On
the heels of their successful 2014 debut (Open
Mic at the Knick), The Knickerbocker
All-Stars return with Go Back Home To The
Blues (JP Cadillac Records), another powerhouse
set of blues and R&B classics, with a few choice new
tracks mixed in for good measure. To describe their
previous release as a “debut” is a bit of a stretch,
as most of these artists have enjoyed lengthy
tenures in the music field, either as front men or
backing great musicians and bands such as Duke
Robillard, Roomful of Blues, Al Basile, and Sugar
Ray & the Bluetones, but those years of working in a
“team” setting work wonders with these musicians on
these 13 excellent tracks.
The
core group consists of Monster Mike Welch (guitar)
Al Copley (piano), Brad Hallen (standup/electric
bass), Mark Teixeira (drums), Doug James
(baritone/tenor sax), Rich Lataille (alto/tenor
sax), Sax Gordon Beadle (tenor sax), and Doc
Chanonhouse (trumpet) with guest appearances from
Basile (cornet/lead vocals on one track) and Carl
Querfurth (trombone on two tracks). They are joined
by a trio of New England’s finest blues vocalists,
Sugar Ray Norcia, Brian Templeton, and Willie J.
Laws --- a pretty prestigious line-up of all-stars,
to be sure.
Norcia sings on three tracks, the Bobby “Blue” Bland
classic “36-22-36,” Chuck Willis’ “Take It Like A
Man,” and the Basile’s original “Brand New Fool.”
Laws ably handles four tracks: The Freddy King hit
“You Know That You Love Me,” Guitar Slim’s
“Something To Remember You By,” Reuben Brown’s slow
burner “He Was A Friend of Mine,” and a torrid
reading of Larry Davis’ “I Tried.”
Templeton’s three tracks are the swinging “Cadillac
Baby” (written by Fontaine Brown), and a pair of
Basile originals: the soulful “Go Home To The Blues”
and the funky “Annie Get Your Thing On.” Basile
himself handles lead vocals on his amusing “Don’t
You Ever Get Tired of Being Right.” The band is,
naturally, top notch. They’ve been playing this
music so long that it’s embedded in their DNA.
Welch’s guitar work is particular impressive and he
consistently proves that he’s one of the most
underrated blues guitarist currently practicing.
Simply put, if you call yourself a blues fan and you
don’t find anything to like on Go Back Home To
The Blues, you probably need to head over to the
Easy Listening section of your local record store.
Any self-respecting blues fan will be hitting
“Repeat” repeatedly on their stereo with this
outstanding release.
--- Graham Clarke
I
have to admit that I was a bit disappointed when I
found out that Mike Zito was leaving Royal
Southern Brotherhood, but if he continues to make
albums like Keep Coming Back (Ruf Records),
my disappointment will be lessened considerably. RSB
will manage just fine, based on their most recent
release, but Zito’s new release is something else
--- 12 songs (ten originals, three penned with
Anders Osborne) vivid with imagery and personal
reflections of his past, present, and future life,
all proving why he continues to be one of the most
compelling performers and storytellers on the
current blues scene.
Zito’s music has always been focused on the blues,
but he also has a profound love for rock & roll and
country, so you get all of these elements in his
songs, and he does this as well as anyone, but it’s
always been his ability to open up about his own
life and the trials that he’s endured that makes his
music a cut above. You’ll be hard-pressed to find a
song as personal and revealing as “I Was Drunk,”
which he co-wrote with Osbourne, who also guests on
the song). The duet leaves nothing on the table with
this country-flavored track. It’s all out there for
everyone to see --- the battles with addiction and
the lives damaged by it, including his own.
Other songs, like the slide-driven title track which
opens the disc, “Chin Up,” and “Get Busy Living,”
follow this theme as well as Zito honestly recounts
his battles with the addiction demon. There are a
few songs like “Early In The Morning” that change
the pace a bit, with more country flair, and some
hard-rocking tracks like “Cross The Border.” Zito’s
“Girl From Liberty” is another standout, bringing to
mind the “Everyday America” songs of Bob Seger.
Speaking of Mr. Seger, Zito also covers the Motor
City rocker’s “Get Out of Denver,” as well as CCR’s
swampy “Bootleg,” and channels John Fogerty somewhat
on “Nothin’ But The Truth.”
Zito has one of the most distinctive voices in blues
or rock, capable of handling the rockers with ease
as well as the more soulful numbers and country, and
his guitar playing is first-rate. To these ears,
this is his best release, which is really saying
something. For open and sometimes achingly honest
blues rock and roots, you can do no better than to
check out Keep Coming Back.
--- Graham Clarke
Eric Bibb’s latest project is definitely a
worthy one. Teaming with French harmonica player
JJ Milteau, the NYC-based roots musician
recorded a musical tribute to the great Huddie
Ledbetter called Lead Belly’s Gold (Stony
Plain Records). The release consists of 11 live
tracks recorded at the famed Paris club, The Sunset,
and five studio recordings. Bibb, like many
musicians his age, grew up listening to Lead Belly’s
music, not just from the original source, but also
from various blues, folk, and rock artists who
covered his songs, and, like many artists, was
profoundly affected and influenced by his songs.
The
live set includes songs written by or associated
with Lead Belly, and blues fans will recognize many
of them: ”Midnight Special,” “Goodnight, Irene,”
“Rock Island Line,” “The House of the Rising Sun,”
“When That Train Comes Along/Swing Low, Sweet
Chariot,” etc. Bibb and Milteau remain largely
faithful to the original versions, but also put an
entertaining spin of their own on these songs. It’s
a lively performance in front of an energetic and
enthusiastic audience.
