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FALL IN BLUES Love Sick CC Records, 2002 Goin’ Away CC Records, 2005 www.fallinblues.com Very much two CDs of contrasts. The group Fall In Blues has been a fixture on the Austrian blues scene since 1999, and these two albums present Hermann “Hobo” Posch (vocal/ guitar), and bassist Paul Kozakiewicz with, for ‘Love Sick’, drummer Hardy Auer, and for ‘Goin’ Away’ Maurits Otte on the drum stool and second guitarist Jurgen Posch (plus very sympathetic guests) in a variety of settings. ‘Love Sick’ opens with the rock influenced title track, subtly powerful, and as the astute listener will learn quickly, with an attractively lazy, drawling vocal from Hermann. This mellow rock influence is also evident on the following number ‘City Blues’ and then just as the listener thinks they have the trio pigeonholed, along comes ‘Jesus On The Mainline’, sounding as though Ry Cooder had collided with the Memphis Jug Band (nice mandolin by Ewald Kogler). Hermann’s solo ‘Deep Water Blues’ proves he has paid attention to the likes of Louisiana Red, ‘Midnight Blues’ brings to mind JJ Cale, and ‘Going To Brownsville, another solo piece, is an excellent evocation of Furry Lewis. These contrasts keep the listener’s attention throughout – as does the musical quality. Try the instrumental ‘Proud’, which mixes Irish folk music with slide guitar to fine effect. But then in kicks “I Can’t Help Myself’, the funkiest number of the set, closely followed by the Freddie King-in-heavy-mode stylings of “Red Fox Dawn”, and to cap this triumvirate, along comes “Far Away” – blues-rock rap, would you believe?!!! Oh, and the album closes with a reprise of the title track worthy of the Rolling Stones in the ‘Exile On Main Street’ phase – and that is praise! ‘Goin’ Away’ is the more recent release and is the rockier of these two sets, far less acoustic-based than its predecessor. Again though, that description can cover such items as the heavy opener to the Chuck Berry styled rocker of ‘Back Water’. It is particularly enjoyable to hear how Hermann reworks the blues tradition; the former track is a composition by California country bluesman Robert Lowery – not that you would guess it - whilst the latter, somewhat incredibly, takes the vaudeville blues classic (best known these days from Bessie Smith) as the starting point of an original composition. Elsewhere, the modern blues numbers, funky items (is that a little bit of Prince in there?) and blues-rock – try the menacing, slow cover of Sonny Boy Williamson’s ‘Help Me’ - contrast strongly with the heartfelt, Eric Clapton-ish ballad ‘Dear Brother’ or the country-tinged closer. It is good to note the presence of such fine original material too. Both of these CDs reveal a formidable talent who deserves to be much more widely known and if you get one of them, you will certainly want to acquire the other. Norman Darwen |
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DAN TREANOR & AFRICAN WIND featuring Rex Peoples Mercy Plan-It Productions PPCD 0015 www.dantreanor.com Colorado based blues veteran Dan Treanor caused something of a stir with 2004’s CD for Northern Blues, ‘African Wind’, where he backed the excellent vocalist Frankie Lee. Dan is not ‘just’ a multi instrumentalist; he started playing harmonica in 1969 whilst he was stationed in Vietnam and over the years he has learned to play banjo, guitar, bass, keyboards, the one string diddley-bow and cane flute – but he doesn’t stop there. He now also builds his own African stringed instruments, the ngoni and the khalam, which he has incorporated into his blues approach – he calls it Afrosippi blues. It was this that brought the earlier release so much acclaim and he reprises it here with Lee replaced by the excellent vocalist Rex Peoples. This might lead the unsuspecting listener to expect an album of ‘primitive’ music, and although there is a (stylised) field holler, and there are gospel items and the currently very popular droning North Mississippi hill country style here, Dan is not afraid to sample Fred McDowell (and others), to bust out on a blues-rock boogie, or to combine the Delta blues with some Celtic fiddle. ‘What You Gonna Do’ is classic New Orleans R‘n’B, though with the second line very prominent, ‘Standing In The Shadows’ is a blues ballad with greasy fifties styled group backing vocals, and the hidden bonus track is an excellent soul-blues item. “13th Amendment” is based around a venerable work song but unfortunately this spoken history lesson comes across as somewhat pretentious – yes, we need to know but perhaps not in this form. On some tracks the African elements add just a delicate shading, on others they are more prominent. Rex Peoples is an excellent and versatile vocalist and the band of DJ Mrugala (drums, percussion and vocals), Christine Webb (bass) and Randy Mrugala (guitars) plus assorted guests are equal to the task. Don’t make the mistake of thinking this in some way presents ‘the roots of the blues’, any more than the collaborations with African musicians of, say, Ry Cooder, Corey Harris, Taj Mahal or even Johnnie Copeland have done in the past – but it does make some interesting points. “File under blues/ folk/ world,” advises the press release, somewhat accurately. An intriguing release, a brave release, an adventurous release. If any of those descriptions intrigue or excite you, check this out. Norman Darwen |
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Roy Tyler & New Directions Three Way Calling Severn The debut CD from this former Gospel Hummingbirds member conveys as much conviction as a Baptist preacher. Roy Tyler (lead tenor) continues to expose the Lord’s gospel and His music. The 13 songs (six written by Tyler) explicitly testify to the Lord and robustly rock the tabernacle. At the forefront of this joyful 60 minute exhilaration is authentic and intricate four part Gospel harmony. Tyler combines soul-styled R&B, reggae, rock and blues into his brand of “Swamp Gospel”. Roy’s enticing voice is always the leader of this 17 member musical congregation. He moans, shouts, hums and exudes absolute passion without the use of a musical instrument. All lyrics come with a strong spiritual message which touch on contemporary urban life. Tired Of The Game has a hip hop rhythm with sweet female backing vocals. This brilliant song contains vocal parts for a narrator and main character. The former emits discipline and knowledge while the latter emits born again rejuvenation. Jim Pugh produced most of the record along with Raphael Saadiq (who sings on two tracks). Clarence Fountain is the other featured guest. Three Way Calling is an aerobic work out equally good for your body, soul and mind. Liner note author Joseph Jordan is convinced the CD will convert new listeners to revel in the genre’s multiple rewards. Tim Holek |
