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01 / 2006
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Artist: WATERMELON SLIM & the WORKERS Title: Watermelon Slim & the Workers Label: Northern Blues Music NMB0032 The stated desire of Mr. Watermelon (otherwise known as Bill Hamons) was that with this, his debut album for Northern Blues he wanted to capture the sound and atmosphere he and the band had achieved when they were on road for over two years; well, I can honestly say that I don’t know if it is exactly what he wanted but nonetheless this album seems to me to be as live as you can get in a studio. Full of vim and vigour; the songs have only two speeds; involuntary toe tappers and all out floor stomping foot pounders. A gorgeous encapsulation of diverse influences ranging from; Howlin’ Wolf and Jimmy reeds’drawlin’ vocal delivery through to Hop Wilson’s hippity hoppin’ slide to Slim Harpos’ mellow harp and throw in the earthy early raw passionate Fabulous Thunderbirds for good measure and you have an indication of what’s been unleashed on an unsuspecting public Only two of the juicy fourteen songs on this album are covers; Fred McDowells’ “Frisco Line” and Big Joe Williams’ “Baby Please Don’t Go!” The rest are Mr. Watermelon and the Workers originals. Having recorded the album in Norman, Oaklahoma; Mr. Watermelons’ adopted home state; (he was, actually born in Boston. Massachusetts and spent his childhood in North Carolina) has, in turn, enhanced their natural working class southern sound. Assisting Mr.Watermelon, on lead vocals, harp, dobro, and slide guitar, in presenting to us this aural audio feast are; Ike Lamb; electric and acoustic guitars, Cliff Belcher; electric bass guitar, Michael Newberry; drums and percussion, Dennis Borycki; on piano, Chris Wick; electric bass. The songs cover everyday subjects from religion and work through to marriage and addiction. Not exactly hip swinging subjects but in the hands of Mr Watermelon and the Workers they take on a new lease of life and a thought provoking resonance. Rollicking rumbustious good fun! Highly commendable! For more information, go to: www.watermelonslim.com or www.northernblues.com Brian Harman |
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SAFFIRE-That THE UPPITY BLUES WOMEN DELUXE EDITION Alligator ALCD 5613 SONGS: Middle Aged Blues Boogie; Sloppy Drunk; It Takes A Mighty Good Man; Ain’t Gonna Hush; Bitch With A Bad Attitude; There’s Lightning In These Thunder Thighs; Tom Cat Blues; (No Need) Pissin’ On A Skunk; Don’t Treat Your Man Like A Dog; Because of You; T’Aint Nobody’s Business; Silver Beaver; Elevator Man; How Can I Say I Miss You?; In My Girlish Days; School Teacher’s Blues; Is You Is Or Is You Ain’t My Baby?; Falling Back in Love With You; Wild Women Don’t Have The Blues; The Equalizer Saffire-The Uppity Blues Women, an acoustic group of three diverse middle-aged women, has become internationally known over the years since they first recorded their first CD with Alligator in 1990. They have also become one of Alligator’s most popular acts ever. That is not surprising, considering the talents and style and sass of this trio. Ann Robs0n is the traditionalist, with her hot boogie blues piano, fingerpicked guitar, vocals, and some original songs. Gaye Adegbalola updates the brassy blues spirit of Bessie Smith and Ma Rainey, by bringing in and singing some of these classics, plus her own original songs in a modern female perspective, and playing guitar and harmonica. Andra Faye shares her multi-instrumental talents of bass, gutiar, mandolin, and fiddle with the group and also her country-tinged vocals. These three women are all showcased in this new Deluxe Edition. There are twenty musical highlights from their seven albums and their fifteen years on the label. Some of the songs are from their live album. This group is highly entertaining with their songs that say it like it is. Just hearing such rollicking songs as “Middle Aged Blues Boogie,” “Bitch With A Bad Attitude,” and “Wild Women Don’t Have The Blues,” just to name a few, again, reminds me how unique and enjoyable this trio is. All of their albums have been refreshing and full of infectious humor. I would recommend all their albums. This album is a great opportunity to consider their amazing talents which blend classic blues songs of early days, like Ida Cox and Memphis Minnie and others, with contemporary viewpoints. This is a great introduction to the feisty group or a time to reflect on some of your favorites from Sapphire, The Uppity Blues Women. You might even want to hear all their albums again or for the first time. Enjoy!!! Maria Bainer |
