Writing a review of "The Peace Within" from Irish blues/rocker Barry McCabe has proven to be a difficult task. It has been difficult because I have struggled to find the proper words to adequately describe this work to you, and I only hope that this review does it justice. Like the tremendous "The Wilderness Years" CD from T.W. Henderson, this recording from McCabe stands uniquely apart from the mass of material that I review. It is neither a glorious display of some musician's extreme manual dexterity nor an exhibition of the mass production skills of some large record industry conglomerate.
It is rather a work of art, the brainchild of McCabe in conjunction with the reknown uilleann pipe player Davy Spillane. It is a marriage of Irish folk music and blues/rock, fused into a conceptual recording of sorts.
Though at first the partners in this marriage may appear a bit odd, their offspring is a beautiful child I have heard called "Celtic Blues". But these two forms of music are not alien one to the other. My regular readers know that I consider blues to be a specific form of folk music and the joining of it with Irish blues is a natural union, as well as being a stroke of genius on McCabe's part.
The material here varies from acoustic, Irish folk music punctuated by Spillane's marvelous pipes to blistering, guitar driven blues/rock. Though the majority of the songs are Barry McCabe originals, the set does include some well chosen covers, including Peter Green's "Oh Well", which is one of the highlights of the recording. The CD contains a short but powerfully beautiful Rory Gallagher tribute "The Emigrant", which is an acoustic guitar/uilleann pipe masterpiece. This great diversity of material makes this an impossible recording to categorize, but why does it matter? If you recall a day when recordings were made with purpose and with great love, then chances are you will enjoy this remarkable work.
My favorites here include the aforementioned "The Emigrant", the title track which is an electric slide laced blues/rock track and some of McCabe's finest lyrics, McCabe and company's thunderous cover of "Oh Well", and "One Of These Days", another example of McCabe's outstanding gift of song writing.
What evolved into Wolf Records began in 1974, when 20 Austrian blues fans created the Vienna Blues Fan Club. It was transformed 25 years ago into what is now Wolf Records. The label was formed with two primary objectives in mind. Those were to re-release original country and blues recordings of the 30s and 40s, and to emphasize the blues style of Chicago. The first four years were difficult. Then in 1982 they released a recording by Chicago's Magic Slim and the Teardrops. It was an instant success. Now more than 20 years later, Wolf has released their sixth CD from the genre’s greatest living proponent.
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. The country is still in Slim’s heart and sole, it just comes out in an urbanized electric manner. Slim’s instantly recognizable guitar solos are abrasive and his vocal chords have been scratched with sandpaper. He has a unique guitar sound, as can be heard on Texas Flood, thanks in part to his picking hand having sustained damage in a cotton gin accident many years ago.
These aggressive 12 songs, including six originals written by Magic Slim, were recorded between 1992 and 1998. Half are studio cuts and half were recorded live. The latter tracks, which include alternating guitar solos from John Primer and Magic Slim, prove Slim sounds the same on stage as in the studio. The Teardrops were at their best when unheralded guitarist Primer was in the band. He features on nine of the tracks. Other band members include Nick Holt (bass), Earl Howell and Alan Kirk (drums), and Michael Dotson (guitar).
Bluesmen from Slim’s generation knew the music was all about the song and its rhythm. It wasn’t about a blistering and never-ending guitar solo. She Was Walking Down Through The Park is a prime example. The Teardrops instantly lock into a groove that you can dance to on Tell Me What You Got On Your Mind. Here, Slim’s vocals are as gruff as his gritty guitar. On Please Don’t Leave Me, the band maneuvers like a train clanging down a track. Like the shrill blast of a trumpet, the guitar’s notes are sharp and piercing on Close To You. Cold-Hearted Woman is a brilliant slow blues as well as a defining moment for recorded blues in the late 20th Century. Listen as Slim pulls the strings like a madman shooting at the world to remove all the evil. On Goin’ To California, he makes his strings pulsate with a rattle while squeezing a bit of Jimmy Reed into his playing.