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TAB BENOIT AND JIMMY THACKERY Whiskey Store Live Telarc Blues CD-83584 Alliances don’t always last and one party-member always seems to benefit at a greater level. This isn’t the case on Whiskey Store Live which was recorded March 24, 2003 in Unity, Maine. Unlike the 2002 studio release which teamed Jimmy/Tab with Charlie Musselwhite and Double Trouble, this time the rhythm section is from Tab’s band and the B3, sax and additional drummer are courtesy of Thackery’s group. Most of the nine tunes are hearty jams in the seven plus minute range. Six songs come from the previous studio collection while Tab adds three more. Things kick off with a tantalizing tribute to Freddy King called “Freddy’s Combo.” Gravel-throated Tab loads up the roots music stew shakedown entitled “I Got Loaded.” You will hear quick, picking notes more accustomed to mandolin and a heavy, electrified rock guitar solo. This will have you as satisfied as an after dinner liqueur. “Bone Pickin’” is as down-home as a country dog who madly chases your car down a rural concession. At times, Tab makes his guitar sound like an old car that won’t turn over. “Away, Way Too Long” has a real southern flair to it and “Strange Things Happen” has a lazy feel which showcases the sax and B3. Dueling guitars that remain in control are the prime focus of “Bayou Boogie.” This outright party tune showcases what these axegrinders pack. It’s amazing stuff and if the album ended here, you’d be completely satisfied but you get two more tracks. Tab emulates the Big O’s voice effectively and hauntingly on “These Arms Of Mine.” Most R&B classics feature a jubilant rhythm and emotional vocals. This version contains heartfelt six-string work which is assumed to make up for Tab and Jimmy’s less than flamboyant stage presence. Pittsburgh, PA born Jimmy Thackery is no stranger to blues-rock. He spent 14 years with The Nighthawks. Most recently, his aggressive style can be found on his numerous releases with The Drivers. A guitar player since his teenage years, Tab Benoit hung out at the Blues Box, (a ramshackle club in Baton Rouge run by guitarist Tabby Thomas), where Benoit was schooled at the feet of blues masters. It would have been nice if the credits indicated which guitarist performed which solo. Although no one tries to outperform, Tab wisely handles more lead vocals and Jimmy Carpenter rocks his sax more than an exotic dancer. This disc was released too soon after its studio equivalent. Since purchasers only require one or the other, a live DVD would have been a better product. Still, Randy Labbe’s production makes you wish you had been there to experience the fiery blues-rock of an elder and distinct bayou lightening of youth. Tim Holek |
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Tab Benoit “The Sea Saint Sessions” Telarc Records (CD-83573) On his latest CD, Tab achieves the nearly impossible. He meets or exceeds the music from his previous disc. On his new, 54 minute album, Tab consistently proves he is a contemporary roots/blues/rock force by evolving the blues to a new animal. Recorded at New Orleans’ Big Easy Recording Studio, the title comes from the studio’s common name amongst musicians. Eight originals are included with the arrangements on every track being unique and modern. The 11 mid-tempo songs are laid-back and contain healthy doses of Louisiana, New Orleans, Texas with more than half clocking in at five minutes. Benoit is a less-is-more guitar player who focuses on quality. His non-traditional rhythms entice, entrance and encapsulate. Tab’s lyrics aren’t that important or memorable, its his melodies that stand out. Backed by Carl Dufrene (bass), Darryl White (drums) and the occasional guests (Brian Stoltz, Monk Boudreaux, George Porter & Cyril Neville), all tunes can easily be reproduced live in front of an audience. Like early electrified blues, Tab’s style is both urban and rural giving the music new ideas, sounds and ways. His trademark scratchy guitar chords and gravel crushed vocal cords feature on all tunes. These tracks may not vary enough for listeners who prefer a fuller sound than can be achieved by a three-piece. His music is so rudimentary, all listeners will relate and be reminded of how good the basics can be. This CD excels in bayou vocals, punchy songwriting, spontaneous authenticity and its crossover appeal to the larger rock audience. After hearing this disc, you’ll be surfing the Telarc site to see when Benoit will be in your town. For the finest in contemporary swamp blues, pick up this or any of Tab’s Telarc releases. Tim Holek For additional information, contact: www.telarc.com and www.tabbenoit.com |
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Willie ‘Big Eyes’ Smith “Blues From The Heart” Juke Joint Records (Juke Joint 002) For 15 years, Willie "Big Eyes" Smith, played his traditional "shuffle" style drums for Muddy Waters. Later, Smith established his own niche within the Delta blues tradition by co-founding the Legendary Blues Band with other Waters alumni. This disc uses the same successful format first introduced by Electro-Fi Records. That is, take an aging Chicago blues great and team him with Canada’s finest blues musicians. The all-Canadian backing band (dubbed the Northern Blues Legends) includes harp ace Al Lerman of Fathead, keyboardist extraordinaire Michael Fonfara of Downchild, blues guitar supremo Jack de Keyzer and bassist/producer Alec Fraser. Not sure they have attained ‘legend’ status but they are well established and experienced -- each having gathered numerous awards and award nominations. Here, Willie transforms them into an authentic sounding Chicago blues band. Together they perform a style of music that had been conceived and nurtured before most of today’s blues fans where born. The majority of tracks were either written by Willie or are a combined effort between him and his bandmates. Lerman emulates Chicago blues harp on “I’m The Creeper”. He pays homage to his influences on this 1950s sounding tune with a repetitive riff. Fans of ballroom dancing will bop to “Breaking Hearts” where de Keyzer exhibits why he is considered Canada’s best blues guitarist. Later, on “The Sun Goes Down”, he completely dazzles with his slide playing. On the humourous and good-time shufflin’ “Big Rear End”, Willie sets his priorities regarding women. “Watch Your Enemies” contains one of the