The
studio tracks include “Bourgeois Blues,” “Stewball,”
“Titanic,” and a couple of Bibb originals from the
perspective of Lead Belly (Bibb and Milteau
collaborated on one song on the live set, “When I
Get to Dallas,” in the same vein, about Lead Belly’s
early days as a street singer). “Chauffeur Blues” is
a conversation between Lead Belly and John Lomax,
his former boss, in the afterlife, and the wonderful
closer, “Swimmin’ in a River of Songs,” tells his
life story.
Though Bibb’s vocal style is different from Lead
Belly’s, you don’t really notice it at all, and his
guitar work is typically excellent. Milteau’s
harmonica is an enjoyable addition, I don’t recall
harmonica in many of Lead Belly’s songs, but it fits
really well with these arrangements. Bibb and
Milteau are joined by Larry Crockett
(drums/percussion) and Gilles Michel on bass for
selected tracks. Big Daddy Wilson and Michael
Robinson provide backing vocals on a few tracks.
All
in all, Lead Belly’s Gold is a fine tribute
to the legendary blues/folk master from two master
musicians. Hopefully, it will encourage listeners to
check out this music at the original source as well.
--- Graham Clarke
Now
here’s a CD that will appeal to traditional blues
fans. Award-winning harmonica ace Jason Ricci
has teamed up with singer/songwriter/guitarist JJ
Appleton and produced an album, Dirty Memory,
that resurrects the guitar/harmonica duo that is
part of the traditional Piedmont blues approach.
Ricci, one of the most talented young harmonica
players, has already had a productive 2015, winning
a Grammy as part of Johnny Winter’s final release,
Step Back, plus he performed as part of the
Rock & Roll Hall of Fame induction for the late Paul
Butterfield. The NYC-based Appleton was formerly a
member of The Grasshoppers and has received much
acclaim for his previous four releases.
Accompanied only by upright bass (courtesy of Tim
Lefebvre or Neil Heidler), Appleton and Ricci work
through an 11 song set that features five songs from
Appleton, three songs from Ricci, and three covers.
Things get off to a rousing start with the opener,
Appleton’s “Leaning Blues,” and it’s obvious from
the get-go that these two share a strong musical
rapport with Ricci’s harp snaking over, under, and
around Appleton’s guitar and vocals perfectly.
Appleton’s other originals include the steamy “Can’t
Believe It’s This Good,” the reflective “Just
Enough,” the rambling “At The Wheel Again,” and the
solo closer, “Come On Over, Come On By,” which gives
him a chance to show off his skills on guitar.
Ricci’s three tunes include the autobiographical
“New Man,” the moody “Demon Lover,” and a smoking
instrumental, “Jason Solo,” that will let anyone
who’s not familiar with his talents know what all
the fuss is about.
The
three covers are all choice selections: a powerful
version of Blind Willie Johnson’s “Nobody’s Fault
But Mine,” the Rolling Stones’ “Black Limousine,”
done country blues style, and the Swamp Dogg/Gary
U.S. Bonds/Don Hollinger tune “It Ain’t No Use.”
As
stated earlier, Ricci and Appleton collaborate as if
they’ve done this for decades. Appleton’s guitar
work is pristine and his vocals are also top notch,
and Ricci’s harmonica is phenomenal. I’ve run out of
adjectives to describe it. Dirty Memory is as
good a set of acoustic blues as I’ve heard this year
and I’m pretty sure listeners will agree once
they’ve given it a spin.
--- Graham Clarke
Reverend Freakchild is a NYC-based
singer/songwriter/guitarist. He’s previously played
with Soul Coughing, the Neptune Ensemble, the Soul
Miners, among other bands, and has also been
featured with the Metro Mass Gospel Choir. His brand
of blues mixes gospel, pop, rock, and even
psychedelia, probably best summed up in the title of
his latest album, Hillbilly Zen-Punk Blues
(Treated and Released Records), a ten-song set of
mostly original tunes.
The
general flavor of the tracks reflect the album title
as well. The opener, “All I’ve Got Is Now” has a
mellow vibe and catchy lyrics. The same goes for the
majority of the tracks, including the Reverend Gary
Davis’ “It’s Gonna Be All Right,” a fine homage to
one of Freakchild’s influences, “Keep On Trucking,”
and “Moonlight Messages,” which features John Ragusa
of Mulebone on flute. It’s not all mellow fare,
however. ”She Wants My Name” (penned by Ragusa’s
Mulebone partner Hugh Pool, who also adds harmonica
on several tracks) and “Tears of Fire” both rock
hard, with Freakchild’s slide guitar raising the
roof on the latter.
There are three instrumentals as well ---.”Angel$ of
Mercy,” the lovely ”Lullaby” and the upbeat “Soul
Transforming Realization.” Freakchild is a
first-rate guitarist, with a nimble vocal style. On
some tracks, he sounds like a bluesy Lou Reed, while
on the rockers and the excellent cover of the
traditional “I Wish I Was In Heaven Sitting Down,”
he sounds a bit like Tom Waits.
Pool (who co-produced the disc with Sal Paradise)
also plays lap steel in addtion to harmonica. In
addition to the Mulebone duo (who also contribute
backing vocals on a couple of songs), Freakchild is
backed by drummer Chris Parker and bassist Tugboat
Eustis. Hillbilly Zen-Punk Blues is a highly
enjoyable set of mostly laidback tunes that you’ll
find yourself returning to for repeated listening.