Ironically, the title track is the weakest on the album. The song’s well known melody and arrangement is replaced with a standard Slim shuffle. Thus the song sounds like any other ordinary blues song as opposed to the classic that it is. The slower songs, e.g., Born In The Country, are more fulfilling because they deeply define what blues is, that Slim was born into them, and continues to live them.
Musically the songs, which are mainly about male and female relationship problems, do not feature much that Slim hasn’t done before. In fact, after the first few shuffles and basic boogies, you do not hear a lot more that’s new or different. That doesn’t matter because you’ll enjoy the feeling made by the unrefined music. It’s the straight up, pure, and rough blues that Magic Slim is well known for.
Along with Delmark, Wolf is recording more Chicago blues artists than any other current blues label. European fans may be able to find Wolf releases easier than their North American counterparts. As a result Canadians and Americans may find this CD hard to locate in their local CD store, but it is well worth seeking if you are a Magic Slim fan.
It is common knowledge that Kent Dykes hails from the same hometown as Bo Diddley (whose famous beat features on Magic Man), began to play guitar at seven years of age, was hanging out in juke joints when he was 12 years old, and joined his first band a year later. By age 20, he was gigging regularly with a wild party band called the Howlers. They started referring to Dykes as Omar Overtone, and in 1976 the band relocated to Austin, Texas. It wasn’t long before the original members went there separate ways, but Omar has been a staple of the Austin music scene ever since. His first recording was released in 1980. The current version of the Howlers includes Jon Hahn drums and Barry Bihm bass. In addition to guitar, Omar handles vocals that at times growl like Howlin’ Wolf. They are gruff, but lack substance.
Recorded October 20, 2005, Bamboozled contains fiery music created by a burly man and his band. But their bark is bigger than their bite. Unlike Smokin’ Joe Kubek, there is no Bnois King to soften Omar’s savage blows and contrast with his renegade approach. A more complete sound would have been achieved via additional musicians. To comprise this 74-minute set, fifteen songs, including only one cover, were culled from approximately ten previous releases. Each song evolves around Omar’s heavy guitar. As a result, most songs sound too similar. After a few songs, I lost the desire to keep listening because the songs are not fresh, exciting, or diverse. Like instant soup, the songs are mostly bland. Beginning with the rockin’ shuffle Shake For Me, the power trio delves into their bold brand of biker blues. A Creedence Clearwater Revival influence can be detected in the guitar riffs of Mississippi Hoo Doo Man. Instead of immediately smacking you straight between the eyes, South Congress Blues initially takes you on a pleasurable journey. Muddy Springs Road has potential as a memorable song, but in the end, it becomes too repetitious. That is not the case with That’s Just My Life, which is full of varied rhythm.
The best songs are the final few. Bad Seed is a standout since it contains a friendly and welcoming beat, a roots rock arrangement, and a guitar that is used for more than just brute force. With no segue; the song immediately develops into Wall Of Pride. It contains a solid, crunching rhythm which is absent from many other songs. Hard Times In The Land Of Plenty depicts this band at their core because the tune is rudimentary ass kicking rock. This is rowdy roadhouse music. It is made for heavy drinking and frenetic dancing crowds like those that gathered at the Musa in Germany. Musically, vocally, and lyrically, there is nothing here that is greater than the majority of blues/rock acts on the scene. Yet, fans of guitar-driven music will enjoy this basic and tough blues/rock.
Upright bass player and singer Lee Rocker’s name may not be in the standard blues reference works, so for those who don’t know he was a member of the Stray Cats, the punky, high energy rockabilly revivalists who were extremely popular in the eighties and still have a large fan base now. This is Lee’s second album for Alligator, his ninth overall, and although it may not be a blues set as such, I cannot see many fans of modern blues having any difficulty whatsoever enjoying this immensely.
There are a couple of reasonably straight rockabilly numbers (try ‘Wall Of Death’ or ‘The Highway Is My Home’) an acoustic country ballad, an amazing version of Bob Dylan’s ‘One More Night’ that keeps the Dylanesque feel whilst being totally in Lee’s style, and a excellent and very listenable bass solo to close. Many of the numbers though fall into the ‘Americana’ or ‘roots-rock categories, with a vintage rock and roll feel, plenty of loud twangy guitar-work by Buzz Campbell and Brophy Dale and simple but effective drumming by Jimmy Sage. The song topics range from lost love and highway songs to the war in Iraq – not quite what you might expect.
