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BluesArtStudio
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11/2005
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 JON AMORBall & Chain own label - order at website www.jonamor.com A few years ago, singer and guitarist Jon Amor was the leader of the powerhouse blues rock trio Amor, who were hailed as one of the brightest lights on the UK blues scene before their untimely demise. Jon resurfaces now with this five track CD EP, which includes a couple of the poppier items which so divided Britain’s blues critics (audiences never seemed to mind), but opens with a tough, driving and inventive slab of blues-rock, which also features Robert Plant on harmonica, and closes with a couple of bluesy solo acoustic numbers, reworkings of the Supremes’ ‘My World Is Empty Without You’ and the title track of the last Amor band album ‘Even After That’. The purists will have guessed by now that this is not for them, but followers of the modern UK blues scene will want to check this out. Norman Darwen |
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KEVIN MARK Rolling The Dice Blue Hog BHP001 The province of Quebec has a treasure trove of undiscovered blues artists. Although many of them have been performing and recording for years, most are not known outside of the province. One example is the venturing Kevin Mark. With a full bodied guitar and a considerable voice, Mark is a big man with a big sound. He requires a lot of band behind his powerful guitar. Seven musicians support him on his 50-minute sophomore release. The three man horn section (Little Frankie Thiffault, Mario Allard, and Paul Nedzela) seem to be having a blast, and they do more than simply provide fills. Throughout, Michael Fonfara’s skillful keyboards tingle away in the background courtesy of Jack de Keyzer’s adept production.  Like most of the songs So Blue Without You bops and swings with lively horns and expressive piano. Mean Mistreater comes with a hint of rhythm from Mustang Sally. Big Blue Cadillac combines the past times of music, cars, and sex. The lyrics of I’m So Broke contain many clichés, yet they are entertaining. You will enjoy this party song about a sad situation. The horns acquire Memphis soul on Searching For My Baby. The song is one of the album’s highlights as is Thiffault’s vibrant sax solo. Laurier Gagnon adds Hound Dog Taylor like slide guitar to You’re So Mean. These 13 songs (including 11 Mark originals) contain material to get you out on the dance floor. Ball room dancers will especially enjoy I Want You To Be My Baby. Although swing music (like any genre) has its limitations, the powerful tone of Rolling The Dice is sure to establish Mark as a triple threat (singer, songwriter, guitar player) on the Canadian blues music scene. Tim Holek |
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Artist: The Moochers Title: Play the Game Label: KLATECD005 Mat Walklate; vocals, harmonica and his chums in The Moochers, Andy Pyatt; guitar, Bo Kirton; bass, and Chris Wharton; drums, are joined by; Ian Lewis; Hammond organ, Paul Pinkham; piano, Andy Parks; tenor sax, Dave Roberts; baritone sax, Dave Pickles; trumpet, Dave Lunt; guitar, and last but by no means least Helen Pugh, on backing vocals. Together produce a very tight and rockin’ fourteen track self penned blaster which encompasses all aspects of goodtime Blues and R’n’B. The Moochers have created a very, very rich New Orleans/Texas mixture as strong as The Fabulous Thunderbirds /Blasters have created in the past. A cricket ball bouncing, bail spinning sound; solid air punching brass, backing a crisp, funky, fuzzy, hip-swivelling ferocious guitar; closely following behind barking, harking vocals and rasping harmonica. Stop reading this, go out and get it! Mucho, mucho Impressto! Brian Harman For more information go to: http://www.matwalklate.co.uk |
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Artist: The Boogaloo Investigators Title: Dynamighty! Label: Saagaloo Records SAAGCD001 This is the time to find yourself a three button mohair suit, button down shirt and dancing desert boots; to groove to one of the most exciting and satisfying exponents of sixties Hammond organ driven R’n’B, Blues and Soul bands that I’ve heard for quite a while. The roots/elements of James Brown, Small Faces, Spencer Davis, and Georgie Fame are all evident in this Glasgow City, Scotland born and bred band. B.I. are fronted by Richard W. Rinn; on vocals and harmonica, firmly in the driving seat is Iain McLean; on Hammond organ, with Duncan Kennedy; guitar, Jim Cox; bass, and Gary Woodside; drums, solidly completing this tight, fit R’n’B unit. The numbers here are scene setting, foot-tapping, mod movers; ranging from slow harmonica /organ led blues inflected moochers to fast paced soul / R’n’B, stompers. Although we may not have been around for the original sixties R’n’B boom the B.I. is keeping the sound alive for all of those who care! (The band have informed me that they are changing their band name to the 'Five Aces' for future albums.) Spot on target! Brian Harman. For more information go to: http://www.boogalooinvestigators.co.uk |
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ZOOT MONEY & The Big Roll Band A Big Time Operator Castle Music CMDDD1219 (2-CD) www.sanctuaryrecordsgroup.co.uk The name of singer/organist/ bandleader Zoot Money will always be associated with the hip club scene of swinging sixties London. At the same time as John Mayall was pursuing the sound of the pure blues, many others were serving up a hot and spicy dish of blues, R&B, soul, jazz and pop - and foremost among them was Zoot Money. The forty titles here include many songs recorded live, with influences ranging from Ray Charles and Stevie Wonder over to BB King, Earl King and Johnny Fuller in one direction, Robert Parker, Big John Patton and Ramsey Lewis in the other. Listen to these titles and the Sue Records (UK) catalogue suddenly comes to life - and that is no coincidence, as the label was supplying music to the same people who made up Zoot’s audience. In the title track, there is even a bonafide sixties chart hit - if only a minor one. These live titles were recorded in 1966 but only first released around the end of last century. It has to be said though that the recording quality is excellent and the performances both exemplary and exciting. To pad out the playing time, six solo titles from the early seventies are appended, and these are a disappointment in comparison to what preceded them; they are fairly typical singer/songwriter items, though the rocking cover of ‘Six Days On The Road’ is bluesy enough. Rounding out the set are further live performances, four titles from the 1995 Alexis Korner Memorial Concert - quite fitting as Zoot was briefly a member of Blues Incorporated and indeed, Korner’s old vocalist Herbie Goins sits in on the ‘66 version of ‘Stormy Monday Blues included here - and for these titles Zoot opts for a big band approach which works extremely well. Zoot of course continues to be active on the blues scene - check out, for example, the excellent recordings he made with vocalist Ruby Turner recently re-issued on Ruby Turner - Suspicious Again - The Indigo Sessions 1996 -1998 (Castle Music CMDDD 1220) - but these sixties recordings are the sounds that made his reputation in the first place. As such, this CD contains a little piece of British blues history. Norman Darwen |
