I
must admit, I've never really been into the
long-time Chicago band Howard and the White Boys.
But I'm changing my mind based on the strength of
their new live album, Rosa's Lounge (3011
Records). It's a solid set of workingman blues,
recorded live in front of an enthusiastic audience
of Chicago blues fans at the club mentioned in the
album's title back in August of 2013.
The set starts with
an up-tempo blues, "Heat Seeking Missile," featuring
hot guitar solos from Rocco Calipari and/or Pete
Galanis, before rolling into a slow blues, "Strung
Out on the Blues," highlighted by the powerful
vocals of bandleader / bassist / lead singer Howard
McCullum.
My favorite song on
the CD is "The Blues Are Killing Me," a 6+-minute
mid-tempo blues that I could envision the late
Chicago blues legend Son Seals doing on the stage of
Kingston Mines 20 years ago.
Another strong cut is
"Guess Who's Coming to Dinner," which McCullum
introduces to the audience as a tribute to one of
his favorite movies. If that movie had instead been
done as a a musical, one could imagine Sidney
Poitier singing lyrics like ",.. I'm the one that
your mama tried to warn you about ..."
The guitarists also
get to strut their stuff on the slow blues "What
Would I Do," with multiple stinging guitar solos.
The band closes out the album with the upbeat
"That's Alright," with McCullum singing out the
praises of his lady.
The sound quality on
this album is very good, with the occasional
applause from the crowd being the only reminder that
this set wasn't recorded in the studio. Rosa's
Lounge is a worthy addition to the Howard and
White Boys collection of recordings, and will have
me digging through my stacks of CDs in order to
re-visit some of their older stuff.
---
Bill Mitchell
Here's
another album that I wound up enjoying more than
originally expected. Led by a three-time nominee for
a Blues Music Award for piano player of the year,
Woodstock, New York-based Bruce Katz Band
already has six albums to their credit, as well as
recordings made by Katz in backing the likes of
Ronnie Earl, Delbert McClnton, Duke Robillard and
others. With this kind of résumé, I shouldn't have
had such low expectations for their latest CD,
Homecoming (American Showplace Music). Instead,
I found a CD that cooks from start to finish.
Katz alternates
between piano and Hammond B-3 and is truly a master
on each keyboard. He chooses to let bandmates or
special guests handle the vocals on the six of 13
cuts that aren't instrumentals, and he's picked good
singers well-suited for the material.
The most notable
guest vocalist is blues legend John Hammond, who
appears on two cuts. Not surprisingly, Hammond's
contributions are two of my favorite cuts on the CD.
Katz plays really strong barrelhouse piano behind
Hammond's vocals on the Lightnin' Hopkins number,
"Santa Fe Blues." Equally good is their version of
the Leroy Carr's slow, downhome classic, "Blues
Before Sunrise," on which Hammond also contributes
nice guitar accompaniment.
Katz's expertise on
the Hammond B-3, along with smokin' hot blues guitar
from Chris Vitarello, highlight an instrumental
number, "No Brainer," that the duo co-wrote. Also
standing out is "The Sky's The Limit," a Vitarello-penned
blues shuffle featuring Katz on the B-3 and
Vitarello on vocals and guitar.
A Katz original,
"Amelia," has this master of the keys returning to
the piano for an instrumental with a jazzy New
Orleans kind of vibe.
Guitarist Jimmy
Bennett joins the band for a few cuts, most notably
an Elmore James blues shuffle, "Wild About You
Baby," on which he handles both vocals and lead
guitar. He also contributes an original jazzy
number, "It's A Bad Time," the album's closer which
features Bennett's vocals and tasteful guitar
playing along with Katz's fine B-3 work.
If you aren't real
familiar with Katz, be sure to learn more about this
fine instrumentalist at his
website, and don't hesitate to pick up a copy of
Homecoming. You'll be glad you did.