If you like your music with attitude, passion, energy and enthusiasm, then this is for you.
A lovely and entertaining set of Mississippi country-blues styled numbers from this US/Swedish singer, guitarist and mandolin player. He was inspired to play the blues after hearing Son House, who remains a clearly discernible influence on his style – try ‘Levee Camp Moan’ or ‘Preachin’ Blues’ on this CD – but he has a warm voice and style, which reveals that Bert’s years of working alongside Eric Bibb have also left their mark.
Other inspirations that show up here include Sleepy John Estes, Mississippi John Hurt, Bo Carter and Sam Chatmon (to whom the title refers) but most especially Yank Rachell, whose influence results in Bert’s wonderful mandolin lines.
These tracks range from solo items to acoustic based band sounds, with the likes of Americans Tom Paley and Brian Kramer helping out alongside such talented local musicians as fiddler Nina Anderberg, harmonica ace Mats Qwartfordt and phenomenal guitarist Janne Zander.
Very highly recommended…..
----- Norman Darwen
Artist: Harmonica Red & the New heard Title: I Was Born in Louisiana Label: Paid Records 2013
This album is an interesting mixture of captivating instrumentals, sad slowburners and lively toe-tapping songs; which start right from the very beginning with the autobiographical title track, which comes bouncing out of the speakers filling the room with that unmistakable Mardi Gras mood. Most of the thirteen numbers are imbued with a jaunty, zesty amalgam of Zydeco and the goodtime blues of New Orleans, tinged with the merest hint of Cuban rhythms. One of the more darker themes explored on this album is the devastation caused by ‘Katrina’ which is addressed here by the aptly poignant and thought provoking “Black Cloud,” a number recorded originally in 1991 but has since been updated as a direct consequence of the disaster.
This album is full of entertaining twists and turns, when listening to the instrumental numbers which are very atmospheric, they conjure up images and influences of artists and composers such as Lalo Schifrin and Curtis Mayfield.
Assisting H.R. is the New Heard and here they are;
George R. Heard a.k.a. Harmonica Red, lead vocals and harmonica; Donnie Pick; guitars, Jeff Mills; drums, Steve Rayburn; bass, Sam Burton; piano, and Mark Black; rub-board.
A very fine album that sounds better the more you play it!
----- Brian Harman.
Artist: Little Milton
Title: Live at the North Atlantic Blues Festival “His Last Concert.”
Label: North Atlantic Blues Records DVD
As you may have gathered from the title, this concert was sadly, to be Little Milton’s last ever performance, for a few weeks later, on the fourth of August 2005 he suffered a massive stroke which proved to be fatal. So, here is his unexpected swansong; a testament to the Blues, by a Blues Legend.
A sodden, Pacamac clad audience patiently and happily endured a continuous and unremittingly relentless downpour of rain to be serenaded by the delicious vocal talents of Little Milton; who at the age of seventy one still possessed one of the most unfaltering, sweet melodious voices around.
Considering the possible dire technical consequences of the mixing of water and electricity thankfully nobody was hurt during the concert.
Overall, the clarity of sound and vision is excellent; with only the odd rain spattered lens in evidence. My head did spin at times though as the producer proved he understands the meaning of the phrase ‘multiple camera angles’ and ‘zoom,’ but not enough thankfully, to spoil my viewing pleasure.
Little Milton entered from stage left dressed in a natty green shirt and trousers and after thanking the audience for braving the inclement weather, he launched into “Still Some Meat on the Bone,” and continued to enthral everybody with extended renditions of numbers such as; “Just One Moment,” and “I Don’t Believe in Ghosts.“ During a four number, twenty minute medley, two of his most famous numbers “Annie Mae’s Café” and “Walking the Backstreets Cryin’.” are splendidly delivered.