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ALVIN YOUNGBLOOD HART Motivational Speaker Tone-Cool/Artemis TCL-CD-51576 During summer festivals, I come across artists that I wasn’t entirely familiar with, who blow me away. This year the artists were Duwayne Burnside, Detroit Women, and Eugene ‘Hideaway’ Bridges. Rarely, does a CD stimulate as much as an energizing live performance. However, Motivational Speaker has got me hooked on Alvin Youngblood Hart. With similarities with Cream, The Cult, and Thin Lizzy, the music is heavy. It contains psychedelic and north Mississippi tones and rhythms. To no surprise, the core group is a power trio featuring Hart (guitar, vocals, and tambourine), Gary Rasmussen (bass), and Edward R. Michaels (drums). Hart penned seven songs and selected six choice covers including a rare Free B-side. Via an ultra modern mix of rock and blues, Hart pays homage to his personal motivators on his fifth disc. They include Johnny Cash, Jimi Hendrix, Sly Stone, and Leadbelly. “Shoot Me A Grin” is so cathartic; Hart would be wise to begin his concerts with it. “Big Mama’s Door (Might Return)” is reprised from Hart’s first CD. It combines North Mississippi Allstars noise with the immortal slide of Duane Allman. Here, it’s Audley Freed (Cry of Love, Black Crowes) who plays slide. Hart’s echoing vocals hearken back to the early days of ZZ Top. With heavy Led Zeppelin overtones, a screeching guitar solo accentuates the garage rock of the title song. New life is given to the old spiritual, “In My Time Of Dying”. It hypnotizes to the extent of altering your state of mind. The words aren’t always distinguishable, yet Hart’s voice is calming. While Hart switches to slide guitar, Freed works wonders on electric guitar. Power guitars attack the rhythm of “My World Is Round”. It reveals Hart’s “Reaction to everything that didn't go right with the Start With The Soul record”. Memphis soul, courtesy of propelling horns and Otis Redding, meet CCR during “Nobody’s Fault But Mine”. With field hollers, Howlin’ Wolf-like vocals, and a rebel yell, “When Can I Change My Clothes” combines the past with the future. The Allman Brothers Band will be envious their name is not associated with the daring southern rock instrumental “Shootout On I-55”. Here, Luther Dickinson snipes yet produces both guitarists to soar with masterful tone. In 2003, Hart was a member of JoB Cain, a hard rocking side project he put together with Audley Freed. The grunge-textured “Stomp Dance” is the only studio recording of the band. Two country and western songs seem out of place. Namely, they are Doug Sahm’s “Lawd I’m Just A Country Boy In This Great Big Freaky City”, which is similar to Hart’s own life experiences and Johnny Paycheck’s “The Meanest Jukebox In Town”. They prove that Hart, a devout maverick, can play any style of music extremely well. This certainly isn’t a blues record, but Hart considers it his “Baddest monkey zippa”. If you can’t think outside of the blues box, then you won’t enjoy the CD. Sure the heavy rhythms become repetitive, yet kids and baby boomers will love this hard rocking Americana. Hart’s youthful rage, abundant energy, advanced musicianship, expert production, and absence of musical complacency will have you yearning for more. While others ponder how to cross over, Hart continues to do so. Tim Holek |
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Carlos del Junco Blues Mongrel NorthernBlues If you associate monotony with the harmonica, Carlos del Junco will expand your correlations. On Blues Mongrel, he pushes the Mississippi saxophone’s limit via a series of animated originals and completely restructured covers. del Junco is difficult to compartmentalize, so this disc cannot be classified as any one particular genre. This ain’t the blues because it ain’t supposed to be. Like a pit bull that has gnawed through his leash, you can’t tie del Junco down on the title track. On Blues With A Feeling, del Junco mixes hurling harp with Kevin Breit’s grunge-like guitar. A highlight is the instantly likeable Don’t Bring Me Down with its superb vocal harmonies, sweet mandolin, and tame harp. Since he is all over the musical map, contains blues influences, and is innovatively progressive, Carlos del Junco, and the title of this CD, fits the NorthernBlues image to a tee. His 2nd positioned harp and fresh arrangements are fantastic. With richly textured guitar and songwriting skills, Breit contributes significantly to the CD’s success. You’ll get a real sense of Canadiana music, which contains an extensive mix of cultures and sounds. Tim Holek |
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Charlie Musselwhite Deluxe Edition Alligator Records ALCD 5612 Alligator began their Deluxe Edition series as a tribute to their long-standing artists whose longevity has prevailed the test of time. Born in Kosciusko, Mississippi in 1944, Musselwhite grew up poor in Memphis. His first blues educators were local stars from the ’20s and '30s such as Furry Lewis. After a brush with the law at age 18, for running moonshine, he headed to Chicago in search of better employment. While living in the South Side ghetto, Musselwhite sat in with the greats of Chicago. He was tutored on harp by Big Walter Horton, and made his first recordings with him. Musselwhite broke onto the national scene with his 1967 debut album Stand Back! He ended up moving to California, but has spent most of his life on tour. Over his 40-year career, Musselwhite has recorded more than two dozen solo albums for various labels. Only a smidgen of his much-admired musicianship is sampled from his three Alligator albums which were recorded between 1990 and 1994. Still, you hear his Deep South influences (especially in his traditional acoustic guitar), probing and jazz-influenced harmonica, and overall laid-back sensibility. Each of the 12 previously released tracks, including nine Musselwhite originals, on this 62-minute disc have been re-mastered. Musselwhite has lived a hard-life and his melancholic voice reflects it. He is a far more confidant with his songwriting and harp/guitar playing. Musselwhite plays his sensational mouth organ like a freewheeling piano man barreling up and down the 88s on “River Hip Mama”. The tempo of “Mean Ole Frisco” rocks and rolls like a bone-rattling train. Here, the guitar, bass, and drums are so intertwined, they roll along oblivious to Musselwhite. “Blues Got Me Again” relaxes as much as it provokes. As if he is in deep conversation with his best friend, self-reflective lyrics about personal battles like “I get to thinking about everywhere I been / blues don’t care where you’re going / don’t care where you been / thinking about a wasted life of women, wine, and gin / looks like blues done got me again“ are delivered. The autobiographical “The Blues Overtook Me” has an engulfing impact, musically and lyrically. Whether you are new to the blues or a converted supporter, you’ll relate to its lyrics like “blues made me drunk”. “When It Rains It Pours” is full of high ka-rumba. Here, the shrill harp is on the verge of eardrum piercing. “Movin’ And Groovin’” is a jam tune that features drum and bass solos. On it, Musselwhite’s wistful Mississippi saxophone carries your troubles away like a brisk wind. A full and brazen brass section features on “Mama Long Legs”. On “My Road Lies In Darkness”, Musselwhite gives a hint of his bleak side which was to come out on his non-Alligator albums. Musselwhite’s treasured musicianship is equaled on many tracks. The Blind Boys of Alabama add their unrivaled vocal harmony on “Bedside Of A Neighbor”. Andrew Jones Jr.’s masterful guitar is heard throughout while Gene Taylor’s greasy piano is stellar on “If I Should Have Bad Luck”. Also included is an unreleased track from the In My Time sessions and a rare acoustic recording of Musselwhite accompanied by mentor Will Shade of the Memphis Jug Band. Unlike his most recent work, the focus here is strictly on the blues. Tim Holek |