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OTIS RUSH All Your Love I Miss Loving Delmark DE-781 This significant album is from a live 1976 show at Chicago’s Wise Fools Pub. It was originally broadcast on Chicago’s WXRT radio station as part of their Unconcerts series. Now, the historic recording has been released as All Your Loving I Miss Loving and contains songs not part of the radio program. This is the first complete document of Rush recorded live in Chicago with his regular working band of Bob Levis (rhythm guitar), Bob Stroger (bass), and Jesse Green (drums). The Windy City ensemble also featured Alberto Gianquinto (electric piano). On five of the 12 songs, regular Wise Fool’s performers sit in with their saxophones, but they are barely audible. Given the age of this recording, some sound quality issues are to be expected. Thankfully the enthusiastic crowd has not been filtered out. No matter how many times you’ve heard Otis Rush and his songs, each time you hear them is as awe striking as the very first time you experienced them. These inherent characteristics keep bringing you back for more. Take Feel So Bad as example. Rush’s vocals are numbingly raw, a bit gruff, but soulful on You’re Breaking My Heart. The real deal blues title track has been covered numerously, yet you’ll melt when its creator inimitably performs it here. Earl Hooker and Lillian Offitt’s Will My Woman Be Home Tonight is an immaculate instrumental while T-Bone Walker is paid tribute on High Society. The tone expressed by Rush’s moaning strings on Mean Old World defines Chicago Blues guitar. Mississippi-born Rush led the pack in creating what has become known as West Side Chicago Blues. Gambler’s Blues is a highlight among the highlights. Here, his vocals and guitar are so utterly impressive; they will surely influence new guitar players. Many of these songs have been covered time and time again, are common place in any blues band’s set, and are staples from Rush’s repertoire. Hearing Otis Rush perform them is always celebrated, and to think this CD was recorded 30 years ago is phenomenal. The format of the songs become too familiar, but his natural vibrato vocals and incontestable guitar are sure to put a smile on the face of any Chicago Blues fan. If you require a fix of blues guitar, you have found the right place. Like the finest blues lounge, this CD was created to allow great music to be appreciated. This is a listener’s CD, so close your eyes and let the music to take you away. Tim Holek |
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JULIAN FAUTH Songs of Vice and Sorrow Electro-Fi E-fi 3391 Electro-Fi Records tends to focus on the more established and matured artists of the genre. Snooky Pryor, Finis Tasby, Sam Myers, and Willie “Big Eyes” Smith immediately come to mind when you mention the label’s name. Julian Fauth is one of their newest artists. Getting the nod to join the outstanding roster is testament to his magnificent talent. The respected record company considers Fauth, “the most strikingly original young singer/songwriter”. He is known to perform non-stop for several hours so it is not surprising the disc is 74 minutes. The 16 songs dreary topics (murder, robbery, drugs, gangs, and prostitution) aren’t anything you won’t see/hear on the evening news or prime time television. Thus, the album has been named appropriately. Fauth’s lyrics tell engrossing stories. Like a dramatic movie or long-running soap opera, you get absorbed in them. In fact, the lyrics are so life like; you’ll think he must have lived the lifestyles that he sings about. Cobalt features Fauth’s alternative and forward-thinking guitar combined with intense lyrics about hoboing on the Grand Pacific Train. Like a thief in the night, the piano darts away on Running. Here, Paul Reddick’s harp is haunting. It is mystical how much music can be made by two gifted musicians. On Big Brazos, his harp is moody, and like the song’s lyrics, a bit dark. Reddick’s harp is the featured instrument on Highway 61, which includes a full band. David Rotunto blows his harp with soul, injecting energy to Red Richard. Suicide Note explicitly depicts the mental state of mind before and during the act. On When My Mother Died, Mel Brown’s blues guitar tone is authentic, but its effect – like Fauth’s fantastic piano – is bittersweet. The sad song is a tragic emotional rollercoaster ride, which tells a woeful tale that ends with a hopeful dream. A stronger instrumentalist than vocalist, Fauth’s warm voice is at its liveliest on the only cover