In a performance that lasts just over an hour Little Milton sings a total of ten numbers; backed by a solidly, swinging bluesy band; Little Milton’s lead guitarwork is magical and sweet as his fingers gently pluck and pull at the strings.
As the concert progressed the sun began to emerge from the rain clouds and the rain started to slowly ease; by the time the last few numbers were being played the sun came out in full force and a sunshine performance was bathed in sunshine.
It is hard to comprehend that after seeing this performance a few weeks later Little Milton left the stage forever.
This is a very fine concert to remember a very fine bluesman by.
----- Brian Harman.
THE BRITISH BLUES ALL-STARS At Notodden Blues Festival
SPV 49692 CD
Lovers of the British blues sound, here is your ‘album of the year’!
Recorded at the highly regarded Norwegian festival, this is a rip-roaring set from the first note to the last, with a plainly wildly enthusiastic audience adding greatly to the atmosphere as veterans of the UK blues scene strut their stuff – and how! The main protagonists are singer / guitarists Kim Simmonds, Tom McGuinness, and Peter Green (the latter also takes a couple of blues harp solos), singer Long John Baldry – his last recordings before he died on July 21st 2005, eleven months after this festival – and pianist Bob Hall, the prime mover in getting this outfit together. All these take vocals, and others in the backing band are bassist Gary Fletcher, drummer Colin Allen, and Bob Hall’s saxophonist (and the youngest member here – though he more than holds his own with some excellent playing) Steve Beighton.
Look at the collective experience of these guys and it includes just about every name of note on the UK scene over the last half century: Alexis Korner, Cyril Davies, the Rolling Stones, John Mayall, Fleetwoood Mac, Chicken Shack, Savoy Brown, the Groundhogs, Manfred Mann, the Blues Band – and a few others! The music runs the gamut from jazzy blues items in the vein of Jimmy Witherspoon to full-blooded UK blues-rock.
Do I need to say that this is recommended?
----- Norman Darwen
TAB BENOIT “Voice Of The Wetlands” Live At The North Atlantic Blues Festival North Atlantic Blues
Every July since 1990 the North Atlantic Blues Festival, organized by Paul Benjamin, takes place in Maine, and judging from this DVD, it looks a small(-ish), friendly festival. Tab Benoit and his audience certainly seem to be enjoying proceedings too!
Born in 1967 in Baton Rouge, Louisiana, singer and guitarist Tab honed his blues in the renowned down-home venue Tabby’s Blues Box. Just how well he did it can be heard clearly over the course of his hour-long set, backed simply but very effectively by fellow Louisianan Carl Dufrene on bass and backing vocals, and Darryl White on drums. There are several numbers reflecting Tab’s Cajun background – the opener is a nicely zydeco flavoured piece, with Tab even recreating on his guitar the sound of the frottoir (rub-board), whilst Doug Kershaw’s anthemic ‘Louisiana Man’ is given a wonderfully danceable treatment too. Good to see too that Tab references Robert Guidry with ‘Why Are People Like That’ – Robert is perhaps better known as Bobby Charles of ‘See You Later Alligator’ fame.
The blues is well represented too, with the slyly insinuating ‘Too Many Dirty Dishes’ a standout, and ‘The Blues Is Here To Stay’ an attractive history lesson! There is an excellent version of Peppermint Harris’s ‘I Got Loaded’, which again causes an outbreak of dancing. Throughout the whole Tab’s playing remains impressive and focused, though there is enough guitar to satisfy those looking for hot licks.
A fine bonus comes in the shape of the interview segments (conducted by Paul Benjamin), one on Tab’s early influences and inspirations, and the other, lengthier one on Tab’s ‘Voice Of The Wetlands’ ecological campaign to save the state’s rapidly disappearing wetlands.
This is an extremely enjoyable DVD: a good message, good music and a good time guaranteed.