---
Bill Mitchell
Billy Boy Arnold
is one of the few remaining Chicago bluesmen whose
recording career dates back to the ’50s. The
79-year-old grew up listening to the music of John
Lee “Sonny Boy” Williamson, and later played with Bo
Diddley before waxing several seminal sides for Vee
Jay Records in the ’50s. Though he continued to
perform, he faded from the recording scene after the
early ’60s, taking a job as a bus driver and later a
parole officer. He returning in the early ’90s with
a pair of excellent recordings for Alligator and
showed that he had not lost an inch off of his
fastball in the interim.
Since then, Arnold
has recorded sporadically, but continued to perform
regularly. The Blues Soul of Billy Boy Arnold
is his second release for Stony Plain Records (the
first was 2001’s Boogie ‘n’ Shuffle). Arnold
wanted to record some of his favorite songs,
regardless of genre. With producer Duke Robillard
(who also produced Arnold’s previous Stony Plain
release) and his band providing their usual
unrivaled support, Arnold works through 14 tracks
that demonstrate his abilities as a singer and
musician.
As you might guess from the album title, there’s
plenty of blues (Mack Rice’s “Coal Man,” Ted
Taylor’s “You Give Me Nothing To Go On,” B.B. King’s
“Worried Dream,” and standards like “Ain’t That Just
Like A Woman,” “St. James Infirmary,” “I’d Rather
Drink Muddy Water”) and soul (a funky take on Ann
Peebles’ “99 Lbs,” and a righteous reading of Joe
Tex’s “A Mother’s Prayer”) to be found on the disc.
There are also a
couple of tracks on the rock & roll side of things
(Chuck Berry’s “Nadine”) and on the jazzy side
(Oscar Brown Jr. and Nat Adderley’s “Work Song”).
Arnold also mixes in several original tracks, the
downhome “What’s On The Menu Mama,” the Windy
City-styled “Dance For Me Baby,” and the ribald
“Keep On Rubbing.”
Vocally, Arnold
really demonstrates a kind of understated
versatility on these songs. He’s always had a
relatively smooth style and these songs really bring
that out. Robillard does an excellent job as
guitarist and producer. It wouldn’t be a Robillard
production if it didn’t swing, and this one really
does.
The Blues Soul of
Billy Boy Arnold won’t be a surprise to Arnold’s
many fans. We’ve known all along that his brand of
blues has a healthy dose of soul included. This is
an entertaining release from beginning to end from a
blues legend still at the top of his game.
---
Graham Clarke
I’ve been following
the Daddy Mack Blues Band for over a decade
now, and I think Blues Central (Inside
Sounds) may be their best release yet. Even though
Mack Orr’s basic attack has changed very little
since his debut in the early 2000’s (Fix It When
I Can), straight-ahead greasy, funky
Memphis-styled blues, and there have been enough
subtle changes with each subsequent release that the
band continues to maintain a fresh and invigorating
sound.
Over time, Orr and
producer Eddie Dattel have gradually added
appropriate musical layers, such as horns,
background singers, keyboards, harmonica, and have
even branched out from the band’s meat and potatoes
sound to incorporate traces of other musical styles.
Orr and the Bonner brothers (James – rhythm guitar,
Harold – bass) forge on like they’ve been doing this
for years, and they have, and are joined on this
release by Fast Eddie Lester on drums, along with an
impressive list of guest stars , including Matt
Isbell, Ori Naftaly, and Eric Hughes, among others,
along with a horn section led by Carl Wolfe,
background singers, and keyboards from Paul Brown.
Orr and/or Dattel
wrote all 13 of the tracks, and there’s plenty of
the band’s trademark funky blues on tunes like
“Watermelon Man,” “Blues Doctor,” “Almost Left You,”
and the topical “Daily Blues.” However, there are
also a few twists this time around, such as “Sharp
Dressed Daddy,” which has a jazzy backdrop,
“Everybody Have Fun,” featuring the background
singers, and the country bluesified closer,
“Lonesome Train Blues.”