song, J.B. Lenoir’s Mojo Boogie. The reputable personnel also includes Al Lerman (harp), Wayne Charles (harp), Bob Vespaziani (drums), Sam Petite (bass), and Alec Fraser (bass). Essentially this is an acoustic disc, but it is not stereotypical Delta blues. “I play good clean barrelhouse blues” says the young prince of the keyboards. Time and time again, he creates stunning melodies. You won’t tire of him or them. On this CD, you’ll hear distinctive American sounds by one of Canada’s brightest new artists. Along a journey from the finest rehearsal hall to the roughest juke joint, Fauth’s old-time New Orleans piano rocks like a bed in a brothel, while his lyrics are filled with the pain and misery that bore the genre. A modern day mastermind on piano, Fauth is retro and progressive at the same time. Julian Fauth is a very interesting, inspiring, and talented new find. His graphic lyrics may not leave you feeling well, but his novel music will. Just like Fauth, your feet will be stomping. Tim Holek |
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Artist: Henry Oden Title: Henry Oden Label: CP Time Music /Globe Records As with most highly talented virtuoso musicians, Henry Oden who will be fifty eight next February; appears to have not the slightest interest in becoming a legendary bass player of iconic status. He it seems; simply wants to play well and pass on his exemplary skills, by teaching the bass to other people who also want to learn and play well. After forty or more years of backing such luminaries as; Jimmy Reed, Big “Mama” Thornton, Percy Mayfield, Freddie King, Pee Wee Crayton, Jimmy McCracklin, Sly & The Family Stone and most recently Joe Louis Walker. Henry has released what amounts to his long awaited debut album; the musicians giving a helping hand to Henry; bass, vocals, guitar, are Mike Epply; keyboards, Tim Devine; saxophone, Paul Revelli; drums and Geoff Louis; trumpet. All of the songs, self penned by Henry encompass the Blues, Soul and R’n’B each song has that bass rich loping, casual but natty Henry stride style. Whether they have their roots in the past or present Henry imbues them with the freshness that only a man with a unique understanding of his craft can achieve. Songs made so smooth and tasty that they will glide past you in their richness and majesty. I have one question for Mr. Oden Please, can we have more! CLASS! Highly Commendable! For more information go to www.henryoden.com or email info@henryoden.com Brian Harman. |
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Artist: Cathy Jean Title: Little Sick Twist Label: Cathy Jean Records CJ020304 If one applies the rule of judging a book by its cover, then an awful lot of people are going to be greatly surprised and disappointed; for although the enticingly sultry and alluring images in the cd booklet show Cathy in various poses, styles and types of underwear, beware! They falsely lead you on so, unless you are interested in quality music; put the cd back in the rack now. For the rest of us; we are treated to fifteen self-penned, numbers, including some of the most imaginatively arranged, powerful mixtures of R’n’B, Blues, Cajun, Rock, Rockabilly and Jazz around. When the pace does slow down it is to a seductively steamy soft focus glow backed with a tight, tight hot horn section that Nelson Riddle, (Frank Sinatra’s bandleader) would be proud of. The musicians giving Cathy such solid and richly textured support are; Keith Stafford; lead, rhythm and acoustic guitars, Noah Gary; guitar, Wade Matthews, Jay Turner, Johnny Castle; bass, Steve Leocher, Steve Fidyk; drums, Mark Wenner; harmonica, John Dawson, Doug Morgan, Ben Patterson; saxophones, Mike Crotty, Kevin Burns, Brian MacDonald; trumpets, Jon Carroll; piano, organ, Kim Miller, Christopher Sheiah, Claudia Chudacoff, Lisa Ponton, Dana Fish; string section. The lyrics of the very salacious and murkier adult subject matter are delivered by Cathy in a sultry, sexy, sometimes vitriolic spitting manner, enticing you into her world inhabited by mind numbingly unfeeling plastic carded, lapped up, lap dancing loving, blindly selfish men. Some of the women are surgically enhanced leggy lovelies who sell love, warmth, trust and devotion for even more flexible friends. Her heroines have at some point in the past been abused, used, dumped or raped and are filled to the brim with revengeful rancour. Cathy Jean is very definitively a cross between Germaine Greer and Millie Jackson, her use of double entendre’s is very inventive and imaginative. Adult themes dealt with in an enticingly adult manner. This album will certainly steam up the winter blues! Highly commendable! For more information go to; www.cathyjean.com or email cathyjean@cathyjean.com Brian Harman. |