----- Norman Darwen
GUITAR SLIM The Story Of My Life SPV/ Blue 49882 CD
LONNIE JOHNSON Why Should I Cry SPV/ Blue 49892
LEADBELLY Diggin’ My Potatoes SPV/ Blue 49902
PROFESSOR LONGHAIR Mardi Gras In New Orleans SPV/ Blue 49912
This excellent and eco-friendly series (all housed in slim line digipacks) continues with another four 20- track releases featuring masters of the Blues. New Orleans bluesman Guitar Slim (1926 – 1959) will always be associated with his huge hit ‘The Things That I Used To Do’, covered by innumerable blues acts since its initial recording in 1953 (and the inspiration for several other of Slim’s numbers) though ‘Well I Done Got Over It’ is beginning to catch up. This set, opening with two of Slim’s titles made in 1952 for Nashville’s Jim Bullet, shows that the man was way ahead of his time and has been seriously under-rated for far too long. If you have little Guitar Slim on your shelves, rectify it with this CD.
Lonnie Johnson was already an established recording artist by the time Guitar Slim was born, though this CD opens with a title from 1941 that really sets the tone for the many of the other tracks, though this set does focus mainly on his post war sides. They can certainly sound a little formulaic at times, but Lonnie’s post-war blues numbers were often overshadowed by the huge success of the Ink Spots inflected blues-ballad ‘Tomorrow Night’, included here – as are some further attempts at success using the same template. The set includes a more energetic R&B session for King in 1952 and closes with his sides for the Rama label.
The great songster Leadbelly is represented by a collection that includes material he recorded for ARC (the slide guitar accompanied ‘Packin’ Trunk’ makes for a wonderful opener), the Library Of Congress, Victor (with the Golden Gate Quartet) and Capitol, plus other sources – ‘Irene (Goodnight Irene)’ is from the Playboy album issued a couple of decades back). This is a wonderfully rounded set, showing Leadbelly as a versatile musician (he plays guitar, piano and concertina here), but with a firm focus on the blues side of his material.
And so to the inimitable (though many have tried) New Orleans’ own Professor Longhair. These sides begin with the piano professor’s debut sides from 1949 and he just carries on making wonderful music throughout; if you have ever wondered what all the fuss is about, go and get this right now!
All four sets were compiled by Neil Slaven and all come with his authoritative notes – and if you need an introduction to any of these gentlemen, all except the Lonnie Johnson come highly recommended. Mind you, if you just need a representative collection of post-war Lonnie, then this fits the bill too.
The young New York singer and guitarist Joe is being touted as the next big blues-rock thing in some quarters and this is his seventh solo release. It is a little different from his previous albums in that Joe claims that some of the material at least was partly inspired by very early Rod Stewart. I am glad that Joe admits this, as the mandolin flavours on several tracks brought that to mind. Some of this album is acoustic and has little to do with the blues; some of it is electric and tends to classic blues-rock. Take a listen to his radical revisioning of Charles Brown’s ‘Black Night’.
Many of the numbers are originals but he also tackles items from the repertoires of Ten Years After, rock singer Paul Rodgers, and acoustic guitar innovator John Martyn. Different, maybe, but Joe’s fans will love it and it may bring him many new ones.
Devon’s surname should alert you to what is on offer here: it may not be exactly the Allman Brothers sound but Gregg’s son certainly has those blues-rock roots. This set contains ten original numbers plus a cover of Bob Marley’s ‘No Woman No Cry’; some of this material is fiercely heavy - try the opener ‘Torch’, ‘Perfect World’ or ‘Why You Wanna Bring Me Down’) – and there is some sustained use of the wah wah pedal, though there is a fine sense of contrast with items like the instrumental ‘Mahalo’, with Latin sounds a little reminiscent of Santana and the acoustic ‘511 Texas Avenue’.
A proudly old-fashioned album, proving that in this case at least, the talent is in the genes…..
----- Norman Darwen
CHRIS DUARTE GROUP Blue Velocity Provogue PRD 7229 2
www.provoguerecords.com On arriving on the wider blues scene in the mid-nineties, Austin, Texas blues-rock singer and guitarist Chris was sometimes damned with the faint praise of being called a Stevie Ray Vaughn clone. To be sure, on this set, there are numbers such as ‘I’ll Never Know’ which are most certainly out of the Albert King/ Jimi Hendrix/ SRV axis, but then there is a slow blues such as ‘Something Wicked’, very much akin to early Led Zeppelin in both the vocal and guitar departments or ‘Never Gonna Change’ which rocks like ZZ Top.