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CHRIS BEARD Live Wire NorthernBlues NBM0028 The word prince means a non-reigning male member of a sovereign family. If you think of a prince, you’ll think of lavishness. Prince Of The Blues is a fitting moniker for Rochester, New York’s Chris Beard. He is the son of blues guitarist Joe Beard, and was raised on Motown, Stax and plenty of rock music. The prince picked up the guitar at age five, and by 15 was working steadily in Cameo. He freely admits, “My blues has the modern feel of soul, funk, and rock. I never stray away from the blues too much, it is always at the foundation.” His third CD contains 73 minutes that is equal in live and studio cuts. Beard handles lead guitar, rhythm guitar, and vocals. Additionally, he contributes five originals, but the superior songs are covers by Chris Cain, Dennis Walker, Luther Allison, and Lucky Peterson. There appears to be intense energy present on the live recordings, but audio alone can’t capture it. Beard takes the stage on “Born To Play The Blues” with a brazen guitar. “Tribute to Luther Allison – part 1” begins with a sizzling four-minute guitar solo where Beard is backed by his band. The solo pays homage to Allison and B.B. King. The consistency of this live song, and others, is ruined due to being broken into multiple parts. As if taken from a live radio broadcast, where the commercials have been edited out, the live tracks end abruptly. “Its Over – part 3” is a prime example. This “song” is simply a two-minute bass solo that disappears into oblivion. A high point exists on “Caught Up.” You won’t find finer contemporary blues than this. Instead of featuring Beard’s all too common in-your-face guitar, the band is showcased. On this song, and a couple others, Alan Murphy’s keyboards are out of the ordinary. The studio recordings carry substance. The aggressive force from the live cuts is left behind. The result is the band performs like a unit. The songs, arrangements, vocals, and production are all top-quality in the studio. “Street Of Broken Dreams” is a deep soul/funk song with commendable horns. The dramatic “Never Felt No Blues” contains a sentiment we have all experienced whether it has been brought on by partners, jobs, or kids. “Lock My Dreams” is a modern soul classic. The best song, the Joe Louis Walker-style “Can’t Walk Away,” contains rhythm that oozes like oil. Essentially Live Wire is a tale of two tales. The live material lacks essence, and contains inadequate sound quality. The pulsating studio tracks leave you feeling Beard is stronger in the studio than on the stage. Tim Holek |
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Downchild Come On In Downchild Music Just like a cup of Tim Horton’s coffee, The Downchild Blues Band is authentically Canadian. They emerged in 1969, and since then, the band has played close to 7500 gigs. Only Donnie Walsh (harp/guitar/songwriter) survives from the original lineup. Many years after inspiring the Blues Brothers, Downchild is as active as ever, celebrating their 35th anniversary. These non-traditional, jump blues specialists have always combined danceable, lovable music with witty lyrics. Part of their staple stomping sound includes a punchy horn section which knows, how and when, to blast effectively. The band has been a constant, revolving door, for more than 75 musicians who benefited from the band as a training ground. This 62-minute, 13 track collection is their first album of all-new material in seven years. 12 of the tightly arranged songs were written by Walsh while singer/harpist Chuck Jackson contributes one. Instantly, you are attracted to the new songs. The title track is a standard Downchild song that bops, is fun, makes you dance, and has a catchy rhythm. On it, Walsh’s exhilarating slide guitar is steeped in southern blues while Jackson’s deep voice entices you to (“Come on in, out of the blues.”) The positive effects of listening to blues is proclaimed on There’s A Blues Band There. Travel back in time, to those high school gym dances, on Tonight I Want To Dance With You. How Long contains a twirling organ solo plus a joyous alto sax solo. Cotton In My Ears showcases Walsh’s mastery of the harp. When you hear their upbeat, lighthearted music, you may be fooled into thinking life has been a wild party for these guys, especially Walsh. This is not so, as Scars attests to with a melancholic melody and pensive lyrics like: (“No pain no gain I’ve heard it said / If that were the truth I’d be better off dead.”) Droppin’ Like Flies is also out of the band’s usual character. It is a song that confronts death with a mysterious and frightening sounding organ. Although the words do not mention the deaths of former band members Jane Vasey, Hock Walsh, Tony Flaim, and John Witmer, these and other tragic casualties are detailed. With an ultra-funky organ, Now You’re Hooked sounds like Booker T. & The MG’s. The song is reprised as the instrumental, Cruisin’, at the disc’s conclusion. Come On In features a few friends the band has made over the years, including Tom Lavin and Pentti Glan. You don’t need to read the credits to know which songs the guests appear on. James Cotton’s wailing harp is instantly recognizable on the independent album’s most bluesy song, Sad Sad Day. It sounds just like Ivory Joe Hunter’s I Almost Lost My Mind, and was recorded in 1999 whereas all others were made in 2004. Gene Taylor wildly sways his keys during Jump Right Up. Jeff Healey lays down heavy guitar licks while David Gogo rocks out on A Garden In Her Front Yard. The secret ingredient to the band’s enthusiastic sound on this album is Michael Fonfara’s swaggering piano/organ. Like good punctuation, he is always there, filling out the sound by keeping the rhythm and momentum going. This isn’t 12-bar blues, it’s blues-based rock and roll. Walsh’s song writing tends to favour sounds that make you want to dance, laugh, and party. So come on in, listen, have a good time, and relax. Take away your troubles and cares. That’s all that matters to these guys. Tim Holek |
