Titles: Dynamite, C.C. Baby, Lucille, Deal, If You Love Me Like You Say.
Harvey Mandel and Michael Borbridge are the producers.

The LOST LEGENDS (ex Nightfire without Harvey Mandel) are five excellent and longtime musicians, "real legends" from the Bay Area.
Freddie Roulette, Lap Steel; Chris Planas, Guitar; Michael Borbridge, Drums; Michael Warren, Bass and Eugene Huggins on Harmonica.

Five songs with a  wide  musical  spectrum - extra special  and  groovy with a lot of funk and bluesy material.
Warren, Roulette, Planks and Huggins are also the vocalists  on the CD.
In front of the right audience these "Legends" will steal the show from anybody!  
The "talking" guitar licks by Freddie and Chris are really amazing and for me Eugene's blues harp  playing is another highlight of the CD.
If you are any kind of a blues/rock/funk fan, you'll be amazed by this.
Whether you want to dance or just listen, this record is an equally fine music experience. It is an absolute pleasure for me to review this CD and hope to see this fabulous Band live in the Bay Area in 2007.
Fritz Svacina 

BERNARD ALLISON
Energized
RUF 1113 

Bernard Allison is an excellent live performer. A counterpart of his told me that Bernard is so popular in Europe that he could tour there non-stop. Then, it comes as no surprise this live CD was recorded last year in Germany. Some will question why Allison has released a live album so soon after 2003’s Kentucky Fried Blues Live. The good news is the set mainly focuses on material from his recent studio albums, so only one song is reprised from the previous live disc. A bigger question is whether the new double CD has captured Allison’s intense onstage energy.

Like a seasoned nightclub disc jockey, Allison segues from one song into the next without any breaks. Another Ride To The City is performed like a well tested and lubricated road machine. The funky tune has lots of kick and energy and showcases the proficient band. Allison growls the vocals out on It’s A Man Down There which features excellent keyboards and electrifying guitar. There are plenty of extended solos on the first few songs. Initially, since they aren’t played at lightening speed, they are enjoyable. Experiencing all the emotions produced by the music and lyrics, you ride a musical roller coaster on Bad Love. However, the extended soloing now becomes draining. Later, on Wah Wah Action, the incessant solos seem pointless. Too Many Women is a mix of R&B and funk, which formulates groovy contemporary blues. It features a lengthy bass guitar solo after which the band ignites with Allison at the helm.

The Walk contains rockin’ slide ala Bo Diddley. Andrew Thomas’ pounded drums drive the explosive attack of the guitar. This is one of those songs that will surely to attract a younger generation due to the song’s aggressive, kick ass nature. When Allison lets rip on guitar, it’s like he is speaking for his entire generation. Yet, it talks to peoples of all ages. The sliding continues through Step Down and Talking Guitar where segments of Amazing Grace and When The Saints Go Marching In are performed as a tribute to the Hurricane Katrina ravished Gulf Coast of America. Since it is chart-topping material, the pop-rocker Snake Bit Again should be released as a single.

This is almost as good as experiencing Allison live in concert. Yes, there is plenty of guitar, but there are also frantic rhythms, practical grooves, and fiery solos from other band members. Mike Vlahakis’ keyboards are brilliant throughout. Allison’s earthy and authentic lead vocals preside over 11 songs. He has one of the most funky contemporary guitar sounds of all the young blues gunners. So many songs – like A Woman Named Trouble – prove that point. Best of all, the Hendrix mimics were either entirely omitted from the performance or they were edited out. Bernard could also benefit from dropping some of his father’s songs from the set. Sing along songs and drum solos never transition from the concert hall to the living room well. Those items should have been left off the CD too. When Allison focuses on the melody, as opposed to the guitar solo, he sets himself apart from his contemporaries. However, the unlimited jams and five instrumentals might be too much for listeners to sit through this entire 107-minute double CD. One thing I’ll say after hearing this barn-burning CD and witnessing Allison on the same tour – Bernard Allison rocks.