It will not only please blues fans, but should also
extend to fans of other genres as well.
--- Graham Clarke
If
you’re a blues fan in a funk, wanting to hear
something that puts a hop in your step, then Dan
Treanor’s Afrosippi Band quite possibly has the
cure for what ails you. Recognized as one of
Colorado’s premier blues bands, the Afrosippi Band
finished third at the 2013 IBCs and boasts the mad
harmonica skills of Treanor (winner of the 2012
Keeping the Blues Alive – Education award for his
work in the Blues In The Schools program), along
with guitarist extraordinaire Michael Hossler, and
the double-barreled powerhouse vocal combination of
Erica Brown and Merrian (MJ) Johnson.
The
band’s latest release is Born To Love The Blues
(Plan-It Records) and features 12 tracks, eight
originals and four covers, of blues, soul, and rock.
Treanor wrote the eight originals, including the
swampy “Can You Hear Me,” the crunching Hill
Country-styled “Done Got Old,” the traditional “Love
Ain’t Easy To Find,” “A House Is Not A Home,” and
“Knocked Out,” and the sultry “Heat” and “Missing.”
There’s also a nice tribute to Mississippi Fred
McDowell (“Mississippi Fred’s Dream”) that actually
has a second-line feel to it.
The
four covers are well done: Orgone’s funky midtempo
ballad “Who Knows Who,” the Black Keys’ rocker “Hurt
Like Mine,” a moving reading of Sam Cooke’s “A
Change Is Going To Come,” and Emeli Sandé’s “Next To
Me.” I really like the combination of vocals from
the ladies. They both move easily between blues and
soul, traditional and contemporary, yet have their
own distinctive styles. The rock-solid rhythm
section (Scott Headley – drums, Jack Erwin – bass)
deserves praise as well. Gary Flori adds conga drums
on one track and Bill Shannon plays bass on two
tracks.
Born To Love The Blues is a very enjoyable set
of rocking blues and soul that is sure to satisfy
blues fans. Listeners can check it out and pick it
up at Treanor’s
website, along with the rest of the Afrosippi
Band’s catalog.
--- Graham Clarke
No
doubt about it, Sista Jean and CB (Jean
McClain and Carlyle Barriteau) make beautiful music
together. McClain has worked as a background singer
for Hugh Laurie, Tina Turner, Mick Jagger, Keb’ Mo,
Celine Dion), as part of an ’80s regrouping of the
Marvelettes, and has charted several hits on the
Dance charts (as Pepper MaShay). Barriteau most
recently toured as part of jazz singer Bobby
Caldwell’s band, but has previously played for Rose
Royce, The Miracles, Patti Austin, Paul Taylor, and
Rickie Lee Jones. The two joined forces to release
the excellent acoustic blues album Back To The
Root in 2012.
A
year ago, Blues Bytes reviewed a wonderful 2-song
preview (Spectacular 2 Song Double Pack) of
the duo’s upcoming album, a tribute to folk singer
Odetta. The album, Requiem For A Heavyweight: A
Tribute To Odetta (Freckled Bandit Records), is
now a reality, featuring 12 tracks either recorded
by or influenced by the folk and blues legend.
McClain has stated that she was heavily influenced
by Odetta as a child and her love for this music
shows through every note that she sings.
The
opening two tracks, the spirited “Alabama Bound” and
the glorious “Easy Rider” (both written by Lead
Belly), were featured on the preview disc and they
start things off perfectly. Other standouts include
a measured reading of the ’60s classic “House of the
Rising Sun,” the downhome romp “Jack of Diamonds,”
the spiritual “Deep River,” and the moving “Another
Man Done Gone,” which McClain sings solo.
There are a few more songs from Lead Belly:
“Midnight Special,” taken at a gently swinging pace,
“Take This Hammer,” which picks up the pace
slightly, and the understated gospel tune “Meet N At
The Building.” “Troubled Man of Mine” is the lone
song on the disc written by the duo, but it’s a
perfect fit with the other tunes and you could
easily hear Odetta performing it herself. “Hear Me
Talkin’ To Ya” is a fun and funky reworking of the
old Louis Armstrong song, and McClain brings the
disc to a close with a beautiful, stripped-down
version of “Glory Glory,” backed only by Barriteau’s
guitar.
Speaking of Mr. Barriteau, his guitar work is just
wonderful throughout the disc, understated but never
in the background. He and McClain work well together
and the best thing about this album is how they
allow the songs to take their time and develop
without any rush at all. It’s just a beautiful piece
of work that will reward blues, soul, and folk music
fans, who will find it hard to stop after just one
listen.
--- Graham Clarke
Since 2002, Mitch Woods has hosted the
after-hours Piano Bar on the Legendary Rhythm &
Blues Cruise. Dubbed “Mitch Wood’s Club 88,” it’s
just one all-night party as Woods oversees the event
(in his pajamas), which features an all-star cast of
musicians who stop by after playing their sets on
the main stage. It’s one of the most talked-about
events of each cruise, so with the new CD Jammin’
on the High C’s (Vizztone), Woods set out to
capture “the spirit and the feeling” of the
performances for those not fortunate to attend in
person.