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Duwayne Burnside And The Mississippi Mafia Under Pressure B.C. Records Duwayne Burnside blew me away with his beguiling live performances this summer. He is one of the best young “real deal” blues guitarists and singers that I have seen. His second CD is fittingly dedicated to his father, R.L. Burnside, who passed away in September. The raging disc contains 8 Duwayne Burnside originals and 2 covers including one by R.L. Recorded in Clarksdale, Mississippi, the music is raw – just like the land and social climate from which it came. The title track features a repetitive and powerful grunge-like rhythm, but as throughout it is the turbulent guitar that is front and center. Gotta’ Pretty Woman creates a deeper blue haze than Pink Floyd’s Dark Side Of The Moon. In the end, Burnside’s Cry Baby pedal will either drill itself into your brain or cause you to tune out. Though the fiery CD could have benefited from stronger production, this ain’t supposed to sound pretty, so what do you expect? Burnside kicks the blues in its proverbial ass and he couldn’t care less. It’s at times like these that I feel the future of the blues is safe. Tim Holek |
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HENRY GRAY AND THE CATS Live In Paris Lucky Cat 1004 When American blues bands land a gig in Paris’ Le Meridien Etoile Hotel’s chic Lionel Hampton Jazz Club, it is a feather in the band’s cap. For many, it is a career highlight. On March 27, 2003, Henry Gray And The Cats performed there and it was captured on DVD and CD. No one can play traditional blues better than seasoned veterans, who were raised on it and who have lived it. Henry Gray hails from just outside New Orleans. At the age of eight, he began to demonstrate his talent on piano. In 1956, he joined Howlin' Wolf’s band and remained there until 1968. Gray is considered by many as one of the best living exponents of the Windy City piano blues style. The Cats include Paul “Lil’ Buck” Sinegal (guitar), Brian Bruce (harmonica), Earl Christopher (drums), and Andy Cornett (bass). Overall, they are a timeless band that still gets dressed up for their performances. Gray may not know many chords, but he and his Cats are a class act and the real deal when it comes to the blues. The sole Gray original, “Showers of Rain” is performed like a group of guys half their age. Here, Henry lays down some of his signature upper registry notes. Gray’s vocals are weathered and dampened on “It Hurts Me Too” but his piano is a pummeling barrelhouse. “Lil’ Buck”’s smooth guitar is perfected and so unobtrusive that it distinctively stands out. Obviously, the band is having a blast during “Sweet Home Chicago”. Gray’s bass notes and Buck’s riffs fit together like a glove on a stomping rendition of “Rock Me”. Though Gray cannot recall all the lyrics to “Key To The Highway”, it is valiantly performed by request. With just brief pauses in between the 14 songs, there is minimal interaction with the crowd as one song blends into another. Six of the songs are also present on Gray’s Live – Blues Won’t Let Me Take My Rest CD from 1999. All but one of the 14 tracks are covers. Keep in mind that this film/recording was made and produced for a European audience. The band has distribution rights, but didn’t get a chance to select the material. On top of this, the crowd seems real subdued and almost sedated – the clientele looks more interested in the martinis than the blues. The hidden treasure here is renowned Louisiana guitarist “Lil’ Buck” Sinegal, who spent many years in the bands of Clifton Chenier and Buckwheat Zydeco. Sinegal is credited as a sideman on over three hundred recordings in each decade since the 1950s. Overall the piano, harp, and guitar are dazzling, yet no one needs to showboat. The musicians aren’t allowed to detract from the band, which keeps the focus on the songs. They are all experienced musicians with a solid sense of timing. This CD/DVD has captured some house rocking American music, which is to be treasured as it is a dying entity. Blues, R&B, and old time rock ‘n’ roll fill the 55-minute disc. There isn’t a bulk of diversity in these songs. Yet you will cherish them for their open-ness, honesty, and authenticity. This is some of the best traditional blues I have heard since listening to Willie Smith’s Bluesin’ It CD. For further info, refer to http://www.luckycatproductions.com http://www.henrygray.com Tim Holek |
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Hubert Sumlin About Them Shoes Tone-Cool/Artemis Hubert Sumlin is best known as Howlin’ Wolf’s lead guitarist. The sessions for this relaxed album were recorded five years ago. However, label and guest artist (especially Keith Richards) problems prevented a timely release. On About Them Shoes, Sumlin dishes out authentic and electric Chicago blues with a host of guest blues and blues/rock stalwarts. Sumlin, now in his 70s, was an inspiration to many of the guests. One Sumlin original exists on this 54-minute disc. The other 12 songs were written by Muddy Waters or Willie Dixon. Taken individually, the tracks are distinguished. When compiled into an album, they are too similar and become tedious. Eric Clapton begins on a high. His aging voice is well suited for I’m Ready. Later, he leads Long Distance Call through almost perfect execution. Keith Richards ruins Still A Fool and Bob Margolin needs to stop imitating the same Waters guitar lick. Throughout, Paul Oscher’s harp is revering and Maxwell’s piano is dazzling. When Sumlin gets the opportunity to solo, it is dignified, but too many others get in the way. Instead of re-hashing traditional Waters classics, current Sumlin originals would have been better. Living in the past won’t win a new audience for the blues. Hubert Sumlin is capable of better music than the material contained here. Tim Holek |
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JOHN MAYALL & THE BLUESBREAKERS Road Dogs Eagle Records ER 20069-2 John Mayall has been living on his past merits for years. Although he has resided in the States for half his life, he will always be acknowledged as the Godfather of British Blues. Mayall is known best as a blues-rock pioneer, who turned on new generations to the blues. It is quite something that he is still going strong after all these years. This adds to a legacy which will be more remembered than the majority of his recordings. Like so many of his idols, Mayall proves he too can be a force while in his senior years. On his 55th album, Mayall performs snazzy piano, melodic harmonica, and earthy guitar on 15 songs. He authored 13 of them. His dauntless, all American Bluesbreakers include Joe Yuele (drums), Buddy Whittington (guitar), and Hank Van Sickle (bass). Throughout, Tom Canning assists on organ. His songs’ lyrics have value, but Mayall’s unsubstantial vocals, as always, lack depth. The songs are about paying tribute to blues greats, searching for answers, and depicting a grim but accurate view of our world. The glitzy high life of rock stars is denounced on the title track. Here, the more favored modest bluesman life is described. The song’s heavy rhythm collides with Whittington’s sparkling slide. “Short Wave Radio” answers the oft asked questions regarding Mayall’s start in the blues. The melancholic and thought-provoking “To Heal The Pain” gets philosophical. Here, Dale Morris Jr contributes poignant violin. “Burned Bridges” has a rudimentary beat and strong scruples. A fabricated flute (courtesy of Mayall) resides at the island paradise known as “Kona Village”. Natural disasters abound on “Beyond Control” which features a synthesized brass section and Whittington’s rhythmic power chorded rock guitar. He takes over the vocals on “Awestruck & Spellbound”. Like so many previous Mayall guitarists, the song proves Whittington may be ready to fly solo – at an altitude above the mediocre masses. “Chaos In The Neighborhood” identifies a serious problem in our society. Proving that not all kids are rotten, Mayall assigns the song’s lead guitar duties to 14 year old sensation Eric Steckel. When your embryonic stage involves Eric Clapton, Peter Green, and Mick Taylor (just to name a few) further development can be a challenge. While Mayall’s consistent brand of brisk rock and reverent blues may not appease blues diehards and purists, it has enough kick and potential to maintain his loyal audience. Tim Holek |