sweetest piano solos on the disc while Al and Jack will astound listeners who are not familiar with their musical mastery. “Greasy Spoon” is an instrumental that orbits around Lerman’s bombing harp. This is the most contemporary tune on the 54 minute album. “Cry For Me Baby” and “Can’t Rest For Worry” contain simple riffs which could impregnate a blues incubator. “One Day Till Christmas” was hearty enough to later appear on Electro-Fi’s “Santa’s Got Mojo” compilation disc. Willie Smith will not go into the history books as an exceptional vocalist. When he sings he doesn’t pronounce the words clearly. In fact, you can only determine some of the song’s titles by reading them on the liner. The CD’s 13 similar sounding songs are not that strong but the musicianship is absolutely stellar. This disc is most enjoyable when the band jams away as on “Greasy Spoon”. At a minimum, the disc proves Canada’s Blues All-Stars can hold their own alongside one of Chicago’s greats. If you enjoy old style electric Chicago blues performed with fireball keys, burst-ful harp and precisely delivered guitar, you won’t be able to contain yourself. Tim Holek For CDs and information contact: Juke Joint Records by Tel (416) 695-4739 or e-mail musicanjukejoint@rogers.com |
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ELVIN BISHOP Gettin’ My Groove Back Blind Pig BPCD 5100 Elvin Bishop has an entertaining nature. On his first new studio album in seven years, he is bursting with enthusiasm. As a member of the original Paul Butterfield Blues Band, Bishop’s contributions to the blues movement are undeniable. Since parting with Butterfield many years ago, Bishop has created a string of notable solo records. This one confirms his witty songwriting talents via eight of nine tracks. I’ve read many positive reviews of Gettin’ My Groove Back. Based on a small sampling of the 64-year-old’s solo output, I’ve tended to classify him as an average artist. So, how good could this new CD be? Well, the answer is simple. It is great. Lots of fun is exercised on this blues-based roots rock album. With fuzz tone, the guitars crank out on the opener What The Hell Is Going On. Here, a blurred world view is accentuated with Bishop’s purposely distorted vocals and guitar. I’ll Be Glad contains gospel-like backing vocals set atop a thumping juke joint rhythm. Here, Ian Lamson doesn’t attack his lead guitar like Bishop. The song soothes and rejuvenates. These first two songs lead you to believe that Bishop has been seriously listening to Fat Possum artists. The intoxicated form of north Mississippi music resurfaces on Come On Blues. On it, Bishop performs bone rattling guitar. According to the Blind Pig website, “This album is the only place anyone will ever hear it. I only did that song once in my life and that's all I'm ever going to do it," says Bishop. "Most of my stuff is for entertainment, but that song and What The Hell Is Going On were written for me, more for therapy than anything." With a country and bayou flavor, Sweet Dreams is a beautiful instrumental with the signature melodic slide of Bishop. That’s My Thing fits Elvin Bishop to a tee. Although an average tune musically, Blues Train carries the same significant message as other prominent trains like Mystery Train and Peace Train. During this ride, the horns wobble. He’s A Dog is, naturally, about man’s best friend. It contains humorous lyrics about the canine liking to get dirty, drinking from the toilet, and relieving himself when he shouldn’t. However, a hidden message advocates to take people as they are, and in particular, to take me as I am. On this track, Roy Rogers and Norton Buffalo make guest appearances on guitar and harmonica/washboard respectively. Bodies will be shaking during the repetitive Got To Be New Orleans. It’s a funky tune with extra funky keyboards – performed ’70s style – and a cookin’ sax. Fifteen musicians assist to create the groove. Most notably, Bobby Cochran performs poignant drums and some lead vocals, while Steve Willis and Henry Butler lay down exceptional piano. Bishop’s half spoken, half sung vocals are insubstantial when compared to his songwriting and guitar playing, but the music is as significant as ever. It’s time to rejoice because the father of flamboyant blues is back! Tim Holek |
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Big Dave McLean “Blues From The Middle” Stony Plain Records (SPCD 1290) Winnipeg, Manitoba is in the heart of the Great White North and is geographically and culturally worlds apart from the American South. Yet here, from the middle of Canada comes Big Dave McLean. For over 35 years, he has been an integral part of the Canadian blues scene and is commonly acknowledged as the country’s predominant acoustic blues musician. Recorded in his hometown, his new release features nine original songs plus five covers. On this album, McLean’s goal was to have the same feel as a classic Chess session yet to include his own stamp on it. Dave handles lead vocals with a touch of grit and performs guitar, harmonica and mandolin on the 62 minute disc. He is effectively backed by local artists, the Perpetrators. “Ooh Wee” is a post war, electric Chicago jive that predominantly features the bellowing harp of Gord Kidder, mighty slide guitar of Chris Carmichael and houserockin’ piano of Graham Guest. A Bo Diddley rhythm pattern provides the foundation for the stinging guitars of guests, Duke Robillard and Sue Foley, on the instrumental “B. Meets Bo.” Here the blues’ favourite son, rock and roll, proudly demonstrates its musical roots. Little Walter’s “You Know It Ain’t Right” is given a hillbilly romp treatment thanks largely to Dave’s pulsating and punchy harp. “Johnny Tornado” is a lazy, western, cowboy song where Foley’s background vocals are tolerable. “Lowdown Dirty Rotten Blues” sounds more like the alternative folk-rock of Fred Eaglesmith. McLean’s main influence, Muddy Waters, shines bright on a couple numbers. “Sweet Della Jones” pays homage to Muddy’s mama Berta. This tune combines elements from all American roots music. “Muddy Waters For President” contains a “Can’t Lose What You Never Had” melody. The lyrics mention plenty of Muddy’s songs and Chris’ slide sounds a cross between Waters and Bob Margolin. The tune exudes everything associated with traditional blues. This Canadian artist breaks away from many of his counterparts who prefer the happy, horn-drenched style of Louis Jordan. Yet, in paying homage to the Chess era, Dave and company did not inject enough of their own identify into this disc. Most of the music on this CD has all been done before. Yet it proves traditional blues is still alive and longs for an audience. For CDs, booking and information, contact: Stony Plain Records, PO Box 861, Edmonton, AB Canada T5J 2L8 website: www.stonyplainrecords.com e-mail: info@stonyplainrecords.com Tim Holek |