Recorded this past January during the 2015 cruise,
Woods is joined by a veritable Who’s Who of the
current blues scene as they each take their turn on
the stage. Among the luminaries taking part are
Tommy Castro, who does a rollicking version of the
Little Richard classic, “Rip It Up,” Lucky Peterson,
who offers a funky reading of Jimmy Reed’s “Bright
Lights, Big City” with members of Roomful of Blues,
and Billy Branch, who gets a pair of tracks,
“Eyesight To The Blind” (with Roomful of Blues) and
“Boom Boom,” with Coco Montoya (who also does a nice
take on “Rock Me Baby”).
Other musicians sitting in include Dwayne Dopsie,
who spices things up with a sparkling reading of
“Jambalaya” and “Whole Lotta Shakin’ Goin’ On,” Popa
Chubby, who leads the audience through “I Want You
To Be My Baby” and a swinging “Wee Wee Hours,” and
Woods’ fellow keyboard master Victor Wainwright, who
does a marvelous Crescent City-styled duet with
Janiva Magness on “Tain’t Nobody’s Business” and
teams with Woods on “Wine Spo Dee O Dee.” Woods
himself mostly stays in the background, but does
take center stage for “Broke,” and fills in some
entertaining information and background on the event
between songs.
Jammin’ on the High C’s gives you the feeling of
being there to an extent ---.at least as much as it
can possibly do. The best thing for listeners to do,
however, is make plans to attend a cruise and take
it all in in person. While you’re waiting for the
next one to roll around, this entertaining
collection is the next best thing to being there.
--- Graham Clarke
When it comes to remembering, reviving, and renewing
the roots of American music (blues, folk, rag, rock
& roll, etc), there are few that can hold a candle
to Brad Vickers & His Vestapolitans. With
their fifth and latest release, That’s What They
Say (ManHatTone Music), Vickers and crew bring
us another outstanding set combining classic tunes
from back in the day with their best batch of new
songs yet.
The
new disc features 15 tracks, 13 originals penned by
Vickers and/or fellow Vestapolitan Margey Peters
(bass, fiddle, vocals) and two splendid covers,
Tampa Red’s “Seminole Blues,” which kicks things off
in rousing fashion, and the traditional “Don’t You
Love Your Daddy No More,” a tune Vickers learned
from Lead Belly that’s spiced up by bottleneck
guitar (Vickers), mandolin (Dave Gross) and sax and
clarinet (Matt Cowan and Jim Davis).
The
originals are excellent, ranging from the
foot-stomper “If You Leave Me Now” (with fiddle from
Charles Burnham and Peters), a pair of old-school
rock & rollers in “Another Lonesome Road” and “The
Secret,” the shuffle “Everything About You is Blue,”
the country rocker “Don’t You Change A Thing,” and
“Mountain Sparrow,” a lovely old-timey tune. The
clever title track features a spare arrangement,
with Vickers on guitar with Peters (bass) and Bill
Rankin on drums.
”Fightin’,” written by Peters, is an effective
gospel track teaming her, Vickers, and guest
vocalist Mikey Junior singing accompanied only by
handclaps and Gross on percussion. Peters also wrote
the swingers “Mama’s Cookin’” and “Having a Ball,”
“Twenty-First Century Rag,” and the moving closer,
“In For A Penny,” on which she sings with guest
vocalists Gina Sicilia and Christine Santelli.
The
Vestapolitans know how to make great music and they
know how to make great music fun. That’s What
They Say is just the latest in a long line of
enjoyable and entertaining releases from Brad
Vickers and company ---.their best to date.
--- Graham Clarke
Friend Like Me (Out of The Past Music), the
fifth and latest released from Steve Howell & The
Mighty Men, is another excellent release from
the Texas-born and based singer/guitarist featuring
his acoustic finger-picking guitar and warm, smooth
vocals. This time around, Howell has picked ten of
his favorite old tunes from his guitar heroes,
mentors and buddies, covering not just the blues,
but also folk and country styles. Howell, of course,
sings and plays acoustic and electric guitars, and
the Mighty Men (Chris Michaels – electric guitar,
Dave Hoffpauir – drums, Jason Weinheimer – bass)
provide rock-solid support.
Howell covers tunes by Jesse “Baby Face” Thomas (the
charming title track), Bukka White (a dandy
countrified version of “Aberdeen, Mississippi
Blues”), Charley Patton (“Elder Green Is Gone,”
which is given a funky country twist), Reverend Gary
Davis (a marvelous reading of “Oh, Lord, Search My
Heart”), and the traditional “Little Sadie,” an
ominous tale of crime and punishment. He digs deep
into blues lore for “Roustabout,” an old blues
narrative with some enthralling instrumental
experimentation and a spooky vocal, and “This Old
Hammer,” about the legendary steel-driving man John
Henry.
Howell also recreates “Viola Lee Blues,” the old
prewar tune from Gus Cannon’s Jug Stompers that will
be instantly recognizable to fans of the Grateful
Dead, taking a laid-back swampy approach. He
revisits the Dead’s repertoire again for a jaunty
version of John Philips’ “Me & My Uncle,” before
closing with a haunting take on the mid ’60s Manfred
Mann hit, Pretty Flamingo.”
Because of his gentle, laidback approach and superb
taste in material Howell’s albums are always a
pleasure to listen to. Friend Like Me is no
exception. This is an album that will be loved and
cherished by fans of acoustic guitar --- just like
all of Howell’s other recordings.