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LITTLE MILTON Think of Me Telarc CD-83618 After nearly two decades with Malaco, Little Milton Campbell’s Telarc debut truly proves why he is a revered American musician. When I read, “this record is Little Milton at his righteous best”, in Art Tipaldi’s liner notes, I thought it was record label propaganda. But I was wrong. Ike Turner introduced Milton to Sam Phillips in the early ’50s, but Phillips was busy forming Elvis Presley. So, Milton moved to East St. Louis where his recording career flourished on Bobbin Records. Before he knew it, Chess Records signed him to their Checkers subsidiary. There, he registered hits from 1962 through 1971. Until 1975, he was a staple at Stax. From ’75 to ’84, he was with one fledging label after another. Little Milton Campbell possesses one of the last authentic soul/blues voices. On all 12 original tracks, his thick voice is the main attraction. Each song was written by Milton and has its own personality. Co-producer Jon Tiven co-wrote 11 of the songs. “Gonna Find Me Somebody To Love” features Milton’s absolutely commanding voice. It orders you to pay attention and give respect, while Jon Tiven modestly provides harmonica fills. With ultra-innovative rhythm, “Let Your Love Rain Down On Me” is contemporary and reflects deep spirituality. Soothing background vocals are provided by Scat Springs. “The Blues Is My Companion” is a deep blues song that displays Milton’s signature single-string guitar and Bruce Katz’s pensive organ. Unlike the previous hit “The Blues Is Alright”, this is not a sing-along, anthem-like song. Rather, it defines friendships as demonstrated between Milton, the blues, and his guitar. Jon Tiven’s fresh production, fantastic guitar tone, and admirable percussion control “Something Wonderful” as much as Milton’s honeyed voice. The song proves that soul music and R&B can be relevant in the contemporary world. With lyrics spoken as loving as a favorite aunt or uncle, the title track is sensitive. “Second Hand Love” contains the noticeable different guitar work of Peter Shoulder, who sounds almost psychedelic. The soul-injecting vocal delivery of “Gone With The Wind” naturally meshes with vein-grooving rhythm, making it the CD’s highlight. Lyrics such as: (“Time passes on / it never waits for anyone / much like you here and gone / once again I’m left alone”) reflect Milton’s dilemma. I’m convinced the success of this CD is due to Jon Tiven. By looking closely in the country’s backyard, Tiven has located a national treasure. Now, it is finally time for all of America, and the world, to experience what the southern U.S. chitlin’ circuit has known for years. 70-year-old Little Milton is an endangered species and the last of a rare breed. He is an American Idol who has recorded the soul/blues CD of the year, guaranteed.Tim Holek |
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Marcia Ball Live! Down The Road Alligator Marcia Ball has a signature brand of Texas blues, New Orleans R&B, roots rock and Gulf Coast swamp pop. On her first live album, recorded in 2004 at the Sierra Nevada Brewing Company in Chico, CA, her goal is to get her audience dancing. Half of the 14 songs are Ball originals. Her triumphant versions of Louella and Crawfishin’ have as much joy as kids opening gifts on Christmas morning. The Right Tool For The Job carries an extra catchy rhythm and an even catchier piano solo. That’s Enough Of That Stuff displays her Professor Longhair inspirations. Grandiose horns push the title track deep into Louisiana. A spine-shivering sax solo is performed on the lovely Louisiana 1927. The enraptured set includes three songs recorded for the first time. Just Kiss Me is a 1950s rock style ballad. Here, Pat Boyack plays bluesy guitar with gras tone. No Ordinary Woman contains a great tempo change. Every Day Will Be Like A Holiday should have been omitted. The piano and horns are louder than the other instruments that comprise the eight-piece band. Overall, this is 76-minutes of happy music that is full of bounce, energy, and boogie. Ball brings a flood of life to her 88s, while her unsophisticated singing is authentic and down home. This is brilliant roots music that isn’t made much anymore. No wonder Ball is one of Alligator’s most popular artists. Tim Holek |
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MEM SHANNON I’m From Phunkville NorthernBlues NBM0029 On his fifth release, Mem Shannon’s melodies contain funk, jazz, and rock. His guitar is loaded with the rarest sound to emerge in years. You’ll be stunned by his unique funky blues sound. NorthernBlues Music calls him, “One of our biggest signings to date.” For 15 years Shannon drove cab in the center of New Orleans’ French Quarter. Ten years ago he busted onto the music scene. Since then, he has enlarged the blues’ definition, and risen above pigeon hole genres. This is his first fully self-produced disc, and the production is fervent. Horns pump up the volume and tune the power, while Shannon plays icy guitar on “The Reason.” The piano prances up and down the keyboard, while the brass screams in the background on the jazzy “Swing Tiger Swing.” Here, you’ll experience New Orleans style trumpet and clarinet. The song is about Tiger Woods’ golf brilliance. “Perfect World” is sweet and succulent. The title track’s ten-minute hypnotizing rhythm will put you in a trance, or a slumber. Here, the organ is so free flowing and enticing, you follow it like a lost sheep. Shannon’s guitar solo is marvelous. Fans of jam bands and jam tunes will be ecstatic. The beginning of “I’ll Kiss A Pitbull” is ideal for late night soul radio. Later, the song segues into a funk groove with humorous lyrics. On “Battle Ground,” the fantastic guitars of Shannon and A.C. Gayden, Jr. fire enough ammunition to clear the combat zone. The trumpet is as powerful as the song’s lyrics like (“If I don’t hold on I’m gonna fall down / These days I’m walking real slow on shaky ground.”) You’ll question whether you are listening to the same record on “The Lights Of Caracas.” This nimble instrumental sounds performed by a Latino-influenced jazz guitarist, and an utterly brilliant pianist. The lone cover, “Eleanor Rigby” only works if you block out the Beatles version from your mind. Like a great “sleeper” movie, this CD may not initially be noticed. At first, Shannon struggles to maintain his energy and your attention. But, the songs start growing on you like swamp scum. Most of the songs get you deep into the groove first. Then, once you are comfortable, Shannon erupts into a controlled guitar solo, e.g., “No Religion.” There is not a lot of range in his calm baritone voice, but it integrates nicely with his jazz/blues fusion style of music. The end result is Shannon sounds as gentle and warm as your favorite disc jockey. This is not oppressive music. Rather, it is rich in diversity, and does an excellent job displaying the inner talents of this gentle giant. Shannon’s deep and thoughtful lyrics do not contain the typical “my baby left me” or “let’s get drunk” lines. Rather, they are well planned and come loaded with meaning. Where exactly is Phunkville? The lyrics indicate it is a place in Mem’s mind. Why not join him there for a little funk and soul? Tim Holek |