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Artist: The Guvnors’ Title: Kickin’ it Back Label: Hokum Records CD007 (Release February) As with everyday life, love and whatever else you can think of, evolution slowly, slowly takes place; conditioning us all with subtle eked out changes. So, when a band realise the possibility of utilising interesting and fascinating sounds we are either quietly, pleasantly impressed or; up in arms that band would / should have the nerve, even audacity to produce an album which goes against the (or their ) perceived grain. This is however the way some people may react when hearing the Guvnors’ latest opus; for we are treated to a very soulful, grooving, enthusiastic amalgamation of funky, possibly Cuban / Latin influenced Saxophone / Guitar led Blues; some slow sensual foot shuffling teasers, others letting the spirit loose as a goose! Oozing gradually their, own distinct flavour and taste. Very hot toe tapping and hip swinging! Think of The Average White Band and Ian Dury & the Blockheads taking the stage together for some hot, sweaty, heads down funkin’ rhythms, get hip to the groove, baby! Brining us this cold winter weather hot sultry tonic are; Robert Hokum; lead vocals, guitar, Nigel Appleton; drums, Graham Wright; bass, Tim Penn; keyboards, Tim Strange; percussion, Mitch Hutchings; guitars, and last but by certainly no means last, Sam Adams; saxophone. Hot stuff! Highly Commendable! For further information go to; www.guvnors.com or email info@guvnors.com Brian Harman. |
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Artist: Eddie Turner Title: Rise Label: Northern Blues NBM0027 It is stated categorically in Eddies’ biography that the varied influences of his upbringing are the basis for his particularly fluidly complex and ethereal sound. Whilst I can only but agree with these facts; I do strongly believe that another factor that has given Eddies’ guitar work a significant feeling of spaciousness within the music he plays so well. This factor is the producer of the album, One Kenny Passarelli a bass player of some note in the rock world, (who has played alongside such artists as; Joe Walsh, Dan Folgeberg, Elton John and by no means least Hall & Oates). Kenny’s’ production provides Eddie with a far greater feeling of looseness, approaching the songs from a more lateral, less rigid blues position which, in turn adds to Eddies’ uniqueness of style. Also an indefinable rock edge rises to the surface; this enables a whole new set of nuances to be included in his cornucopia of wispy, fleeting, aggressively teasing guitar play. One of the many highlights of this album is Hendrix’s “The Wind Cries Mary.” Which has a swirling, ghostly wind fuelled singing quality about it, and Eddie may well be the first artist that has successfully escaped the Hendrix aura which usually dogs any Hendrix cover version. The rather excellent ensemble, that Eddie; vocals, guitar, has with him on this album are; Mark Clark; drums, percussion, Kenny Passarelli; bass, pocket trumpet Highly Individual! Highly Commendable! For more information, go to; www.northernblues.com and www.eddietaylor.com or email betsie@crowsfeet.biz Brian Harman. |
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SISTA MONICA PARKER Can’t Keep A Good Woman Down Mo Muscle MMRE-8888 With six impressive previous releases, why singer/songwriter Sista Monica Parker is not a household name is mystifying. For far too many, she is another undiscovered gem of the genre. Upon spending time with her mighty music, you’ll hear blues, soul, gospel, and rock. Born and raised in Gary, Indiana, Monica became a Marine and spent almost ten years in Chicago, before relocating to California. In 1992, she moved away from a high tech recruiting career to become the next blues lioness. She produced her vigorous new album with Danny ‘B’, her piano/organ player of 13 years. They also collaborated on eleven of the CD’s 13 songs. Danny is dazzling throughout. Parker isn’t lying when she addresses him by saying “You’re smoking” on one of the album’s many stomping tracks. The melody, vocal delivery, and lead guitar on the title track remind me of Shemekia Copeland. The tune has a contemporary groove with a great beat. Parker establishes herself as a dynamo with powerful vocals on this cut. Larry McCray’s guitar can be predictable. Here, he breaks from that mold to deliver startling lead and funky rhythm. The other six guitar players are also