--- Graham Clarke
So
far, Georgie Bonds’ life itself stands as a
pretty vivid picture of the blues. Serving time in
jail as a youth, he became a blacksmith upon release
and straightened his life out. He eventually started
performing as a singer in the ’90s, after being
inspired by a Robert Johnson cassette someone loaned
him, but soon began battling a series of health
issues (including a series of hip surgeries earlier
this year), but has persevered through it all,
recently releasing his third CD, Hit It Hard
(Roadhouse Redemption Records).
I
don’t remember noticing this when reviewing Bonds’
last CD (Stepping Into Time), but the
singer’s vocals are reminiscent of Robert Cray at
times, the right amount of silk and grit. The
setting of most of the songs is a bit more rustic
than Cray’s usual fare, however, since many of the
tracks feature Buddy Cleveland’s harmonica. Despite
the similarities in vocal style, Bonds is very much
his own man as a singer.
The
opening track is “Pickin’ Your Bones,” written and
previously recorded by Sonny Rhodes, and serves as a
tribute to Bonds’ musical mentor. “Let’s Get Down”
is a nice slice of New Orleans-styled funk, while
“Sentenced To The Blues” is a fine original slow
burner penned by Cleveland with a heartfelt
performance from Bonds and strong work from
Cleveland on harmonica and guitarist Neil Taylor.
Cleveland also wrote the smooth shuffle “Butter Your
Biscuit,” and Taylor wrote the revenge tune “Deadly
Poison.”
Bonds contributes a few songs of his own, the
highlights being a pair of tunes about time in
prison (“Paid Vacation” and “Another Year,” which
was the first song he wrote while in prison). He
also covers tunes from Sam Taylor (“Tired of Being
Alone”) and Blind Willie Johnson. The Johnson cover
is “The Soul Of A Man,” which comes off like a deep
soul classic in Bonds’ hands.
Providing superlative backing on the disc, in
addition to Cleveland (harmonica/backing vocals) and
Taylor (guitar/backing vocals) are Andy Haley
(drums), Rick Prince (bass), Walter Runge (keys),
Dave Renz (tenor sax), Vanessa Collier (sax/backing
vocals), Corey Paternoster (percussion), Mike
Bardzik (percussion), Paul Matecki (vocals), and
Gina Burnett (vocals).
If
there’s any justice in the world, Hit It Hard
will be a big success for Georgie Bonds. All the
ingredients are in place --- a great set of diverse
tunes and outstanding vocal and instrumental
performances --- so hopefully this underrated singer
will be able to kick his recent health issues and
capitalize on this excellent release.
--- Graham Clarke
Dayton, Ohio-based guitarist Chris Yakopcic
was a finalist in the 2015 IBC, having qualified for
the event three times previously (and will return in
2016 for a fifth time). He performs regularly
throughout Ohio and Pennsylvania and teaches
workshops on acoustic blues guitar. With his nimble
guitar work that combines Delta and Piedmont styles,
along with his unique songwriting, he is poised for
a breakthrough. Yakopcic’s latest CD, The Next
Place I Leave (Yako Records), his second CD,
provides further confirmation.
Listeners will get a pretty vivid picture of
Yakopcic’s style right off the bad with the title
track, which kicks off the disc, an entertaining
tale of the adventures of a wandering man that leans
toward the country side of the blues. The gentle
“Sweet Time Blues ventures into Piedmont territory
with satisfying results, and “Smallman Street”
showcases his slide guitar playing. “Sounds of the
Highway” is a nice blues shuffle, and “Time To Go”
has a cool Jimmy Reed feel. The originals “Addicted”
and “My Last Three Strings” close the disc. The
former track has a bit of a rock edge and the latter
has a laidback vibe.
Yakopcic also covers Robert Johnson effectively on
two tracks from the legend’s catalog (creatively
upbeat versions of “Preachin’ Blues” and “Phonograph
Blues”). His storming renditions of Mississippi Fred
McDowell’s “Write Me A Few Lines” and Leonard
Cohen’s “Tower of Song” will get feet to stomping
and heads to bobbing. Yakopcic is backed by a sturdy
rhythm section (Brian Hoeflich – drums, Leo Smith –
bass) and their sparse but strong backing allows
Yakopcic plenty of open spaces to show his stuff on
guitar.
The Next Place I Leave puts a modern spin on
acoustic blues while keeping one foot planted in
traditional fare. Fans of acoustic blues guitar (and
engaging songwriting) will find lots to love here.
--- Graham Clarke
Blue Largo was formed in 1999 by guitarist Eric
Lieberman and vocalist Alicia Aragon. Primarily
focusing on ’40s and ’50s era blues, the band
released a pair of well-received albums in 2000 (What
A Day!, produced by Rick Holmstrom) and 2002 (Still
In Love With You) and built a large following on
the West Coast. In 2006, Lieberman was diagnosed
with a rare neurological condition called focal
dystonia, which left him unable to play guitar. Over
the next 8 1/2 years, he taught himself to play
guitar again and soon the band was back in the
studio to record their third album, Sing Your Own
Song (Coffeegrinds Music).
Where Blue Largo’s previous albums focused more on
covers of blues classics, this new release features
seven Lieberman originals, so the idle time on
guitar apparently opened other avenues of
expression. This is a good thing because he has
blessed us with a strong and varied set of tunes,
including “Walkin’ On A Tightrope,” “Kindness Love
and Understanding,” “Tears of the Night,” “Nothin’
To Prove,” “Elevator To The Gallows,” “Tears of
Joy,” and the title track. These tunes convey the
trials he was going through over the past few years
--- the challenges, endurances, hope, and
perseverance that he experienced.