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Chris Murphy I’m A Happy Guy Speakeasy London Ontario’s Chris Murphy has kept the blues beat alive for more than 20 years. This acclaimed saxophonist was the first recipient of the Jimmy Lewis Lifetime of Blues Award 2003. Chris is a bluesman at heart but he blows through the 12 bar barrier on this active 60 minute set. On it, you also get big band swing, funk, Latin rock and smooth jazz. Murphy won’t be remembered for his bland vocals so he wisely includes nine exciting instrumentals and two powerful guest vocalists. Janalynne Rogers’ sassy and sexy vocals on Do I Want You Back should be burning up the pop/soul charts. The 15 track disc (four were penned by Chris) shows the extraordinary talent of its 17 musicians. Many of them are Canada’s best blues artists. In particular, Jack de Keyzer and Terry Lee’s guitars are stylish and Michael Fonfara’s keys are mesmerizing. Ultimately, the CD is about Murphy and his army of horns. The formulas for these songs tend to repeat but what’s wrong in sticking with a good thing? Feeling stressed and needing some reflexology? Forget that. With this relaxing music, you are guaranteed to be happy. Tim Holek |
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Corey Harris “Mississippi To Mali” Rounder (11661 3198-2) As an artist Corey Harris has always remained true to the roots of the blues. Now, he gets closer to those roots than ever before. His new CD digs deep into the core of the blues by examining its African and African-American connection. The recording of the disc’s fifteen tracks took place in Mali and Mississippi throughout 2002 and 2003. Practically all tracks feature Corey’s guitar and vocals. Renowned African artists appear on nine numbers. Three are Harris originals and the covers include Skip James and Blind Willie Johnson. “Big Road Blues” depicts the same earth tones that are shown on the front cover, liner, disc tray and back cover. The Rising Star Fife and Drum Band beats the rhythm of life into your soul on “Back Atcha.” Here, Sharde Thomas (the 12 year-old grand-daughter of Otha Tuner) gets credited for the tune yet it sounds a lot like Howlin’ Wolf’s “Sittin’ On Top Of The World.” Her young vocals need more time to mature but her fife skills are advanced for her age. “Mr. Turner” is Corey’s ode and farewell to the great Otha Tuner. This is a low down dirty blues number that features Bobby Rush’s harp carrying the rhythm via a series of chords. This CD was made out of love and respect for the spirit that makes the music. Perhaps some of that spirit lives in the African soil which is used very cleverly to depict Harris on the cover. Corey is definitely an artist in love with the blues and a passion for its history. There is plenty of world music on this Harris-produced disc so beware and be leary if you aren’t one for breaking away from your favourite style of blues. For example, the percussion and string instruments used on the Mali tracks will sound very foreign to North American ears. Martin Scorsese’s The Blues TV series left me with a greater appreciation of Corey Harris as a man and an artist and so does this CD. Tim Holek For CDs and information, contact: www.rounder.com |
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Darrell Nulisch “Times Like These” Severn Records (CD-0020) Darrell Nulisch does not perform music that gets in-your-face but rather he focuses and excels at music that gets in-your-heart. He is one of the great white R&B and soul singers who was a former lead vocalist for Texas blues masters Anson Funderburgh & the Rockets, Ronnie Earl & the Broadcasters and Mike Morgan & the Crawl. When not doing his own thing, the Dallas, TX native fronts the James Cotton Band. His previous Severn release garnered a W.C. Handy Award nomination. This time around he tackles 12 tunes and half are originals. The covers come from Ashford & Simpson, Ray Charles, the Temptations, Junior Parker, Little Milton and the Big O. Nulisch feels, ‘this is my best recording to date. It shows a lot of growth in our song writing and the overall sound is much richer.’ “Lonely Man” has a big band feel thanks to the six piece horns which could power an entire orchestra. Hear them push and pump Nulisch to his vocal brink. “Something Else” is gritty, low-down and dirty with a special emphasis on Darrell’s menacing harmonica skills. Obviously, Darrell has learned a few things from his time spent with Cotton. “The Snow Is Falling” is performed in the vein of B.B. King. The rhythm is catchy, the brass is punchy, the vocals are poignant, and the guitar of Jon Moeller is mighty expressive. These blues-flavored tunes are good but its the following soul tunes that make the disc memorable. “Handle It With Care” relaxes and sets your mind at peace while Benjie Porecki’s organ grinds you into a chugging groove. Kick back and let the ungoverned melody of “Don’t Look Back” lift your concerns away. Here, the alluring rhythm guitar impregnates itself into your nest. This is definitely one of the CD’s strongest songs. Return to the glory days of R&B on the title track. Everything comes together on it. Nulisch does the soul genre proud on this track which is a contender for song of the year. “I Found Love” is sentimental and romantic. If this doesn’t move you then you haven’t experienced true love and the joy it brings. The liner duly credits all who contributed to the project, e.g., the producers were Darrell, Steve Gomes and David Earl, but it contains nothing else. Darrell needs more oomph in his voice if he doesn’t want to get lost by his terrific backing musicians who regularly support him on tour. Nulisch doesn’t need to baffle with bewildering solos since he lets his music do the talking. This 43 minute disc is a progressive mix of blues and soul which proves both genres are in good health. The lyrics to one of the songs talk about dusting off old soul records and dancing to them. In years to come, couples will be doing this to Nulisch’s CDs. For CDs, booking and information, contact: Severn Records Inc., PO Box 1450, Millersville, MD 21108 website: www.severnrecords.com 877-923-2275 Tim Holek |