Tim Holek

KING ALEX & THE UNTOUCHABLES
Sweet Banana Pie
no label no number 

Sweet Banana Pie was recorded in the Fall of 2004 at Blue Heaven Studio in Salina, Kansas. No major blues labels were interested to release it so King Alex has released it himself. He doesn’t possess an extensive voice and he tends to talk/shout the lyrics. Yet, he can sincerely sing with the same enthusiasm as B.B. King. Other B.B. similarities include the vocal styling and song arrangements. King Alex’s songwriting reflects a preference for traditional electric blues.

Overall, the ten songs are about good and bad love. At times, Littlejohn energizes his band to an exciting level that is not consistently heard on the CD.  With weak lyrics, the soul/blues Love Is So Good is still a highlight because the rhythm is memorable, the guitar plays a strong hook, and the drums seem alive. Throughout, The Untouchables shine. Bart Colliver is all over the organ/keyboard while Doug Hemphill’s swaggering guitar is as polished as chrome.

King Alex performs a style of blues that is becoming extinct and appreciated only by the hard core blues fan. They will love the great band, good melodies, and the best real deal blues heard east of the Mississippi River. King Alex plays blues like blues is supposed to be played. Like he says, “Don’t you ever never ever never forget it.”

Tim Holek

LIL’ DAVE THOMPSON
Got To Get Over You
Electro-Fi 3397 

“This may have more guitar solos than all our previous releases,” said label president Andrew Galloway. However, they aren’t wearing because they are not incessant. Lil’ Dave Thompson – best known for touring with R.L. Burnside and Jr. Kimbrough – only solos for a purpose. On this refreshing recording, support is provided by an all star cast of Canadian blues musicians. The music is pure blues, but soul/blues is also featured. Dave uses his guitar as an extension of his voice while the sidemen play as if they were raised in Mississippi. Only one of the ten songs is a cover.

Thompson plays the most untainted blues guitar you’ll hear in contemporary blues. He loves his guitar like a woman throughout the disc. His affectionate but gruff voice – which sounds a bit like Carl Weathersby – and remarkable guitar consistently connect to express emotion and pain.

This is one of the best releases of 2006. The recipe for its success includes Mississippi dirt, cigarette smoke, juke joint liquor, and a touch of urbanity. Lil’ Dave Thompson defines blues for today by infusing blues of yesterday.

Tim Holek

Artist: Emil & the Ecstatics
Title: Legacy
Label: CeePeeVee Records CPVCD1201

For more information go to: www.ceepeeveerecords.se or www.ecstatics.se

This is the second album from the highly talented Swedish band, Emil & the Ecstatics; who are; Emil Arvidssson; vocals and guitar, Johan Bendrik; Hammond organ and piano, Mats Hammarlof; bass and Tom Steffensen; drums. The horns on this set are stunningly provided by; Jakob Norgren; baritone sax, Christian Pedersen; tenor sax and Karl Olandersson; trumpet.
Emil states in the sleevenotes that he has chosen to record an album of covers, from six blues and soul legends who have had a positive impact on his life; these being (in no particular order) Otis Rush’s “You Know My Love,” & “Three Times a Fool,” Albert King’s “Wild Woman,” & “Left hand Woman,” Don Bryant’s “The Call of Distress,” & “She’s Looking Good,” Magic Sam’s “You Belong To Me” & “Baby, You Torture My Soul,” Lonnie Mack’s “Baby, What’s Wrong,” & “Soul Express,” and Little Milton’s “Have Mercy, Baby,” & “Feel So Bad.”
Satisfyingly the recordings here are not faithful note for slavish note copies; they are in fact, deeply heartfelt renditions of numbers originally performed by legendary artists, which over time have become classics.
Emil and the Ecstatics performances are presented here with a crisp clarity of delivery. Also the uncluttered and sparse studio production imbues the numbers with an invigorated freshness.
The subtle use of vibrato in Emil’s vocal delivery enhances the overall sound immensely.
I found this album of covers to be not only highly listenable but also hugely enjoyable; a very, very tasty collection indeed!
Another fine release from CeePeeVee!
Also, an essential addition to your collection!