You know what you’re
getting when you plug a Daddy Mack Blues Band CD in,
but Orr and Dattel are working hard to keep things
fresh and vital with that great Memphis blues sound
and they definitely succeed in doing so with
Blues Central, their best release yet.
---
Graham Clarke
Candi Staton’s
latest release, Life Happens (Beracah/FAME
Records), finds the legendary soul singer doing what
she does best, reflecting on the ups and downs of
modern romance. Having been married and divorced
five times (most recently to former Atlanta Braves
outfielder Otis Nixon), Ms. Staton would be familiar
with the topic and using her experiences in these
matters, she wrote, or co-wrote, nine of the 15
tracks on the disc. The new album also serves as
reunion of sorts with her former producer Rick Hall,
who produced her early ’70s soul hits for FAME and
serves as co-executive producer with her.
Based on Staton’s
previous releases (this is her 27th album), which
effectively mixed blues, soul, gospel, country, and
even disco back in the day, one would imagine that
she would be a good fit in the Americana section of
your local record store. Life Happens does
nothing to disprove that notion. Staton’s vocal
talents are basically undiminished from her
hit-making days of the ’70s. She sounds marvelous on
tracks like “I Ain’t Easy To Love,” where she’s
joined on vocals by Americana artists Jason Isbell
and John Paul White, the slow burner, “Close To
You,” and an emotional remake of “Commitment”
(originally a hit for LeAnn Rimes).
The secular ballad
“Eternity” is reminiscent of Staton’s gospel work,
the funky “Beware, She’s After Your Man” is loaded
with sass, and songs like “My Heart’s On Empty” and
the angry “Three Minutes to a Relapse” should get
the crowd on their feet. “Never Had The Chance,” one
of several tracks produced by Hall, is the album’s
standout track. Staton pours her heart out......it’s
obvious that even though she didn’t write it (Brad
Crisler and Cubmie Clay did), she has lived it.
Finally, Staton
addresses a few social issues on the frank “Have You
Seen The Children” and “A Better World Coming,” a
pair of tracks that may hit too close to home for
some listeners, but the lady is telling it like it
is and it needs to be told. There’s also a bonus cut
at the end of the disc, the soulful “Where I’m At.”
Life Happens
can be listened to as a concept album, about the
joy, happiness, pain, and heartache of love.
However, it is also one of the best soul/blues
records that you’ll hear this year, whatever your
listening approach may be. Candi Staton is still a
vocal force of nature, some 45 years after first
hitting the charts.
---
Graham Clarke
Markus James
has been playing his brand of blues for over 20
years, performing and recording with traditional
West African musicians, both proving and expanding
upon the connection between the Blues and West
African music. Over time, as his recordings gained
popularity, James began playing at various
locations, one of which was the University of
Southern Mississippi in Hattiesburg. He was so well
received at USM that he began making more
appearances in Mississippi, where he was drawn, like
a moth to the flame, to the Hill Country drummers of
North Mississippi.
For his latest
release on Firenze Records, Head For The Hills,
James does just that, as he is joined by several
great Hill Country drummers, including Kinney
Kimbrough (son of Junior Kimbrough), R.L. Boyce
(Jesse Mae Hemphill), Aubrey “Bill” Turner (Otha
Turner), Calvin Jackson (R.L. Burnside and Junior
Kimbrough), and Marlon Green, who was the last
drummer to record and perform with John Lee Hooker.
James himself provides vocals, along with guitars,
gourd banjo, three-string cigarbox guitar, slide
dulcimer, one-string diddley bow, beatbox, and
harmonica.
James wrote all but
one of the 16 tracks featured on Head For The Hills,
a moody cover of Burnside’s “Goin’ Down South.”
Actually, “moody” is a perfect adjective to describe
the entire album, as James manages to effectively
convey the atmospheric mood, intensity, and
occasional menace of the Mississippi Hill Country
sound. He also shows that the line between West
African music and North Mississippi music is blurred
nearly to the point of invisibility.