great. However, some inconsistency in sound and style is created since each musician is unique. During Cookin’ With Grease, the keys bake and the horns blaze. Parker comes close to creating the ultimate soul rendition of Funny How Time Slips Away. Here, she croons diversely and powerfully, just like a master of soul and C&W. Put It In The Crock Pot is a staple of her romping live show and has appeared on other Sista Monica CDs. It’s an ultra funky number with blasting horns which refuse to leave you lifeless. Although a classic cover, the lyrics to the beautiful ballad A Change Gonna Come may reflect Parker’s determination and inner strength. In November 2002, as her music career was blossoming, she was diagnosed with Synovial Sarcoma, a rare and severe type of cancer. Determined to live out her calling, she underwent surgery and therapy. Like a Phoenix, she emerged from the battle strong and proud. Parker contends, “It was surely the music and grace of God that kept me alive!” Of course, Sista can’t resist some hearty preaching. The spirit renewing It’s Good To Be Alive praises God for all things good. The song is a foot-stomping celebration of life. Most of the things sung about in it are taken for granted by society. Parker challenges us to step back, reflect, and give glorify where it’s due. On her latest CD, Parker is cooking, and the kitchen gets mighty hot. Sista Monica demonstrates that she has everything it takes to challenge Nora Jean Bruso and Shemekia Copeland as the brightest star in contemporary blues. Parker has already fought bigger battles. Through them she has gained a greater will to live. She is a survivor and an inspiration. Let her music transform you. Tim Holek |
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SHERMAN ROBERTSON & BluesMove Guitar Man – Live Movinmusic MM001 www.movinmusic.co.uk www.movinmusic-records.co.uk The blues has changed fundamentally and irrevocably over the last fifteen years or so, coincidentally the same time period that Sherman Robertson has enjoyed some measure of success. Or maybe it’s not coincidence. Sherman combines the best qualities of the old and the new. Born in Louisiana, raised in Texas; he has experience that ranges from working with Clifton Chenier to recording with Paul Simon. He has had records under his own name for a Texas downhome blues label and for international companies. He has a guitar style that can as easily and convincingly conjure up memories of the filigree playing of T-Bone Walker as it can the sound of screaming blues-rock, and a voice that can summon the spirits of long gone fifties Route One blues shouters or evoke the tenderest of southern soul balladeers. His music is as welcome in a Texas bar as it is at a European blues festival (this CD just happens to have been recorded at Holland’s Kwadandamme Blues Festival in May 2005), and he is able to get the best out of his accompanying musicians, whether they are the regular American band I witnessed him with numerous times in the mid-nineties, or, as here, the highly accomplished UK outfit BluesMove, who have worked with him many, many times over the last few years. Don’t take my word for this though – buy this CD and hear for yourself! Norman Darwen |
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MAGIC SLIM & THE TEARDROPS Anything Can Happen Blind Pig BP-6003 (DVD) BP-5098 (CD) www.blindpigrecords.com When it comes to real deal blues, Magic Slim is one of the best. Most of his recordings can be considered an essential part of a blues lover’s library. Originally born in Torrence, Mississippi, Morris Holt received his nickname from lifelong mentor, guitar great Magic Sam. Slim moved to Chicago in the ’60s and by 1972 he had replaced Hound Dog Taylor as the house band for a prominent South Side blues club. Slim’s instantly recognizable guitar solos are abrasive, and his vocal chords have been scratched with sandpaper. Thus, the lavish setting for this live CD/DVD (The Sierra Nevada Brewery in Chico, California) is too nice for his style of gritty blues. It may not look like the South or West Sides of Chicago, but it sure does sound like it. A large part of that comes from The Teardrops which include Jon McDonald guitar, Vernal Taylor drums, and Christopher Biedron bass. They all sport t-shirts while the big man dons matching shirt and pants that are neutrally colored. Magic Slim has recorded for many labels. The bulk of his aggressive recordings have been on Wolf and Blind Pig. Here, all but one song comes from his five previous Blind Pig CDs. On Anything Can Happen, everything about Slim emits the fact