Brian Harman

MEL BROWN AND THE HOMEWRECKERS
Blues – A Beautiful Thing
Electro-Fi 3394 

Not many can play real deal Mississippi blues guitar like Mel Brown. Ironically, as revealed in Mel Brown The DVD, he is not one to categorize blues into various compartments. On his first studio recording since 2000’s Blues Music Award winning Neck Bones & Caviar, Brown tackles a wide variety of blues music. However, distinctive Mississippi blues guitar is what I hear the most in his satisfying music. Mississippi-born Brown grew up in a family where playing music was as instinctive as breathing the Delta air. He has shared the stage and/or recorded with Etta James, Johnny Otis, Lightnin’ Hopkins, Albert Collins, and Bobby “Blue” Bland. Brown performed and recorded with Antone’s house band throughout the ’80s. Near the end of that decade he accepted an offer to work at a club in Kitchener, Ontario, and he has remained in Canada ever since.

Forming the beauty of his benevolent blues are downhome arrangements, smooth guitar, and sensual keyboards. There are 11 songs including nine originals and two covers. One comes from the Bland era and one is a staple from Brown’s live show. The Homewreckers provide skilful support on nine tracks. Lyrically, Take Your Time is a modern day Mellow Down Easy with a melody that engulfs the original. Ruby Mae is resurrected from the Double Shot! album Brown recorded with Snooky Pryor. Here it is given a funky workout. There is plenty of feeling and emotion found on Bobby Bland’s I Wouldn’t Treat A Dog even though Brown’s vocals are feeble. On I Wanna See My Baby Brown purposely distorts his vocals. They unintentionally distract from the song’s melody.

Brown suffers from respiratory problems. As such he is a stronger guitarist than vocalist. So, I personally prefer his instrumentals. Snap showcases graceful guitar and superb organ, while Sundown displays jazzy guitar and brushed cymbals. Karansa’s Boogie has the sound of ’50s Memphis blues. Stevie Wonder’s Master Blaster is sharp.  Here, Brown succinctly picks single notes. The horns sound synthesized while the organ is extraordinary.

When Brown lets loose on guitar, it’s the type of blissful blues naysayers feel does not exist. Without a doubt, blues can be a beautiful thing. Mel Brown is a legendary musician who performs notable blues. Listen for yourself and find out why this CD has recently been nominated for a Maple Blues Award at www.torontobluessociety.com/mba/nominees.htm

Tim Holek

MILLER BROTHERS BAND
Tales From The Foundry
Foundry Town Music 1001

The Miller Brothers have a Midwest working class background. All of the band members grew up near Detroit, Michigan, where they have known each other since high school. For a time, they went their separate ways, but they eventually reassembled in Los Angeles. You’ll sense a heavy metal sounding production before you confirm, via the credits, that Tales From The Foundry was recorded in California.

Bob Ramsey’s piano powerfully carries the rhythm and adds fills while Mark Tomorsky’s slide guitar rocks on the opening track Alabama Key. The title comes from the slang term for a slim Jim tool used to steal cars. Crazy is radio-friendly thanks to the synthesizer. However, it tends to distract the poignancy of the rhythm by drowning out the guitar’s hooks and grooves. Ghost On A Roll, which was inspired by the distressing lives of the homeless, proves these guys can write a mean tune. Here, Dave Miller’s harp sets the mood and squalls to the excellent melody and arrangement. Things Will Get Better is a funky groove with nice backing vocals. Out Of Control is a rockin’ boogie rooted deeply in blues. Pain Comes Your Way flashes back to the American rock bands of the 1960s, e.g., The Doors, who embraced the blues. Here fuzz tone guitar adds to the sweet intoxication, which is mellow and relaxing. You Don’t Know Me is the most profound song. It challenges couples not to fall into the trap of having superficial relations, but rather to develop genuinely meaningful relationships.

All 12 original songs will transition to the stage well since not a lot of studio magic was used in the recording. The tunes all tell stories about life, love, and working for a living. Some songs, e.g., Playin’, will appeal to the blues and rock crowd, but more often than not this CD is too rocky for my blues tastes. Tales From The Foundry depicts these Brothers to be a power rock band. Throughout, Frank Charboneaux’s heavily patted drums drive, while Tommy Miller’s bass buzzes and Al Jacquez yowls. Surely, I didn’t expect to encounter traditional blues at the foundry?! The production is good and the musicianship is solid. You will groove and shake to this music, but the songs need to be more consistently strong in order to hold the listener’s attention for 54-minutes.

Tim Holek