Also, many of these lengthy songs feature some fairly traditional styled guitar licks over the simple but very effective bass and drums combination of Dustin Sargent and Damien Lewis respectively – before most of them climax in ferocious guitar solos – and do take a listen to the raw closer ‘Met My Match’.
Not one for the purists of course, but if you like your blues-rock loud and heavy but still staying on the blues side of the equation, this CD is for you.
----- Norman Darwen
ANDERSON BROTHERS Solid Blue Sweet Irene Music
www.andersonbrothers.org Originally from Grand Rapids, Michigan but now based in Tennessee, the Anderson Brothers (Martin on vocals, and John and Chuck both on guitar and vocals) have an individual approach to the blues. The opening track ‘Oh My God’ recalls the sound of John Mayall’s Bluesbreakers with Eric Clapton, whilst the following number brought to mind Free, the late sixties soulful UK blues-rock outfit. Mind you, ‘Candy’ is a fine broomduster whilst ‘No Mo Nights’ is a tanked up powerhouse blues. Elsewhere they perform a country-rock ballad ‘Lead Me To the River’ and there are a couple of rock styled numbers. Things close out nicely though with a pair of funk inflected blues, particularly the closing instrumental ‘Fool’s Gold’ which is a sinuous slab of slowly churning funk-blues.
Add in the excellent backing musicians – some lovely horn work in places – and the result is a slow-burn set worth investigating.
----- Norman Darwen
This review has been complimentary written for your newsletter by Peter "Blewzzman" Lauro, a contributing writer for BLUESWAX, BluesART and the Blues Editor at www.Mary4Music.com where you can read many more CD and live show reviews, view lots of blues photographs and find an abundance of blues material.
I can be reached at Blewzzman@aol.com
TOMMY KEYS "SIDE STREET BOOGIE"
Naming his newest release "SIDE STREET BOOGIE", is TOMMY KEYS' way of paying tribute to all of the so called "off the beaten path" nightclubs, juke joints, barrelhouses and theaters. The ones you find down the side streets and alleyways of the inner city. There, is where TOMMY feels art and music are at their raw best.
Interestingly enough, I was able to relate to TOMMY'S thoughts on that matter as I listened to the boogie woogie music on the opening track. I was immediately reminded of a day, many years ago, when I was exploring the side streets in New Orleans. It was down one of those alleyways where I discovered an obscure "hole in the wall" where the Legendary "Al Broussard" was working his magic on no more than a hand full of very happy listeners. That afternoon turned out to be one of the highlights of my trip, and recalling it makes me understand exactly how TOMMY feels.
On "SIDE STREET BOOGIE", TOMMY KEYS plays the piano, harmonica, bass, drums and percussion, and he sings all the songs, of which half of them are TOMMY KEYS originals. Damn Tommy, make a guy envious - why dontcha? On three tracks he's joined by KEN "THE ROCKET" KORB on harmonica, AL HENNEBORN on drums, MIRANDA GATEWOOD on bass, and MIKE DE LUCA on pedal steel.
On "RUM BOOGIE WOOGIE", you can forget about all those other things TOMMY'S playin' - this one's all about him and his piano. If large doses of robust barrelhouse blues get you moving, then clear the dance floor 'cause here you come. On this track, TOMMY'S puttin' out some of his best stuff.....vocally and instrumentally.
TOMMY'S expertise on the harp has "SINGING THE BLUES" sounding like some good ole Chicago Blues. One of TOMMY'S inspirations - Pinetop Perkins - is clearly in his thoughts on this one. This is the one and only track that features AL HENNEBORN and MIRANDA GATEWOOD, and they provide an excellent groove on rhythm.
"LAZY DAY BLUES", and "BLUE MOON RIVER" are two tracks that are pure listening pleasure. The first one being an instrumental which just kinda pushes you back in your chair, makes you close your eyes and before you know it, you're seeing TOMMY'S hands softly and precisely pressing every key. The second one has a very similar effect with the extra added pleasure of hearing TOMMY'S exceptional voice perfectly sing this song.