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Lou Pride “The Memphis/El Paso Sessions 1970-73” Severn Records (CD-0022) Lou Pride is a soul sensation who is not well known. Born outside of Chicago, Lou started singing in the choir of the First Baptist Church. His recording career began in the 70s. He has recorded sides and albums for the following labels: Suemi, Black Gold, Curtom, WMB, Ichiban, Kingsnake/Icehouse and Severn. Now, Severn has unlocked a treasure of early 1970s recordings. All were previously unavailable on CD. Based on the strength of Lou’s 2003 Pocono Blues Festival performance, this new CD was a must have. 13 tracks including 10 Pride originals are included on the 38 minute disc. Six were recorded at Royal Studios (home of Hi Records) in Memphis, TN while the remainder were created at Suemi Studios in El Paso, TX. Most of the Suemi personnel is unknown while the Royal sessions involved the famed Hi rhythm section (the Hodges Brothers) and were arranged by James Mitchell (Willie’s brother). “Your Love Is Fading” hits you, grooves you and moves you thanks to Lou’s charming baritone voice and sweaty horns. A more polished version (from Memphis) is also included. Since the song is so attractive, you won’t tire of it being included twice. “Lonely Room” features sweet, soft strings. They are arranged with sophisticated horns and combined with lyrics performed falsetto. This creates a truly amazing chorus. “Look Out Love” could have been lifted from Al Green’s songbook. It has as much style and ambition as any Green hit. Pulsating horns (the kind that introduce royalty) commence “I’m Com’un Home In The Morn’un”. Here, Pride’s golden-throated vocals sound frighteningly like Carl Weathersby. The driving rhythm on “Phoney People” entices Lou to exercise his full vocal range. The funkiest tracks are “It’s A Man’s Man’s Man’s World” and “There’s Got To Be Someone For Me”. These recordings remain true to the legacy of soul. Some are soft but all are powerful. Many of them address love’s fragility and provide hope and a strong desire to persevere. Most tunes are under three minutes and on each the voice is the most moving, touching and impacting instrument. In all likelihood, they would have been hits had they been released during soul’s heyday. The Memphis recordings are arranged in a more classic soul setting whereas the El Paso sides are a little harsh. Analog masters have resulted in sound quality less than today’s standards but this simply adds to the authenticity of the era they were made in. On the back cover, it is written, “feel the power of soul!” On this disc, Lou Pride has enough inertia to single-handedly put the soul train back in motion. For CDs, booking and information, contact: Severn Records Inc., PO Box 1450, Millersville, MD 21108 website: www.severnrecords.com 877-923-2275 Tim Holek |
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PAZ MAN & FRIENDS Detroit SuperSession Venture Records MAP72255 As host of WCSX 94.7 FM’s “The Motor City Blues Project”, Mark Pasman is well known for supporting the blues. He is also a rockin’ guitarist who fronts the popular local Detroit act, Mudpuppy. Mark’s guitar comes with a rock edge but he is capable of playing softly with plenty of feel and emotion. His latest ambition is to unite some of Detroit’s finest blues, rock, jazz and roots musicians together. This 66 minute CD was recorded live at Royal Oak’s Memphis Smoke (a long time sponsor of Paz’s radio show) during a series of Detroit Super Sessions. Thirteen cover songs from the likes of Chuck Berry, Little Richard, Lloyd Price, Jimmy Reed, the Meters, Tampa Red and Freddie King are included. It’s one hell of a party that begins with Thornetta Davis. She delivers a standard from her regular act, “Meet Me With Your Black Drawers On.” Her powerful voice is as subversive as it is sweet. However, she needs some new material as you can find Davis performing this tune on many other Detroit compilations and her latest release. Plenty of different sounds are present on Mudpuppy’s “Baby What You Want Me To Do.” You’d think a hip hop DJ sampled the tracks together but there is no technology at play here. the band is fronted by bassist/vocalist Paul Randolph who might have the finest voice in contemporary roots music today. Al Hill proves to be the gem of this Mark Pasman produced CD. Al’s acrobatic electric piano outshines Nikki James’ contorted vocals on “Don’t You Lie To Me.” “Let It Rock” is a tune associated with Bob Segar. Its an all-out rockin’ boogie perfect for road racing at high speeds. On it, Johnny Badanjek’s drums rattle the foundation while Jim McCarty’s guitar rattles the windows. The Starlight Drifters show their love of 50s rock and roll on a couple rockabilly tracks. The Brothers Groove fuse jazz and funk on “Love Is The Blues.” Here, Chris Codish’s flat vocals aren’t as smooth as his keyboards. It appears as if all egos were left at home for these recordings. The expanded group of 18 musicians peacefully come together to share a common love for keeping blues and rock alive. The world could certainly learn how to get along better by observing these musicians in action. Missing from these sessions are more authentic Detroit artists who play real blues in the traditional fashion, e.g., Alberta Adams and Johnnie Bassett. Perhaps none of the city’s vibrant blues community stands as united to see the blues endure (no matter what size, shape or form) than Paz Man. If you are looking to be super sized, check this disc out. Tim Holek |
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SAFFIRE – THE UPPITY BLUES WOMEN Deluxe Edition Alligator ALCD 5613 Alligator began their Deluxe Edition best-of compilations to celebrate the essential recordings of their modern blues legends. Saffire is an acoustic threesome of richly-talented, strong women who also are persistent, daring, and opinionated. They have grown from being a local draw in Virginia to one of Alligator’s most popular acts. Ann Rabson performs boogie piano and finger picked guitar from the old school. Gaye Adegbalola plays incisive guitar and harmonica, while multi-instrumentalist Andra Faye adds bass, guitar, mandolin, and fiddle. Original bassist, Earlene Lewis can be heard on six songs. For this righteous collection, the band personally selected material from their seven Alligator albums, which were recorded between 1989 and 2001. Each of the 20 previously released tracks, including ten originals (mostly written by Adegbalola), on this 75-minute disc have been re-mastered. Middle Aged Blues Boogie has become the group’s anthem. The song features the basics of acoustic piano, mandolin, and guitar, yet it comes with all the sass of Bessie Smith and the authority of Sippie Wallace. Ain’t Gonna Hush sounds written in response to Lowell Fulsom’s Honey Hush. Adegbalola’s novelty vocals growl during Bitch With A Bad Attitude. Of