With able assistance
from these drummers, who also play beatbox, hambone
on several tracks, and even buckets (on the
bare-bones “Diddley Bow And Buckets”), James just
rips through this set, with tunes ranging from the
breathless, hypnotic opening track, “Just Say Yes,”
to the appropriately titled “Shake,” to “For Blind
Willie” (a stark and stunning tribute to the
legendary slide master), to the title track,
presented in acoustic and electric format and
probably the best track to show the comparison
between Africa and Mississippi.
On the acoustic “On A
Mississippi Porch,” teaming James with Calvin
Jackson’s hambone percussion, you can almost feel
the heat and humidity of a summer day in Mississippi
(take it from someone who knows). The gentle
“Sleepyhead” is also a highlight, as is the
compelling “Candyland Refugee,” and “Woke Me,” which
can best be described as a modern variation of the
old “Crossroads” theme.
By the time the
closing track, the slide instrumental “Green,” wraps
up, you will realize that Markus James has taken you
from the land where the Blues began to where it was
cultivated and where it continued to develop. With
Head For The Hills, he’s proves that it
continues to be a vital and vibrant musical form.
---
Graham Clarke
The man called
Blind Lemon Pledge (aka James Byfield) has been
around music all of his life. He first picked up a
guitar at age 14 and his musical journey has covered
a lot of territory since then, moving from blues and
folk music to rock, country, and even included a
five-year detour into Chinese classical music. He
has honed his instrumental and songwriting skills
over the years while working in graphic design,
multi-media, and animation, which has also allowed
him to design his albums, videos, and websites.
Since 2008, he has
concentrated on his musical career totally,
releasing three CDs during that time. Evangeline (Ofeh Records) is Byfield’s fourth
release under his Blind Lemon Pledge moniker, and
it’s a captivating collection of various blues and
Americana styles that have influenced his music. He
covers a lot of ground on this set, beginning with
“Buley’s Farm,” a tribute to the old prison songs
that John Lomax recorded over a half century ago
(complete with a capella chorus and cigar-box guitar
solo). He explores other facets of the blues with
the Louis Jordan tribute, “Go Jump The Willie,” the
Crescent City-styled “Brimstone Joe,” “Midnight
Assignation,” a blues-rocker with some scorching
slide work, and the title track, a moody country
blues inspired by Son House.
Byfield also explores
folk music with the lovely ballad “Jennie Bell,” old
style pop music (“Ham and Eggs”), jazz (the smoky
“How Can I Still Love You”), Latin rhythms
(“Language of Love”), and country (“How Can I Still
Love You”). He has a warm, engaging quality in his
vocals and shows serious guitar skills in a variety
of styles. In fact, he actually plays all the
instruments on the album……the names listed in the
credits are all made up.
Evangeline is
an entertaining foray through the blues and various
Americana styles, all from the fertile imagination
of Blind Lemon Pledge. While he may have a funny
name, his music is definitely serious.
---
Graham Clarke
Rarely in life does
one get a “do-over,” a chance to fix something that
wasn’t previously done to their satisfaction. Singer
Lisa Mills was not happy with the initial
results of her debut recording, I’m Changing,
upon its release in 2005, so she decided to “melt
down” the original, with assistance from esteemed
producer Trina Shoemaker, who’s won three Grammys
for album engineering. The result, just released on
her Mills Bluz Records label, is an absolutely
breathtaking venture into blues, soul, and gospel.
Mills wrote 10 of the
12 songs and they are standouts, from the soulful
blues opener, “Better Than This/I Don’t Need You
Anymore,” to the easy country flavor of tracks like
“I Need A Little Sunshine” and the rootsy feel of
the title track. The instrumental work on these
tracks is just superb, putting Mills’ wondrous
vocals at center stage. You feel every high and low,
all the joy and pain deep down.