The
band also offers seven covers, including three
instrumentals, Earl Hooker’s “Guitar Rhumba,” “Okie
Dokie Stomp,” and “Remington Ride,” which show that
Lieberman is as great a guitarist as he was before
his setback. The other covers are Willie Dixon’s
“You Know My Love,” Magic Sam’s “I Need You So Bad,”
and the standard “Sitting On Top of The World.”
There’s a pretty wide range of blues styles on
Sing Your Own Song, and Ms. Aragon shows that
she can handle all of them with ease, whether she’s
presenting the slicker, urban blues or the downhome
variety.
The
current edition of Blue Largo also includes charter
member Jonny Viau (tenor/baritone saxes), Taryn
Donath (piano), and Art Kraatz (bass), but other
contributors include guitarist Nathan James (who
also served as recording engineer and co-producer),
drummers Marty Dodson and Ron Felton, bassist Joey
Jazdzewski, keyboardist Rafael Salmon, tenor
saxophonist Dave Castel de Oro, and backing vocalist
Missy Andersen.
Blue Largo makes up for lost time with this
excellent release, which should be required
listening for fans of the traditional ’40s/’50s
blues and R&B.
--- Graham Clarke
Little Boys Blue, based in Jackson, Tennessee,
have been around since 1993, starting out as a duo,
J. D. Taylor (lead vocals, harmonica) and Steve
Patterson (lead and slide guitar). In 1997, they
finished third at the IBC and have performed
regularly at various blues clubs, festivals, and
competitions throughout the southeastern U.S. A
couple of years ago, they added Dave Mallard (bass),
Mark Brooks (drums), Dave Thomas (keys), and Alex
Taylor (guitars) to the group. Their third release,
Bad Love (Jaxon Records) incorporates
electric and acoustic blues with roots and Americana
music.
I
really like the title track, which opens the disc.
It’s a funky minor key ballad that’s powered by
Thomas’ greasy B3 playing. The swinging shuffle “She
Put Me Down” is another standout, and “Treat Me Like
You Used To” swings into the direction of Memphis
soul, adding horns to the mix. “Forget These Blues”
continues in the soul vein and Taylor really belts
this one out with sweet backing from Thomas and
Patterson, who also shines on the slidefest,
“Howling at Your Door.”
The
upbeat “Cajun Girl” should get listeners up and
dancing, and “You and I” will keep them there. “Go
Back Home” and “Ain’t No Use In Crying” are a pair
of splendid slow blues with lots of room for the
musicians to stretch out. The album also features
two excellent covers that will be familiar by title
(Son House’s “Death Letter Blues” and Muddy Waters’
“Can’t Be Satisfied”), but not so familiar in
presentation. The House number gets a Southern Rock
renovation and the band kicks up the tempo several
notches on the Waters classic.
Little Boys Blue’s Bad Love will definitely
satisfy those fans of Southern rock and blues who
are yearning for some powerhouse guitar, soulful
keyboards, and downhome harmonica and vocals.
--- Graham Clarke
Dirty Southern Soul is not only the title of the
new release from Stolen Hearts, but it’s also
an appropriate description of their music. This
Carolina-based duo (Pam Taylor – guitar and vocals,
Robert Johnson, Jr. – bass, guitar, mandolin, and
vocals) blends Southern rock, country, soul, jazz,
folk, and first and foremost, the blues. It’s a
heady mix for sure, and all of these styles face
front and center on several of the disc’s dozen
tracks, 11 penned by the couple and one cover that’s
worth the price of admission by itself.
The
highlights are many, ranging from the rocking
opener, “The Dream” to “Carolina Days (Bootsie’s
Song),” which moves in a more countrified direction.
“Do You No Harm” is a catchy country blues, and “All
I Got Left” is an easy-flowing traditional-styled
blues. The funky “Werewolves (Make Lousy
Boyfriends)” is a distinctive change of pace with
its fuzz-drenched guitar and a bit of psychedelia.
“Bring Your Love” mixes blues and soul quite
effectively, and Taylor’s sweet “My Johnny” is a
tune that you might be hearing on the radio soon.
Johnson’s mellow vocal on “C’mon Baby (I Got Your
Shoes)” helps make this track a standout, one of my
favorites on the disc. “Ain’t No Man” is a defiant
country rocker, and the sizzling “Boy They Gonna Own
You” is as fine a piece of Southern rock as you may
hear this year.
The
disc closes with two live bonus tracks that should
make listeners want to catch this duo in a live
setting. Taylor’s “Already Alright” is a solo track
with her singing and playing acoustic guitar. It’s a
beautiful track with loads of soul. The closing
cover of “I’d Rather Go Blind,” however, is the
track you need to hear. With a masterful vocal from
Taylor, James Pace’s swirling B3 in the background,
a sweet guitar break from Johnson, and powerhouse
sax from Mike Taylor, this amazing cover sums up
Dirty Southern Soul perfectly --- both the style
and the album itself.
--- Graham Clarke
The Jimmys are one of Wisconsin’s finest bands,
combining old-school R&B, blues, soul, and swing.
Together since 2008, The Jimmys include
vocalist/keyboardist Jimmy Voegeli, guitarist Perry
Weber (Hubert Sumlin), dummer Mauro Magellan
(Georgia Satellites), bassist Johnny Wartenweiler,
and the Amateur Horn Stars (Darren Sterud –
trombone/vocals, Pete Ross – saxophones, Mike Boman
– trumpet). They’ve brought home the Madison Area
Music Award for Blues Artist of the Year three years
running.