course, the entertaining song features the group’s signature humorous lyrics. Being quick to make fun of themselves and their age, Gaye once introduced Silver Beaver as something she sees in her mirror! The joking continues on School Teacher’s Blues, which is sung by Adegbalola who is a former science educator and can use her voice like a brass instrument. These feisty ladies cleverly use their wit as comic relief since their woman’s straight-talking lyrics can run deep – as on The Equalizer. Faye’s voice is the tamest and is real sweet on Falling Back In Love With You, yet it may well be the strongest during It Takes A Mighty Good Man (to be better than no man at all). Rabson’s vocals are the most mature and distinguished as can be heard on Tom Cat Blues. When their three exclusive voices come together in harmony, as on Because Of You and How Can I Say I Miss You?, it is sheer enjoyment. At times, the lyrics carry a feministic viewpoint, e.g., (“Hard to find a human male as charming as a pup”) from Don’t Treat Your Man Like A Dog. Listen to decide whether the ultimate message states to treat a man like a dog is too treat him too good. Saffire – The Uppity Blues Women ain’t no girly girls. You won’t find glitz and glamour, but that won’t prevent you from experiencing everything good about being a woman. Together, they leave women’s footprint in modern blues history. Their we-ain’t-gonna-take-no-shit approach meshes perfectly with their ragtime saloon music. There is no competition among these astute ladies. However, Rabson’s domineering vocals and boisterous piano are a highlight. Saffire is a leading force in an industry swarming with boisterous guitars and caustic harp predominated by male artists. If it is true that women mature faster than men, these middle-aged gals have more wisdom than a group of male mystics. Things couldn’t be closer to the truth when Saffire sings (“age ain’t nothin’ but a number / you don’t get older / you just get better”). Tim Holek |
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Title: CHICAGO BLUES JAM (DVD) Volumes 1-12 Artist: Various Label: The Store for Music, Cat. No’s: SFMDVD 001 - 012 Vol: One; Rod Piazza and the Mighty Flyers, the Blues Instigators. Vol: Two; Lonnie Brooks, Studebaker John & the Hawks. Vol: Three; George Baze: A Tribute to Muddy Waters. (Including; Roy Hytower, Pistol Pete and John Katke.) Vol: Four; Hubert Sumlin and the Big Four, Rod Piazza and the Mighty Flyers. Vol: five; Junior Wells, Pistol Pete. Vol: six; James Harman, Howard & the White Boys. Vol: seven; Magic Slim, Studebaker John and the Nighthawks. Vol: eight; Mike Morgan & the Crawl, Keb’ Mo’. Vol: nine; Fenton Robinson, James Harman. Vol: ten; Sons Seals, Howard & the White Boys. Vol: eleven; Maria Muldaur, Keb’ Mo’. Vol: twelve; Billy Branch, Keb’, Mo’. |
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All regions compatible
Stereo sound only English language only, no subtitles Screen format 4:3 No extra features available
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 Buddy Guys’ Southside, Chicago Blues club has become over the years a familiar venue from which a vital, visual archive has been created from most if not, all of the performing blues talent resident in, and or passing through Chicago. In this twelve volume collection (the DVDs’ are available separately) each disc features two main artists.The running time on each disc is approximately fifty minutes, the picture and sound quality is quite, quite impeccable. The intelligent use of hand held cameras adds a greater depth of intimacy whilst at the same time maintaining an unobtrusive distance throughout all the performances on these discs.  All the contents of these volumes have been previously broadcast on American television during 1994. Unfortunately, due to the requirements of American television advertisers and sponsors; there is some evidence of fading out of numbers before the artist has finished playing and or singing. We all enjoy artist interviews, especially when they are interesting and informative; but they are not appreciated so much when through poor editing judgment they have been thoughtlessly intercut into performances, as also are the fans enthusiastic opinions before during and after performances (would it not have been more pleasant and satisfying viewing for the disc to have a separate interview/ fans feature section provided elsewhere on the disc,)  Having said all that; this collection is far from being a waste of time and good money; because on each disc we have fine performances from a wide spectrum of blues artists of all ages, types and skills.Some of my personal favourites on this collection are: Fenton Robinson; whose sweet delicate playing enhances his even sweeter vocals. The stunning acoustic and dobro playing of Keb’ Mo’ has a powerful yet soothing quality in its’ delicacy. On the sets by Sons Seals, Lonnie Brooks and Pistol Pete they each in turn easily rattle the rafters and upset the furniture with their own particular brands of classic and rockin’ blues. Mike Morgan & the Crawl s’ set displays lyrical and rhythmic guitar play throughout.  Whilst Hubert Sumlin a true gentleman of the blues shows everybody grace, subtly and style in his restrained yet riveting performance.The harmonica is more than well represented with the heart stopping, wind blasting, blowing of James Harman and Billy Branch, whilst Junior Wells is in a lower groovin’ mood; at one point Buddy Guy joins Junior for an interesting duet. Although this collection is not necessarily essential it certainly has within it a good number of worthwhile and stunning performances; also we must not forget the valuable historical aspect of these releases. Brian Harman |
