number which could fit into a soundtrack of some
1940s film noir classic. Just another example of
Burton's versatility on his instrument.
This is a better CD
than I expected for a self-released thing from a
regional band, but it shows that the Charles Burton
Blues Band needs to be taken a little more seriously
as a solid blues entourage.
---
Bill Mitchell
Harmonica Hinds
is one of those hard-working, "behind the scenes"
Chicago blues artists that deserve more recognition
than they've gotten over the years. The native of
Trinidad & Tobago settled in Chicago in 1973 at the
encouragement of harmonica legend James Cotton after
starting his blues career while going to school in
Ottawa, and has spent most of his career backing
artists like Koko Taylor, Willie Dixon, Pinetop
Perkins, Mud Morganfield, and others.
HInds' recent CD,
I'd Give You Anything If I Could (Wolf Records),
is a collection of tunes recorded in Chicago in four
sessions from 2008 to 2010. Along with Hinds'
stellar harmonica playing, the cuts here are
highlighted by wonderful guitar accompaniment from
Eddie Taylor Jr. as he seamlessly weaves riffs
around HInds' rough-hewn vocals and harmonica licks.
There's also a standout rhythm section of Kenny
Smith (drums) and Edward G. McDaniel (bass), as well
as second guitar duties split between Tom Holland
and Rick Kreher.
This is just good,
basic Chicago blues, starting with the opening
harmonica lick leading into the mid-tempo shuffle
"Stop Complaining," on which we get our first taste
of the call and response interplay between Hinds'
harp and Taylor Jr.'s guitar fills. The tempo then
picks up on the second number, "Wake The Spirit,"
the first of several smokin' instrumentals on this
disc. Another fine instrumental is the slower
late-night blues, "Take Your Time," featuring nice
meandering fills on guitar complimenting the
harmonica riffs.
My favorite cut is
the up-tempo "Don't You Steal My Money," on which
Hinds admonishes a man trying to steal money from
his tip jar. While I feel that Hinds' vocals
are the weakest part of his show, he sounds just
fine here as he gives the vagrant various
suggestions on how he can instead make his own
dough. Taylor Jr. chips in with another smoldering
guitar solo midway through this five-minute romp.
HInds and Taylor Jr.
team up on the country blues of "Way Down South,"
with the pair using their respective instruments to
produce the sounds of a train heading rolling down
the tracks. The full band returns a couple of cuts
later for a strong, West Side-style instrumental
shuffle, "Cuddle In," with Hinds leading the way
with some of his best harmonica work.
The album wraps up
with a raucous, Jimmy Reed-style shuffle, "Goin'
Down To The River," as Hinds sends a stern message
to his woman with both his voice and his harmonica.
I'd Give You
Anything If I Could grew on me the more I
listened to it. The blues world hasn't heard enough
from Harmonica Hinds as a front man. Here's hoping
this fine disc will lead to more opportunities for
the Chicago blues veteran.
---
Bill Mitchell