Mills did re-record a
pair of the original tracks. “Take My Troubles” has
a jazzy vibe and sort of Mills’ delivery reminds me
a bit of Rickey Lee Jones, and the excellent redo of
the gospel a capella “Tell Me” is strong testimony
to her vocal gifts. Mills also recorded three new
songs for the album. “Eyes So Blue” is a light and
lovely track with a bit of a reggae rhythm, “Rain In
The Summertime” is a gentle ballad featuring Mills
accompanying herself on acoustic guitar, and “I
Don’t Want To Be Happy,” a tune about a frustrating
love affair, features a raw and heartfelt vocal from
Mills and one of my favorite lyrics…..”I don’t want
to be happy/I just want to be with you.”
The two covers are
magnificent. The bluesy take on the Rev. Robert
Wilkins’ masterpiece, “Wish I Was In Heaven Sitting
Down,” will induce goose bumps with Mills’ ethereal
vocal coupled with Corky Hughes’ bottleneck
resonator. The closer is an awesome cover of Jimi
Hendrix’s “Little Wing,” with a dreamy vocal from
Mills, supported again by Hughes, this time on
electric slide guitar.
It would be nice if
all reclamation projects turned out as well as Lisa
Mills’ reworking of I’m Changing. She has one
of the most compelling voices that I’ve heard in a
while. This is a disc that would fit in any music
fan’s collection.
---
Graham Clarke
The versatile Detroit
blues guitarist Howard Glazer returns with
Looking In The Mirror (Lazy Brothers Records),
which serves as a testament to the wisdom of those
folks who chose Glazer as Outstanding Blues/R&B
Instrumentalist at the 2014 Detroit Music Awards,
and inducted him into the Michigan Blues Hall of
Fame in 2013. Glazer’s guitar work, always a
pleasure to hear, is the main attraction as he moves
effortlessly from electric to slide to resonator
guitar, but he’s an ace songwriter to boot, penning
all 12 of the tracks.
“Midnight Postman”
mixes the blues with a funky groove, and tracks like
the clever “Broken Down Hotel Blues” and “Feeling So
Bad” (which features Glazer on Resonator in tribute
to Johnny Winter) both have an old school feel.
Tracks like “Take Me Baby,” the title cut, and
“Pushing The Limits” focus are in blues rock mode.
There’s also a sizzling slow blues, “Eviction
Blues,” with some amazing fretwork from Glazer.
“All I Ever Wanted,”
features a Hill Country-styled bass line, some
shimmering guitar work from Glazer, and the
background vocals of Maggie McCabe and Stephanie
Johnson. McCabe also joins Glazer on vocals for the
upbeat “Walking In Detroit.” Glazer really shows off
his slide guitar skills on the lovely pop-flavored
“Wandering Trails.” The closing tracks are both
interesting; “Misunderstood The Devil,” which mixes
the Delta with the swamp and includes backward
guitar and vocals, and “Emergency,” a psychedelic
slow groover with wah wah guitar and electric flute
(shades of Jethro Tull!) from Tom Schmaltz.
Glazer receives
excellent support from Schmaltz, Chris Brown (bass),
Charles David Stuart (drums), Larry Marek (organ),
David Kocbus (trumpet), and the backing vocals from
McCabe and Johnson are a plus, as well. Glazer never
disappoints, whether with his always-absorbing
guitar work, his clever and unique songwriting, and
his rock solid vocals.
Whatever your musical
cup of tea may be, the chances are good that you
will find something to enjoy on Looking In The
Mirror.
---
Graham Clarke
A new album from
blues and roots guitarist Nathan James is
always a treat, so TWO new releases is a cause for
elation. James, who has played and recorded with
James Harman and Kim Wilson, appeared as guitarist
on the Remembering Little Walter tribute
album, and won the 2007 IBC with singer/harmonica
player Ben Hernandez. He's blessed blues and roots
lovers with a two-disc set, featuring a solo album
of traditional acoustic blues and an album with his
band, the Rhythm Scratchers (Marty Dodson – drums,
Troy Sandow – bass, harmonica), playing their mix of
New Orleans-based R&B, swamp pop, and blues.