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Artist: Sandy Atkinson Title: From There to Here Label: Gator Blues Publishing For more information go to: http://www.sandyatkinson.net For those of you who have either never heard of Sandy before or only possess a solitary album by her, this is an ideal opportunity to rectify the situation, by obtaining a copy of this compilation album; containing material from her three previous releases plus an additional five new numbers. Sandy’s childhood was spent in the foothills of the Appalachians, South Carolina. Until the age of fourteen when she was given a guitar by her mother, her only musical instrument was her voice which she exercised weekly in the local church. In 1988 Sandy took part in a local festival and the sponsor of the event was also a local club owner after witnessing her performance he invited her to perform for him at the club. Sandy was happy to agree and subsequently appeared at the club on many more occasions as she did the festival over the following years. After spending some time in Maine and playing at a summer resort near Portland, Sandy moved to Florida in 1994. Shortly after arriving she struck up a friendship with some Tampa Bay musicians and consequently released her debut album in 1996 with the help of little Duke & the 1 Nite Stand. As well as continuing her recording career, Sandy has been active in the community by chairing The Suncoast Blues Society; a group which is devoted to introducing blues to schools and schoolchildren. Also she has produced and hosted a television programme which was devoted to Tampa Bay blues artists. So, for your listening pleasure, there are twenty two numbers lasting for seventy eight joyful minutes on this very listenable album. As you would expect, there are various changes in moods and emphasis in the music, which ranges from; breathlessly slow acoustic country swamp style blues to seriously rip, roaring toe-tappers. Sandy’s voice accordingly changes with noticeable ease from a soft, sexily husky, almost fragile whisper to a raucous, tearing bandsaw resaw to accommodate the twisting turning music; which; has in it amongst the flux of wonderfully arranged numbers a lazy haunting sax which seems to lead all the way through to the end. A very fine album; soothing, rocking, dreamily rolling and extremely good! Highly commendable! Brian Harman |
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Artist: Rancho Deluxe Title: Rancho Deluxe Label: Rancho Deluxe Records If, like me; you are a person of highly eclectic tastes, (Although, I draw the line at opera) many forms within the wide, wide world of what we call music can cause you to mooch about for the odd toe-tapper which, when heard on the radio or television can posses the ability to stop you dead in your tracks; and such a piece is this fine, fine debut album from Rancho Deluxe. This band has what I am reliably informed of as pedigree, for amongst the players is an extremely interesting array of talent such as; Mark Adams; acoustic guitar, vocals, Jesse Jay Harris; electric guitar, mandolin, Graham Harris; bass, JayDee Maness; pedal steel, Don Heffington; drums, Michael Witcher; dobro, lap steel, Megan Lynch; fiddle, Greg Harris, wooden banjo and David Vaught; keyboards. The father of Jesse and Graham Harris is former Flying Burrito brother Greg; and as consequence their playing style although fundamentally hot picking and Bluegrass influenced, elements, intentional or otherwise have you thinking of the later career performances of the likes of; Emmylou Harris and Gram Parsons; who pushed the boundaries of country music to encompass other styles such as; the Blues, R’n’B. and Rock So, in my opinion we have more of a pleasant musical virus upon us rather than the dreaded crossover infiltration. Only one of the eleven songs here is a cover, the Bob Dylan “Tonight I’ll be Staying Here with you,” the rest are highly original toe-tappers! Whether they are fast or slow your toes are on the go! Well! All I can say is; pass me that Stetson and let’s herd ‘em on out! Highly commendable! Brian Harman For more information go to: http://www.ranchodeluxe.org |
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MISSISSIPPI HEAT One Eye Open Delmark DVD1783 Radio introduced Israel-born Pierre Lacocque to African-American music and it forced him to leave Existentialism and Theology studies behind. In 1969, at age 16 he relocated to Chicago. Disillusioned with the music scene, he returned to the books in 1976 and eventually received a doctorate from Northwestern University. Even that couldn’t fill a void. So, he founded Mississippi Heat in 1991. Ten years later, South Side lady Inetta Visor blessed the group with her robust vocals. When this DVD was recorded, at one of Chicago’s most respected blues venues on July 18, 2005, she introduced Lacocque as the star, but the entire band is riveting. Special guest Lurrie Bell demonstrates why many critics revere his guitar playing as Chicago’s best, while Kenny Smith proves he has inherited his father’s mastery of the shuffle. Other members include Max Valldeneu guitar, Chris Cameron keyboards, and Spurling Banks bass. Throughout, Visor is full of life, constantly smiles, and pours her very being into practically every note. At times, her entire body shakes while she sings. Her vocals range from lovely to curt, but they are not always vivacious. Although steeped in tradition, the DVD’s 11 songs are adaptable to innovation. They include six Lacocque originals and seven songs not previously recorded by the band. Available as both a DVD (in stereo and 5.1) and a CD, each contains a unique song that is not available on the other. The Delmark label records authentic Chicago blues bands, so Mississippi Heat is a befitting addition to their roster. One Eye Open is filled with unabashed music, straight from Rosa’s smoky lounge. On the opening instrumental track Rosa’s Strut, Lacocque makes his stage entrance by slowly walking from the back of the club to the front. Along the way, he saunters past Bob Koester (sat at the bar) and Mama Rosa (working behind it). All the time, he scholarly blows his harp. During 19 Years Old, Bell plucks his strings and creates a distinct sound and a definitive tone. Here, and on the minor chord Cold, Cold Feeling, he takes over lead vocals with his husky voice. The title track is a humorous tale about a man who gives his woman a little bit too much. The song’s great groove gets repeated too many times. The painful good-love-gone-bad lyrics of Dirty Deal are blown free by Lacocque’s chromatic harp and Valldeneu’s B.B. King/Albert Collins sounding guitar. Honest I Do sounds similar to the Lonnie Brooks/Katie Webster rendition of Lonely, Lonely Nights. She Ain’t Your Toy contains foolproof ideas (lavish her with complements, treat her as an equal, don’t disregard her, and make her feel wanted) regarding how to treat a lady. This band is the real deal, and so is Rosa’s. Three cameramen do their best to provide multiple angles of all band members whose stage presence is modest. The best camera-work includes close-ups of Bell’s finger dexterity. When the focus isn’t on Visor’s natural Larynx-busting vocals or Bell’s captivating guitar, it is on Lacocque’s incredible and magical smooth harp, which is a cross between Sugar Blue and the Sonny Boys. Undoubtedly, Lacocque is one of the best harp players on today’s scene. You can hear his ’50s influences during Jukin’, yet Lacocque uniquely stands out among today’s harp wailers. He is capable of inconspicuously providing fills until it’s his turn to solo. Then, his harp-playing builds in intensity until it explodes. More info at www.mississippiheat.net Tim Holek |