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RON SPENCER & JUMPSTART Livin’ Low Blue Wave #148 Having performed for more than 20 years, smooth guitarist Ron Spencer is no stranger to the Central New York (CNY) blues scene. During that time, he has been a member of several leading bands from that area. Spencer released his first CD in 1998 and formed Jumpstart in 2001. They backed Jimmy Cavallo on his The Houserocker! CD, and Spencer has been a guest on numerous Blue Wave releases. His initial concept for Jumpstart, “Was a ’50s R&B style revue. I’d use some of my favorite front men from CNY and back them up with a big band. We’d do some great songs from the golden era of the ’50s and ’60s, R&B, New Orleans rock ‘n’ roll, Kansas City jump. Kinda like Ray Charles and T-Bone Walker jamming together”. The four originals and the seven covers from the likes of Junior Wells, Little Milton, and Little Walter mesh nicely. What’s even more impressive is although Spencer recorded the songs over a period of four years with 17 musicians, they sound like they were pulled from the same single recording session. Those familiar with the CNY blues scene will recognize notable guests such as Blues For Comfort’s Matt Tarbell and The Kingsnakes’ Pete McMahon. Cavello adds vocals on one song and sax on two others. “Castle Rock” is an instrumental with marvelous horns. Spencer’s big fat guitar jumps out on the big band sounding “Have Your Cake”. Although only two saxophones are present on the cut, they sound like an entire orchestra. Later, on “I Didn’t Know” Spencer churns out ’50s style Chicago Blues guitar. The boppy “I Ain’t Mad At You” is loaded with big, big fun. You will sing along and clap along to it. The title track sounds like it was removed from the repertoire of Little Charlie and The Nightcats. It features scuffling drums and a piano that rolls without barrel housing. “Nothing Takes The Place Of You” transports you to the mid-’50s. Hearing the song makes you imagine a greasy-haired, leather jacketed rocker, singing to a swarm of teenage girls who ooh and awe. Think of the Frankie Avalon scene from Grease and you’ll get the picture. Sure, some of the five singers have more pitch and depth, but all songs have depth, the horns are sailing, and overall, it’s a revitalizing break from blaring guitar-based blues. Spencer is here to enlighten and entice your perception of the swing genre. His friendly, happy rhythms make your toes tap and your ears enliven. These guys will have you believing swing is the thing. This is one of Blue Wave’s better releases in a couple years. Tired of the same old blues? Let Ron Spencer jumpstart a cure. Tim Holek |
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Roomful of Blues Standing Room Only Alligator ALCD 4900 Roomful of Blues is a party band’s party band. On their 14th release, the eight member group sounds like a 1940s big band. Since 1967, Roomful has combined swing, rock, blues, and R&B. Back then, the band was started by guitarist Duke Robillard and keyboardist Al Copley. Three years later, a horn section was added. In 1977, their debut album broke them out of New England and into national attention. Robillard left in 1980 and over the years, the band was been home to at least 44 members. The current lineup includes a stomping three-piece horn section. They contribute significantly to the group’s swaying sound on this follow-up to 2003’s That’s Right. Throughout 14 tracks, (eight original numbers and six obscure classics from the likes of Little Milton and Lowell Fulson), they flaunt their renowned signature sound. Singer/harpist Mark DuFresne sounds like a modern-day Frank Sinatra. Since joining the group in 2002, DuFresne has ignited a return to the band’s roots. His classy vocals are a highlight on “The Love You Lost On The Way” and “Sufferin’ With The Blues.” The arrangement on the latter goes against the band’s core fabric. This makes it an extremely difficult number to pull off. Much of the credit for making the song work must go to DuFresne’s soft and precise voice. The disc begins with boundless energy. “She Put A Spell On Me” allures with interest. Immediately, you want to hear more. “Boomerang” combines the sounds of the Fabulous Thunderbirds and the Downchild Blues Band. Here, Chris Vachon’s hot rockin’ guitar is set atop a non-stop rhythm that is punchy. On “Just Keep On Rockin’”, the horn-laden band performs hopping sounds from an era gone by. “Straight Jaquette” is a slinky instrumental, like ones heard in old-fashioned vinyl record shops. Their dancing music makes you feel great. A couple of songs, (“Boomerang” and “Just Keep On Rockin’”) are worthy of Song Of The Year, and most should be played on radio. Roomful’s exciting sound is a welcome alternate to guitar driven blues. If you are looking to lose some of those extra winter pounds, put on this bouncing 50-minute CD, and shake them loose. Tim Holek |
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SATURDAY NITE FISH FRY Rhythm & Soul 7 Arts 0005 This five year old, nine-member group is the creation of Bill King, who is a multi-talented specialist. He has been music director for several divas. King continues to be a jazz broadcaster, producer, magazine publisher, and accomplished photographer. The novel material, on their second CD, is from the past. 12 cover tunes were selected from little known record labels and performers. Combining rhythm and blues, blues, and a couple originals, the result is a tribute to a past era of American music. Although a similar format can be heard on all tracks, each tune moves your feet and exposes your soul. The tremendous new lead vocalist, Shakura S’Aida, proves to have been a great find. Thus, King keeps his uninspired vocals to a minimum. A four-man brass section is used to enthusiastically carry the rhythm and ensure it takes flight, while King’s piano soars. Throughout, the horns provide bounce, the piano provides purpose, and the vocals provide assertion. You’ll be overjoyed to hear ’40s and ’50s big band music still being made, and mystified how well this group performs it. Tim Holek |