The acoustic album,
Hear Me Calling (Sacred Cat Recordings),
offers 11 tracks, eight originals plus three covers.
James plays acoustic guitar, National Resonator, his
own invention of a washboard guitar, and provides
his own percussion with a modified Skyway suitcase
transformed into a foot drum kit (complete with
foot-operated cymbals and coffee can snare). The
track list is a mix of delta blues, piedmont, and
gospel.
James covers Curley
Weaver (“No No Blues”), Lonnie Johnson (“She’s
Making Whoopee in Hell Tonight”), and the
traditional gospel tune “I Know I’ve Got Religion,”
and his original compositions mix well with these
classic era recordings. Instrumentally, he’s a
wonder on these tracks, recording these tracks live
in the Sacred Cat Studios, and his warm vocal style
suits this material well.
Natural Born This
Way is the second disc in the set, featuring
James with the Rhythm Scratchers and a couple of
guest stars (Carl Sonny Leyland – piano, Big Jon
Atkinson – rhythm guitar) on a few tracks. The 11
tracks feature six James originals with five cover
tunes, including a rocking take on Long John
Hunter’s “Ride With Me,” The 5 Royales’ “I’m Gonna
Tell Them,” Freddy Fender’s “I’m Gonna Leave,” and a
dandy pair of Earl King tunes (“Take You Back Home”
and “It Must Have Been Love”).
James’ six original
tunes on the second disc include plugged-in versions
of four songs from the first disc (“Look Out Your
Window,” “Look Before I Leap,” “Doing The Same to
You,” and “Don’t Believe What People Say.” It’s fun
to hear both versions of these songs and listeners
will be surprised at how different some of them
sound in a band setting. There’s also a stomping
instrumental (“Cow Pies”) showcasing the band and
the funky title track.
If you call yourself
a fan of blues or roots music and you can’t find
something to enjoy on either of Nathan James’ latest
recordings, you might want to reevaluate your
musical tastes and maybe head over to the Disco
section of your chosen music distributor. Otherwise,
you’ll really be hard-pressed to find two better
recordings than Hear Me Calling and
Natural Born That Way.
---
Graham Clarke
Based in Denver,
The John Weeks Band churns out a modern take on
classic blues. Singer/guitarist Weeks was born in
France and learned to play the blues in Paris clubs
during the ’90s, influenced by guitarists Freddie
King, Eric Clapton, Carlos Santana, Duane Allman,
and Jimi Hendrix. Hungarian bandmate Andras (AC)
Csapo adds moody keyboards and harmonica, and the
rhythm section (Curtis Hawkins – bass, Tim “Chooch”
Molinario – drums) lays down a relentless groove
that’s without peer.
The band’s
self-titled debut CD offers seven tracks that mixes
the blues sounds of Chicago and the Delta, with a
bit of funk and even Latin influences. While a bit
brief on running time, it’s time well-spent as the
band works though the laid-back rocker “All Night,”
moves to the ominous acoustic Delta-styled “Devil In
My House,” rips through a jump blues instrumental
(“Why Don’t We Sleep On It?”), and tackles an aching
slow blues (“How Can You Love Me?”) with some
exquisite keyboard work from Csapo.
“I Want To Get Back
Home” has a funky vibe with some nice guitar work
from Weeks and harp from Csapo. “You Never Say What
you Mean” is a mid-tempo ballad with a Latin flair,
and the closer, “Moving On,” is a nice choice with
its down and dirty funk backdrop and stellar
keyboard work from Csapo.
The only caveat is,
as mentioned above, the short (31 minutes) running
time. The songs, all originals written by Weeks,
Csapo, and Hawkins, are good enough to make you
think that the band still has plenty to say.
Hopefully, their next release will build upon what
we hear on this fine debut.