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GREGOR HILDEN Golden Voice Blues Acoustic Music GmbH & CO 319.1365.2 Songs: Shufflin' · Golden Voice Blues · Off Beatin' · Smack Bertha's Shuffle · Late Rent Shuffle · Mature Blues · Baritone Boogaloo · Jammin' · Sweet 'n' Sour · Earth Blues · Greg's Boogie Gregor Hilden is no stranger to the blues. Germany’s secret weapon is Hilden; and the ‘68 Gibson slung around his shoulder. The guitarist/ artist favors instrumental where he finds clean and clear notations. Munster’s blues genius has written and produced this disc. The selections are solid, cold shoulder blues; with the exception of a couple boogie tunes. The closers are examples of The Fourth Reich is coming! Earth Blues, the title song, and Greg’s Boogie feature Hilden’s bomb guitar and piano/ organ by Horst Bergmeyer. AOK. Mark A. Cole |
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Various Artists Bluegrass Hits Rounders 11661-0569-2 Bluegrass is a peculiar blues, borne of poverty and the want to feel good! The bluegrass instruments recalls fiddles, mandolin, banjos, and even ... spoons. This disc is subtiitled, Twenty Timeless Favorites From Yessterday And Today. Performers include; Doyle Lawson, Alicia Nugent,Longview, Claire Lynch, The Grascals, Blue Highway, Rhonda Vincent, Weary Hearts, Rob Hicks, Open Road, Alison Krauss and Union Station, Dan Tyminski, Tony Rice, Lynn RMorris, J.D. Crowe and the New South, Stuart Duncan, Ricky Scraggs and Kentucky Thunder, The Cox Family, Rambler’s Choice, and Johnson Mountain Boys. Scragg and band do a stirring Little Maggie and J.D. Crowe and company, you can smell the liquor on Back To The Barrooms . One of today’s favorites is fiddler/violinist Alison and her troupe Union Station..... True to bone, they speeded up I Don’t Know Why. The nature of the beast, ... bluegrass! Mark A. Cole |
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Sugar Pie De Santo Refined Sugar Jasman Records 10006 Sugar Pie has been wowwed audiences for her seventy plus years. Her act is part blues, part jazz, a bit of gospel, and some burlesque; a little pantie showing. This disc clearly separates the pretenders: DeSanto uses her velvet voice in sweet harmonies that interplay between guitar, sax, and piano. Example? ... Darkness To The Light utilizes a somber tone that candles could help, while I Need To Live Again is a ballad that Sugar beautifully fits her background singers. Trumpet this girl; she’s for real! Mark A. Cole |
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Cleveland Fats Blues Time Honeybee Blyes 3301 Psst! There’s a new Fats CD, and it’s kickin’. Cleveland Fats, alias Mark Hahn, is one of the town’s and the country’s best guitarists. A student of the great Robert Lockwood, Hahn can pick, slide, and artfully place his notes. Just A Feeling , by Little Walter, is a supreme example. The last titletune, Other Side Of Midnight , is a crowd pleaser at whatever the bar!His enormous play lists make sure the audience is satified.An old salty dog of the blues! Mark A. Cole |
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Harper Down To The Rhythm Blind Pig Records BPCD-5096 With native instrumernts, a heartful horn section, and his virtuoso voice, Ben Harper makes every song his. All the ballads were written and arranged by him. The Australian vocalist, slash harpist, is in his indigenous blues world. Selections include the titletune, and Last Cup Of Coffee is caffiened with cream with a spot sugar. Air makes an aerial instrumental by using the didgeridoo, and I’ll Follow You spotlights guitar work by Simon Patterson. The whole ensemble is harmonizing and it’’s on time. Blind Pig’s got a smoker in Harper playin’ his Bushman Harmonicas! Mark A. Cole |
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Cowboy Junkies Early 21st Century Blues Zoe Records 01143-1078-2 Blues transgresses boundaries, definition, and it damn feels good. In reviewing this disc, by the Cowboy Junkies, it was bitchin’ good. Innovation, championed by Mississippi hill country bluesmen like Junior Kimbrough, shows through. Margo Timmins at the mike, Michael Timmins at the axe, bassist Alan Anton, and the skinman Peter Timmins makes the music. Special guests encompassed John Timmons on the banjo and an another guitar. Vehicles included an accordian, cello, pedal steel, and the electric mando. The conduction of the group is not named: But the foursome need a pat on their collective backs. Mellow, soft, and you can recommend to friends, your competition, even the boss. Songs mix traditionals, their own written material, and songwriters like John Lennon, George Harrison, Richie Havens, and Bruce! Mark A. Cole |
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Cletus Black In The Shadow Night Wax Records Cleveland’s Woodie Guthrie, Cletus Black keeps the westside clean: In The Shadow , this troubadour clocks his seventh disc. Whether solo or with his very capable ensemble, which reads like a who’s who in blues, r & b, or blue-rock; Black pleases his spectators. Devices includes the uprght bass, accordian, mandolin, sax, clarinet, violin, and the congos: The Louisana swamp feel is manufactured ala the artist. Cletus successfully covers Neil Diamond’s Solitary Man and Tupelo Honey , by Van Morrison. It makes you feel you’re in Scotland. Morrison’s song is framed by the violin, keyboard and the accordian. With an acoustic feel, the other axe slingers, and other players are playing innovating blues with Cleve’s poet laureate. Pick any ballad ... they’re all tantalizing and suggestive! A Black and Dave Morrison production. Mark A. Cole |
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Big Al Anderson After Hours Legacy /SonyBMG JK-82876-78810-1 Al Anderson was/is one of the country’s frontmen pushin’ the band NRBQ. Splitting his time between projects, Big Al is still a hellava songwriter, balladeer, and guitarist. The rural mood in It’s Only Natural echoes the bluegrass aura that Blues About You Baby has. Do Nothin’ Day was co-wrote with Delbert McClinton, whilst Right On Time has bomb background singers, Becca Bramblett and Crystal Taliefero. Anderson smoothes the corners on every note, lyric, and sentence ... just perfect! Mark A. Cole |
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made with Macintosh
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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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