that he was born to play the blues. He coarsely depicts it by the way he looks (love that infectious smile with those missing teeth), sings, and plays guitar. Though he no longer stands right through an entire set, he has a huge stage presence due to his size. Each of the original songs has as many nutrients as the earth’s dirt. Although McDonald doesn’t display the same raw edge as Slim, they exchange slashing guitar licks on Goin’ To Mississippi, Shake It, and Mind Your Own Business. Please Don’t Dog Me is a slow burner about a Miss Mistreater. Taylor and McDonald’s backing vocals are basic, yet they inject oomph to I Need Lovin’. Distinctive minor chord blues features on Crazy Woman. It is a slow blues briskly accentuated by sharp rhythm guitar. Throughout, Slim packs the dance floor while Taylor bumps the band with his magnificent timing and bodacious beats. The DVD program is not the same as the CD release. The former, in 5.1 surround sound, contains three songs not available on the latter, while the latter has two of its own unique songs. Slim die-hards will want a copy of both the DVD and CD. As a bonus, the DVD comes with an interview, but those already familiar with Slim’s history won’t learn anything new. The 60-minute concert was professionally filmed (several cameras were used including one on a mechanical arm) and edited. Watching Slim perform is to experience the blues incarnate. Without a doubt, this unrefined live CD/DVD certifies Slim as one of the best and last electric Chicago blues guitarists. The music is so basic, it is bold. This is what blues is all about. Tim Holek |
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Eugene ‘Hideaway’ Bridges “Coming Home” Armadillo ARMD 00021 www.bluearmadillo.com Eugene ‘Hideaway’ Bridges was born in 1963, and is the son of blues guitarist ‘Hideaway Slim’. At the tender age of five, young ‘Hideaway’ was performing with his father around Louisiana. Though he has spent plenty of time in Texas, Eugene is literally a nomadic musician. His home is wherever his next performance takes him. Annually this includes his native America, Europe, and Australia. In September 2004, he recorded his fourth CD near Austin, Texas. Don’t expect his musical style to be isolated to the Lone Star State. Do expect to fall in love at first listen. Bridges wrote all 12 songs and performs guitar and vocals. He is joined by nine guests including a full horn section and famed Texas guitarist Rocky Athas. He grew up playing gigs with childhood pal Stevie Ray Vaughan, and received his own fame as lead guitarist for the legendary Black Oak Arkansas. Triumphant horns and thundering percussion push the danceable Giving Up On Love to the upper limit. The supremely smooth vocals make this fascinating song worthy of being in the soul music history books. This tune features a repetitive rhythm that gets perpetually stuck in your head. The title track, with its early rock ‘n’ roll influence, also features a rhythm that your body won’t sit still to. The aching beat and acoustic guitar gives In Your Arms Tonight a pop feel and flavor. I Need You has a similar taste. If you remember Bruce Hornsby or Richard Marx, you get the picture. I Wish Someone Would Have Told Me exhibits 12-bar blues and Bridges’ breathtaking vocals, which become more and more incarnated. Ruf Ruffner’s uplifting organ supports Eugene’s floating and soaring guitar notes. Bobby Baranowski’s drums stomp during Real Hero and gallop on Love Me Right, while a three-person brass section adds the feel of a big band orchestra. It’s time to party on You’re The One where Bridges relieves Guthrie Kennard’s reverberating bass duties. Occasionally, as on I Woke Up This Morning and Love Me Right, Bridges’ guitar playing, structure, and tone are too similar to B.B. King. With his silky voice and equally smooth guitar, Eugene Bridges is living out his dream by performing original music that makes you feel good. Had he recorded this album a decade or two earlier, I’m convinced he would have enjoyed commercial success. On Coming Home, Bridges establishes himself as a credible songwriter, while Kevin Thorpe discloses gifted production skills. On this elaborate CD; Eugene ‘Hideaway’ Bridges demonstrates he is capable of playing many styles of music exceptionally well. It is one of those albums that you listen to and ask yourself, “Why isn’t this guy a music superstar?” Traditionally, blues musicians don’t fully mature until their senior years – Bridges is the exception. This is one of my top ten selections for 2005. Tim Holek |
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