---
Graham Clarke
George Taylor was a
part of the Austin music scene for several years
until 2013, when he relocated to his native
Virginia. Though he’s focused on Americana music for
most of his career, the blues overtook him several
years ago prior to his move to Austin. His latest
release, Rain or Shine, is Americana with a heavy
base in the blues. Taylor plays acoustic, lap steel,
and electric guitar, harmonica, and sings, but he
writes songs describing the human condition that cut
close to the heart and leave a mark.
Taylor understands that the line between country
music and the blues is a microscopically fine
one……the musical instrumentation may vary, but the
underlying messages are basically the same.
Listeners will understand this as well after
hearing songs like “Goodnight,” “Railroad Song,”
“What am I Gonna Say?,” “Only Blue,” and “The Rain.”
A few tracks like “The Hard Way” lean more toward
country and “Breakin’ In Boots” is on the rock side.
“Harvest Moon” is probably the best track on the
disc, and the one that captures that merger of blues
and country at its best.
Taylor also receives outstanding musical support
from Justin Douglas (pedal steel, bass, dobro,
backing vocals), Blake Lange (percussion), Cody
Ground (keys), and Jerry Reynolds (fiddle).
Rain or
Shine is a disc that should satisfy fans of several
musical genres (blues, roots, Americana, country)
immensely.
---
Graham Clarke
Georgie Bonds didn’t start out as a blues singer.
Even though he loved R&B music when he was growing
up, he was fascinated with horses, eventually
becoming a blacksmith even though he continued to
sing for his own entertainment. He fell in love with
the blues after listening to a friend’s cassette
tape of Robert Johnson and attracted the attention
of blues legend Sonny Rhodes at a open mic blues jam.
Rhodes became a mentor to Bonds and helped get him
started on his career as a blues singer.
Bonds’ first CD, Sometimes I Wonder, was released in
2001 to critical acclaim, and he was chosen to
appear in the Tony-winning It Ain’t Nothin’ But The
Blues, but his career was sidelined due to health
concerns. Fortunately, Bonds has recovered and just
released Stepping Into Time (BGB Music), a
magnificent showcase for his powerful vocals which
should propel him into the upper echelon of blues
singers.
Backed by a stellar band that includes producer Neil
Taylor and Harry Jacobson on guitars, Andy Haley and
Russ Joel on drums, Kenny Githens and James White on
bass, Walter Runge on organ, Joe Stout on piano, and
Buddy Cleveland on harmonica, Bonds just rips
through this 12-song set (ten originals, two
covers) like a man on a mission. The opening cut, an a capella reading of “St. James Infirmary,” lets you
know that Bonds is no ordinary blues singer. His
haunting vocal on this track will stay with you for
awhile.
The autobiographical track, “The Blacksmith” appears
in two versions; first as a tough country blues
rocker, then as an epilogue as a bonus acoustic
version. There’s plenty of good blues here with
songs like the pleading shuffle “What More,” “Lord,
Oh Lord” is a New Orleans-styled second-liner.
“Daily News” finds Bonds deploring the state of
affairs in the world. “Dyin’ Is The Easy Way” has an
R&B feel with a “pull yourself up by your
bootstraps” theme, and “Calling Your Name” is a
gentle soulful ballad.
Other standouts include the slow blues “Out of the
Fryin’ Pan,” and a pair of funky blues rockers
(“Going Shopping” and “I Need Somebody”). John Lee
Hooker’s “Dimples” is the unofficial closer, and
Bonds really outdoes himself with his reading of the
classic.
Stepping Into Time shows that Georgie Bonds
could develop into a force to be reckoned with on
the blues scene if things start going his way. Vocal
gifts like his only come around once in a while, so
blues fans are encouraged to give this one a listen.
---
Graham Clarke
Formed in 2002, Altered Five Blues Band combines the
soaring lead guitar of Jeff Schroedl with the
funkiest rhythm section outside of Memphis (Mark
Solveson – bass, Scott Schroedl – drums, Raymond
Tevich – keyboards) and the real-deal vocals of Jeff
Taylor into an ideal blues, rock, and soul package.