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SHEMEKIA COPELAND The Soul Truth Alligator ALCD 4905 At 26, Harlem, New York’s Shemekia Copeland has already had a lifetime worth of awards. By the time she was 16, she had joined her father, Johnny Clyde Copeland, on his tours. Since her unforgettable debut in 1998, she has received accolades everywhere. Her fourth release was fashioned by Steve Cropper, legendary Stax guitarist/songwriter/producer. He contributes the same three skills for Copeland and the result is magnificent. Together, they have selected the most robust songs of her career. How could you go wrong with songs written by the likes of Cropper, Gary Nicholson, Fred James, Tom Hambridge, and Eddie Hinton? There are no screeching guitar solos, just good time music played by an adept band with Memphis grooves, stirring lyrics, and those explosive vocals. Upon the initial listen, I wasn’t sure that I was ready for Copeland as a soul pop queen. But I grew to love her yearning to break away from her previous compartments. A hefty guitar grabs you and pulls you into the upbeat lead off number “Breakin’ Out”, which is exemplified by blasting horns. They were omitted from her previous Talking To Strangers CD, but appeared on her first two discs. They return here and add an extra emotional thrust to practically every song. A combination of funk, soul, and rock ‘n’ roll is heard on “Who Stole My Radio?”, but not on FM airwaves. The lyrics describe why most of us turned off the radio years ago. Ironically and quite purposely, the melody is extremely radio friendly. “All About You” is regarding being in love with yourself as detailed in lyrics like (“You could almost break your own heart / If you could / you’d hold your own hand / I can tell we’re all through coz I can never love you half as much as you do”). Here, Chuck Leavell’s vibrant keys tingle your backbone. “Better Not Touch” reveals it’s OK if the eyes stray, but a powerful warning is given to keep the hands at bay. The danceable “Givin’ Up You” gives up the funk, while old time soul music is given resurgence during “Poor, Poor Excuse”. Baring her soul, via vocal expression, is a remarkable talent that Copeland possesses. Miraculously, her vocals can sound sweet, mean, tender, and tough – all at the same time. Superior vocal performances appear on two spine-shivering songs, which are both worthy of being Song Of The Year. She begs and pleads, for a bittersweet predicament to end, on the emotionally exhausting “Strong Enough”. Hollywood is going to come knocking for the ballad “Used”, which contains a beautiful duet with Dobie Gray. Here, Copeland’s affectionate voice acts as the conscience of a generation. Yes, the horns do add polish, but some gnarling exists in the vocals and guitars. As implied by the disc’s title, don’t expect to hear a lot of blues. On The Soul Truth, Copeland crosses the line and transforms into a distinguished icon. Unlike the fabrication of the Britney Spears pop princess generation, Shemekia Copeland has real talent and is a self made celebrity. She sings because she needs to do it. When she does sing, you are guaranteed to “Feel the Earth move”. Tim Holek |
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THE SIEGEL-SCHWALL BAND Flash Forward Alligator ALCD 4906 Harmonicist/pianist/vocalist Corky Siegel and guitarist/vocalist Jim Schwall met as college students. In the late ’60s, The Siegel-Schwall Band got their start as the Pepper's Lounge house band in Chicago. They toured tirelessly and recorded 10 albums prior to disbanding in 1974. They reunited in 1987. After 30 years away from the studio, Flash Forward marks their return to recording. Bassist/singer Rollo Radford joined the group years ago, and recently renowned drummer/singer Sam Lay (Howlin’ Wolf, Paul Butterfield, Little Walter, Bob Dylan) became a member. Using a 24-track digital studio workstation, this album was recorded at Gator Tracks and produced by Corky and Holly Siegel. The band may have physically flashed forward to the 21st Century, but musically they are trapped in the ’60s. Ironically, these long-time friends and musical collaborators did not co-write any of the disc’s 13 songs. Separately, all four members contribute their own original songs. The music has a similar flair to early Charlie Musselwhite and Paul Butterfield, e.g., “Afraid Of Love”. Like your best friend’s calming and familiar voice, Sam Lay’s aged vocals are enjoyable on it. Marcy Levy’s sexy and serene background vocals shine here and on “Can’t Stop”. Siegel’s very light vocals and soaring harp feature on “Deja Vous”, which was originally written in 1982. This band has never been much for showboating, so in typical fashion the harp kicks out, but not like James Cotton. “Going Back To Alabama” is traditional 1950’s Chicago Blues. Here, Lay preaches about the evils of Chi-town and how he wants to return home. You’ll either love or hate Schwall’s wavering and quavering novelty vocals, but you’ll howl at the offhand lyrics of “The Underqualified Blues”. The words contain a political storm front and an accurate depiction of how President Bush is viewed by Americans and non-Americans alike. The contemporary viewpoint is given a 1950’s “Hoochie Coochie Man” riff. Almost as enjoyable are Siegel’s amiable keys and Lay’s tromping drums. Schwall’s dry humor surfaces again on “Hey Leviticus” and “On The Road”. The former contests the strict rules of the Old Testament’s third book while you can almost picture a compressed Geo Metro barreling down the highway on the latter. Although Siegel’s harp is pleasurable (as always) on “Twisted”, it contains vocals that seem off key and stretching to reach the notes. “Pauline” contains the best rhythm (albeit influenced by Taj Mahal), and easily stands out from the rest. Due to the piano and Schwall’s accordion, the sound is real rootsy. Using their signature trademark fusion of urban blues and acoustic folk, “Krazy” rolls along like a warm summer breeze. These tunes call for an acquired taste. Once you’ve found it, the songs start to grow on you. Like Corky Siegel’s Traveling Chamber Blues Show!, released earlier this year, this is not a typical Alligator release. But it just may be exactly what some listeners are longing for, since it contains the absence of highly glossed production, biker blues, sensational harp, a stomping party band, swamp blues, and West Coast jump. Primarily, The Siegel-Schwall Band are in it for fun. Tim Holek |
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TINSLEY ELLIS Live – Highwayman Alligator ALCD 4904 “This is the most guitar-driven CD I’ve ever made. It just flat rocks,” says Tinsley Ellis. Clearly, he never intended to be a blues purist. The 47-year-old Atlanta-native is a disciple of fiery masters like Elmore James and consummate rockers like Johnny Winter. Ellis effortlessly blends gritty urban blues with edgy rock and roll. Mysteriously, he hasn’t become as popular as his southern rock contemporaries like the Allman Brothers. Things may change with his recent reunion with Alligator Records. The live CD was recorded at Chord On Blues in St. Charles, Illinois on March 25 and 26, 2005. At 79-minutes, it is the longest album in Alligator history. Label president Bruce Iglauer says, “This record was not repaired in the studio. This is exactly the way the music was played and sung.” Having seen Ellis perform one month after this savage disc was recorded; I can vouch for the sound’s authenticity. Iglauer and Ellis have captured a feels-like-being-there resonance. Ellis says, “The live album shows me in my element. I’m betting that people still like long jam songs. There is a larger audience for that then the industry says there is.” The disc’s 11 songs have an average length of seven minutes, and three of them clock in at 10 