The
Jimmys’ latest release, Hot Dish (Brown Cow
Productions), is red hot and ready to show listeners
what the fuss is all about. From the powerhouse
horn-fueled opener “Lose That Woman,” to the
mid-tempo blues “You Say You Will,” to the funky and
soulful “Freight Train,” to the irresistible swing
of “I Wonder,” it’s obvious The Jimmys mean
business, and that’s only the first four tracks.
Other standout tracks include the Lone Star swinger
“What Gives,” “What Chur Doin’” “Wrecking Ball,” the
slow burner “Saddest Man,” and the riproaring “She’s
Wild.”
The
band’s musicianship is first-rate. Voegeli’s vocals
fit well with the diverse set of tunes and he’s a
wizard on the keyboards. Weber is a force of nature
on guitar and the rest of the band go together like
peas and rice. Their talents are on full display on
two excellent instrumentals: “Funk Schway” and
“Jacqui Juice,” both of which move seamlessly
between funk, Memphis soul, and jazz.
Hot Dish is a fantastic set of tunes that will
please any music fan who digs the blues or swing or
old-school R&B. It’s a safe bet that The Jimmys will
be widening their fan base beyond Wisconsin pretty
quickly based on this release.
--- Graham Clarke
The
slide guitar maestro fronting Michael Messer's
Mitra has achieved phenomenal success in a
career spanning over 30 years, with several award
winning albums, extensive international tours and
even his own range of resonator guitars. Michael is
often cited as one of the top 10 all-time great
slide guitarists, but he is also a superb vocalist,
songwriter, renowned producer and gifted tutor. He
often speaks about “the big world musical influence”
of the blues and this has been put into practice
with his latest collaboration, Call Of The Blues
(Knife Edge Blues).
On
this new fusion album, Messer joins forces with
Hindustani classical musicians Manish Pingle on
Indian slide guitar (the Mohan veena) and tabla
player Gurdain Rayatt. Pingle’s rhythmical, silvery,
strings enhance the vibe of the blues, starting with
Mississippi Fred McDowell’s "You Got To Move." The
ethereal water bubbling background sound of the
tabla intensifies the mood of "Lucky Charms." Messer
excels with brilliant lap steel technique on the
traditional "Rolling In My Sweet Baby’s Arms" and
the beautifully arranged instrumental "Sweetheart
Darling."
The
only double tracking on this otherwise live studio
recording re-creates perfectly the vocals of the
original JJ Cale classic, "Anyway The Wind Blows."
Messer’s vocals throughout match the emotion of the
songs, exemplified by Terry Clarke’s "Blue Letters."
"Bhupali Blues," penned by the trio, and McDowell’s
"You Gonna Be Sorry" are where eastern and western
cultures and music blend seamlessly. Michael’s blues
roots run deep in "Rollin’ and Tumblin’’ and "I
Can’t Be Satisfied," both master classes in
bottleneck style guitar.
The
CD’s ten tracks take the listener on an
inspirational, unique journey to the Ganges Delta
without losing the authenticity of rural blues.
--- Dave Scott
Diane Blue has been recording under her own name
for at least ten years and her voice has been
highlighted on a few Ronnie Earl recordings
("Father’s Day," "Just For Today" and "Good News").
She won the Massachusetts Blues Challenge in 2010
and has won numerous music awards in Boston. In
addition to her powerful vocals, she is a fine
harmonica player.
Great players fill the grooves on Blues In My Soul
(Regina Royale Records), but it is unquestionably
the singer’s record. The opener, "That’s What We
Call The Blues," benefits from Ronnie Earl’s
sizzling guitar and the rock steady rhythm team of
Jesse Williams (bass) and Lorne Entress (drums), but
it swings most mightily from those dynamic vocal
cords. Her take on Nina Simone’s "Do I Move You" is
a knockout vocally and instrumentally. On Bobby
Womack’s "Nothing You Can Do," she shares the mic
with Boston’s Queen of the Blues, Tony Lynn
Washington.
Dave Limina’s piano and Earl’s guitar are prominent
on Lil Green’s sex blues classic "In The Dark."
Diane lives up to her surname and there are chops
galore from all involved. Bobby Gus is the guitarist
on "I Love Your Lovin’ Ways," a medium tempo blues
rocker. He splits guitar work pretty evenly with
Earl. Blue’s original tunes stand solid next to the
classics.
"Someday Soon" has a gospel-ish organ intro from
Limina (“someday soon/all my cares will be washed
away/someday soon/its gonna be a brighter day/I’m
gonna see the sun come shining through/someday
soon”). Her harp is throaty and full and the horns
are tight. Her "I Can’t Shake You" again benefits
from organ and Ronnie Earl’s guitar, setting the
scene for the deep blues. She sings “I feel numb/and
I feel tired/and I ache all over on the inside/I’m
so lost/and I’m confused/everywhere I turn there’s
memories of you/I can’t shake you.” Gorgeous blues.
On
her rollicking "Man About Town" and balladic "Cry
Daddy," her songwriting is equally impressive. Other
standouts are her version of "Soulville," with great
horns and B3, a very powerful take on "Today I Sing
The Blues" that brings to mind the young Aretha
Franklin, and "Day and Night," propelled by harp and
bass with a metronomic drum.
More than just solid, this is a calling card for a
woman who needs your ear for a bit. Outstanding.