Cryin’ Mercy (Omnivibe Records) was produced by Tom
Hambridge, and features 11 original tunes, all
written or co-written by Jeff Schroedl and his
bandmates.
As you might expect from a Tom Hambridge-produced
disc, the music is high energy and intense. The
songwriting does take on fairly familiar topics for
blues tunes, but the lyrical approach is quite
different from conventional fare. The fiery opening
cut, “Demon Woman,” vividly describes a female that
most wise men would do well to avoid, and the
defiant “Stay Out Of My Business” doesn’t pull any
punches. Tracks like the funky “Counterfeit Lover,”
the double-entendre-laden slow blues “Move House,”
and the rocking “Who’s Your Lover” stand out from
similar blues tunes with their unique lyrical
content.
The band also knows how to bring the funk on tunes
like “I Got You” and the clever “Urgent Care,” and
Taylor’s vocals are, no pun intended, “tailor-made”
for the soulful R&B of “Find My Wings.” Best of all,
the disc closes as well as it started with three
excellent tunes…..”Here’s Your Hat, What’s Your
Hurry” rocks hard, the aforementioned “Urgent Care,”
and “Back Button,” a song about something that all
of us need at times.
Jeff Schroeli’s guitar work is spot-on from
beginning to end, blending rock, funk, and blues
seamlessly, which could be said as well for the rest
of the band, all of whom definitely know their way
around a groove. Cryin’ Mercy is an excellent disc
of original tunes and musicianship that will
certainly please any fan of contemporary blues and
soul.
---
Graham Clarke
The blues trio HowellDevine (Joshua Howell –
vocals/guitar/harmonica, Pete Devine – drums, Joe
Kyle, Jr. – upright bass) made some noise back in
2013 with their Arhoolie Records release (the
label’s first new blues release in 25 years), Jumps,
Blues, & Wobbles. Now, Arhoolie has released their
follow-up, Modern Sounds of Ancient Juju, which
continues the band’s journey through the blues
styles of the 1930s and ’40s, mixing invigorating
covers of classic tunes with some impressive
original compositions.
The music played is truly in the old-school blues
tradition. Howell plays electric and acoustic guitar
(fingerpick and slide work are both impressive),
blows a mean harp, and his vocals are warm and
relaxed. Devine’s percussion work is a marvel as he
moves from standard drums to washboard to other
creative forms, and Kyle’s upright bass is rock
solid. The ensemble playing is endlessly
entertaining.
The trio puts a fresh face on songs from Muddy
Waters (“Can’t Be Satisfied”), Sonny Boy Williamson
II (“She Brought Life Back To The Dead”), Bukka
White (“Shake ‘em on Down”), Al Duncan (“It’s Too
Late Brother”), and a pair from Memphis pre-war
blues legend Frank Stokes (“It Won’t Be Long Now”
and “Sweet To Mama”), but their own songs blend in
pretty well with the classics. Songs like “Let You
Go,” “House In the Field,” and “Rollin’ in Her Arms”
are first rate, and the marvelous instrumental
“Woogie Man” is six minutes long, but could go on
forever as far as I’m concerned.
Coolest of all is the closing track, an amazing live
performance taken from a show the trio did in Port
Richmond, California. The song, “Railroad Stomp,” finds
Howell imitating the sound of a train speeding up
and slowing down (in the tradition of the ‘20s and
’30s harmonica players like Deford Bailey), backed
by Kyle’s bass and Devine’s endlessly inventive
percussion. If you’re a longtime blues (or country
music) fan, you’ve doubtlessly heard a song of this
type before, but trust me, you’ve never heard it
like this.
Modern Sounds of Ancient Juju is a fascinating look
at updated traditional blues, and is an absolute joy
to listen to. Every self-respecting fan of vintage
blues should add this album to their collection.
---
Graham Clarke