minutes. Ellis’ band is fueled on rock power, and they provide a trembling foundation. His rock and roll animals include Jeff Burch – a chain-free pit bull drummer, Todd Hamric – an energy-crazed keyboardist, and The Evil One – a ready to kill bass player. “Highwayman” contains plenty of foot pedal magic. “A Quitter Never Wins” is one of Ellis’ signature ballads. On it, he plays like there is a slow burning fire that is following him up the fret board. Ellis’ vocals are as assertive as his guitar on the hot rockin’ “Hell Or High Water.” Not all the selections sound as full as their studio counterparts. Due to Hamric’s thick organ, the Robert Cray style “Real Bad Way” transitions to the stage extremely well. Here, Hamric flies across the board during an outrageous electric piano solo. Burch pounds heavy, and charges forth the band like a general. The song contains some of Ellis’ best tone, control, and intertwined stringing. “The Last Song” is a beautiful ballad that burns with extended guitar solos that are loaded with emotion. “Pawnbroker” is what Ellis’ live show is all about. The entire band comes alive on this ignited rocker. The final number, “Double Eyed Whammy” is worth the wait. On this Freddie King tune, Ellis and Company are torrid. The most represented previous CD is Storm Warning, which has been Ellis’ biggest seller. The remaining cuts were culled from three other Alligator releases and his two more recent Telarc albums. On those albums, Ellis left his blues/rock comfort zone for a more seasoned and refined sound. Iglauer and Ellis decided to return to a hard rocking approach. On Live – Highwayman, Tinsley Ellis’ blues-based rock is mean, tough, bold, loud, and excessive. It regularly crosses over into the hard rock arena. The Hell’s Angels will revel to this scorching biker blues. Like a freshly paved road, Ellis’ guitar effortlessly carries you on a rock and roll journey. Hold onto your seat and enjoy the ride! When it comes to blues/rock, and in particular the Southern style, this searing CD proves Ellis is at the top of the heap. Tim Holek |
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Tommy Castro Band “Soul Shaker” Blind Pig BPCD 5094 During the second half of the ’90s, Tommy Castro helped to develop the contemporary blues sound of today. He grew up in San Jose, and became enthralled with the blues after realizing who influenced Eric Clapton and Mike Bloomfield. In 1991, Castro formed his own group. He sings charismatically, plays wailing guitar, and writes forceful rock and soul numbers. Soul Shaker is his first CD for Blind Pig in four years. Since leaving the swine label, he has appeared on a series of independent labels and one other major label. Ironically, Castro matured the most during his years away from Blind Pig. Now, he returns and presents his best CD as a peace-offering. The CD’s 12 songs were all written by Castro, who was assisted on each by other writers and band members. Throughout, he seems to be self-reflecting and soul-searching. (“This road’s like another wife,”) states Castro on “Take Me Off The Road.” Time and time again, the ghost of Otis Redding can be heard in Castro’s vocals that moan, shout, scream, and hum. Shivers will run down your spine when hearing lyrics like: (“I know that a time will come I don’t have to worry / I can see a time when the future looked so bright / I can see a time when nobody got a reason to fight / I’m only dreaming, but I hope and I pray that I’ll live to see that day”) on “Anytime Soon.” You hear thoughts of hope, but detect age has brought on deep cynicism that cuts into the enthusiasm. Although you want to feel differently, deep down you agree with what Castro says on the song. The emotion-drenched tune is somewhat modeled on Redding’s “Dock Of The Bay.” It gets my vote for song of the year, and it should be burning up the Billboard charts. If Castro doesn’t have a hit with it, look for it to be performed as a duet with a diva and a pop star. If “Anytime Soon” is the dream crusher, then “What You Gonna’ Do Now” is the reality we are left facing. This thought-provoking song expresses questions that many of us cannot or do not want to address. How often have you considered: (“now that the party’s over / now that your getting older / don’t you wonder what its all about / forget all about what you should have done / the best just might be yet to come.”) “Wake Up Call” features a rhythm that is repetitious, but delicious. The song’s funky groove hook motivates you while the bewildering horns of Keith Crossan and Tom Poole complement the guitar. “The Crossanova” sounds like a flashback to the Booker T & The MG’s era. However, Crossan’s flute seems out of place. “The Next Right Thing” is sleek and sheik, and loaded with funk thanks to The New Directions robust backing vocals. The maestro slide of Roy Rogers is a standout on the title track. “Big Love” contains an urban dance club mix that reaches out to the computerized generation. This is a group effort with no one hogging the spotlight. If anything, it’s Castro’s electrifying vocals which will draw your attention the most. You won’t find much blues here, and at times, Jim Pugh’s bossy keyboards need to be more audible. Castro’s focus has shifted to rock “Just Like Me” and soul “Anytime Soon,” and he excels at both. In a different age, Castro would have been the king of FM radio. Tim Holek |
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Willie ‘Big Eyes’ Smith & the Juke Joint Rockers Bluesin’ It Electro-Fi Willie Smith’s Electro-Fi debut captures a venerable and traditional blues sound via a supporting band of Canadian blues all-stars. By the seasoned sounds they create on this CD, you’ll swear some Mississippi mud runs through their veins. Hailing from Helena, AR, the Delta is no stranger to Smith. For 15 years, he played his conventional shuffle style drums for Muddy Waters. Over the years, Smith established his own niche and has received seven Handy Awards. Together with the Juke Joint Rockers, 14 numbers are performed including originals written by Smith and other band members. Wisely, Smith’s unexceptional vocals are kept to a minimum. From the get-go on You’re Too Bad, Al Lerman’s harp is burst-ful, and Jack de Keyzer’s guitar notes are precisely delivered. Bob Stroger’s finely-tuned bass and effort-exhibiting vocals bring vision to Blindman. Vocally, Smith sounds fine on River’s Invitation. Although his vocals are low and flat, he occasionally makes them rumble. Hard Times will leave you breathless thanks to John Mays’ enchanting vocals and Michael Fonfara’s masterful organ. The band also includes Alec Fraser, Kenny Wayne and Frank Krakowski. Smith gets top billing as he has the biggest name and plays the role of host. However, the real story here is how well the band gels. Perhaps this is partially due to having performed numerous gigs/CDs with Smith prior to this release. At times, the songs become too similar and your interest may fade. But throughout, Smith passes the blues from one generation to another and this time, its an international affair. Tim Holek |
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Please, send your blues CD's/DVD's with promo-bio to: BluesArtStudio, c/o F. SVACINA, A-1223 Vienna, P.O.Box 54
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