--- Mark E. Gallo
Luther 'Badman" Keith has been a fixture on the
Detroit blues scene for 20 years or so. The inner
sleeve for his new effort, Bluesmen Are Kings
(BMB Records), features a photo of Keith with Luther
Allison at the Soup Kitchen in 1983 when he was an
aspiring 16 year old guitar slinger. He’s been at it
with gusto since. Surrounding himself with ace
players, his guitar work is impressive throughout.
"Last Call For The Blues" speaks to his B.B. King
influence. Beautiful lines accented by horns from
Billy Furman (sax) and Mark Croft (trumpet). "Muddy
Waters Blues" shows off his slide work. Furman blows
harp, drummer Todd Glass keeps time with bassist
Alex Lyon. He sings of having Willie Dixon on his
mind, although this is pure Detroit blues. "Blue-B-Que"
has more than a taste of James Brown’s band in the
groove. The horns and rhythm nail it.
"Bluesman Looking For Love" is enhanced by the horns
and Jim David’s excellent B3. Luther sings, “I put a
ring on your finger, you put a ring in my nose/if we
stay together our love will surely grow.” He sings
of “The Detroit blues/coming down on me so strong”
on "Detroit Blues" while burning guitar. He’s
definitely an ambassador for the Detroit sound. “I
still love my city/I know one day it will rise/until
that day comes/I ask myself why?”
"Omelet" is a fun song about breakfast with an
attitude in a play on words (“I’m a lettin’ you go…
I’m tired of your sausage and ain’t crazy about your
jam”). David’s piano work is stellar as is Glass’s
drumming. His driving guitar work on the title cut
is superb. "Wow Oui Ole" (“The way she talks makes
me go oui/the walk she walks makes me go ole/I get
so excited every time she comes my way”) is a
classic r&b rocker that begs for a dance floor.
"Mojo
Son" is one of the standouts here. He sings, “My
daddy was a mojo man/mama did voodoo” to the
rhythmic accompaniment of Furman’s harmonica. More
fine guitar shines here. Keith’s vocals are more
shouted than sung, but they’re always strong.
The
songwriting here is generally clever and the guitar
playing is always impressive. Well done, Badman.
--- Mark E. Gallo
I've
reviewed many other Wolf releases in past Blues
Bytes issues, calling the Austrian label a tireless
documentarian of the blues and especially Chicago
artists. This non-exclusionary approach can result
in some of their releases not always being up to par
with the rest of their vast catalog, but this latest
compilation, Classic Chicago Blues, rises to
the top with outstanding previously unreleased live
performances by Chicago stalwarts Bonnie Lee, Nick
Holt and Earl Howell. This baker's dozen of gritty
Chicago blues tunes was recorded on various tours by
Magic Slim & the Teardrops from 1990 to 1996. It
goes without saying that the Teardrops were one of
the best backing groups of that era, especially with
the exemplary John Primer on lead guitar, so of
course the accompaniment behind the three singers is
as good as it gets.
The five songs featuring
the vocals of the woefully underappreciated Ms. Lee
are the standouts here, all recorded in 1992 on her
tour to Europe with the Teardrops. The CD kicks off
with her signature tune, "I'm Good," featuring a
fine introductory guitar solo by Primer before Lee
comes in with her powerfully confident voice stating
that she indeed is very good. Equally strong is her
performance on the up-tempo blues shuffle, "Tryin'
To Make A Livin'," which contains more exquisite
blues guitar riffs from Primer. These two just work
so well together that it makes you wanting to hear
more collaborations from Lee and Primer.
Lee really puts extra
oomph into her vocals on the Big Joe Turner classic,
"Wee Baby Blues," invoking the spirit of the best
blues shouter ever. The band increases the tempo on
this number a bit, making it a little more chaotic
than the original and giving Primer still more
chances to show off his guitar chops. Lee follows
that one with the mid-tempo but equally powerful
number, "Rock Me Baby."
The last of Lee's
contributions to this collection is an energetic
cover of Jimmy Reed's "Baby What You Want Me To Do."
It's easy to hear the audience getting
enthusiastically involved as she powers out the
familiar choruses of this blues classic. As on every
cut here, Holt and Howell provide steady backing on
bass and drums, and of course Primer comes in
mid-tune with a killer guitar solo.
While Lee is the real
star of this collection, that doesn't mean that the
tunes featuring regular Teardrops members Holt and
Howell are any less enjoyable. Holt doesn't have the
same vocal qualities as his more famous brother
Magic Slim, but he acquits himself well the five
times he stepps up to the mic. Holt's vocal style is
a bit one-dimensional with a powerful "marbles in
the mouth" sound that works better on slow blues
tunes, including his own composition "You Better
Watch Yourself," Deadric Malone's "As The Years Go
Passing By," McKinley Mitchell's "The Town I Live
In," and the medley "Strange Things Happening / One
Room Country Shack." Not as successful is his
sometimes off-key singing on the mid-tempo "If It's
Too Late."
Howell is a crude singer
but with projection to his voice, and it especially
works on two Jimmy Reed covers --- "Come On Baby,
Help Me To Spend This Gold" and "Baby, Don't Say
This No More." The former features a scintillating
slide guitar solo from Primer that shows off still
more of this fine guitarist's versatility. Rounding
out Howell's contribution to this disc is an
elongated slow blues, "I Cried Like A Baby."
Classic Chicago Blues
is an apt title for this CD, as that name pretty
much describes the music contained here. You'll come
to this particular show for the Bonnie Lee and John
Primer collaborations, but won't be disappointed
with the Holt and Howell contributions.
--- Bill Mitchell