A disc of this nature just couldn't have been produced without including "WHEN THE SAINT'S COME MARCHING IN". You can actually hear the fun you know TOMMY's having playing this one.
Another very well done ballad is "A SONG FOR YOU" which once again features TOMMY'S amazing voice. Adding to this one's highlights are the wonderful sound that MIKE DE LUCA produces on the pedal steel. Hearing more of MIKE could make me a fan of an instrument I've never quite been all that fond of. This is good stuff.
Other tracks on "SIDE STREET BOOGIE" include "HIGH BLOOD PRESSURE", "OH MARIE", "BOOGIE MAN", "ALL MY LIFE", "FOUR UNTIL LATE" and "EARLY IN THE MORNING".
New Yorkers and Long Islanders - or as those of us from there may say, "Nu Yawkers and Lawng Eyelanders" - are more likely to see TOMMY than the rest of the world, but you can all check him out at www.tommykeys.com. While you're there, make yourself happy and pick up a copy of "SIDE STREET BOOGIE". Make me happy as well by telling TOMMY that Pete the Blewzzman - from Hicksville L. I. sent ya.
----- Peter "Blewzzman" Lauro
Artist: Tinsley Ellis Title: Moment of Truth Label: Alligator Records ALCD 4916
As with any large country such as; America, musical regional variations are identified by distinctive local influencing of sounds shapes and images as produced by the inhabitants of the community in and around the local surrounding area; excellent examples of this fact are music labels such as; Detroit’s Motorcity Motown sound, New York’s Atlantic Label, Chicago’s distinctive mixture of rural and urban Blues as found on the Chess label, New Orleans inspiring Imperial label is joined by such Southern label luminaries as; Stax, Volt, Excello, Flyright, and Sound Stage Seven to name but a few.
One label producing cutting edge, modern urban Blues today, is the excellent Chicago label Alligator that has, over the years created and constantly improves upon a signature sound that includes the clarity of a crisply searing horn section, backed by an unembellished crunching drum and percussion sound, underpinned by a solid, uncluttered forceful bassline which in turn, is led forwards by a lead guitar sound that is unfettered in its freedom to wander, creating at times a burning, almost scalding cauterising effect in its ferocity of delivery. Also the stark openness of the vocalists’ performances releases a rawness of emotion that is rarely heard in most (mainstream) music today. Together these ingredients produce a powerful, satisfying and rewarding experience for all concerned.
The sum of all these parts are to be found in Tinsley’s new album; his pulsating guitar playing ranges from slowburning ache filled sadness to rip roaring runs that threaten to rip the speakers to shreds. His deep gruff bear-like voice whether it’s pleading to his lost love or urging you on is tantalising, to say the least. The twelve captivating numbers on the album are all played with gusto, sincerity and passion by Tinsley, who is on vocals and guitars, he is backed by Kevin McKendree; Hammond organ & Wurlitzer piano, The Evil One; bass, Jeff Burch; Drums and Mike Lowry; guitar.
Tinsley carries on the fine tradition of the Alligator label by producing a set of modern hard edged no nonsense urban Blues that does not pander to commercialism.
Rock solid blues!
----- Brian Harman.
Artist: Gina Sicilia Title: Allow me to Confess
Label: Swingnation Records SNCD388007
Growing up in a music loving family in Philadelphia, Gina was, from an early age introduced to the wonderful delights of music, she was especially interested in the lush sounding period of the forties and fifties, with a particular love of doo-wop; and subsequently some time later the blues, after hearing the highly emotive voice of Bobby “Blue” Bland.
Now at the age of twenty-two she has released this, her debut album; which is a very evocative collection of eleven numbers eight of them are self-penned originals. The covers are Etta James “Pushover,” Big Maybelle’s “that’s a pretty good love,” and a little known number by Esther Phillips “try me,” one might conclude that recording these covers so early in her career might be a little ambitious, but fear not, Gina’s voice has the depth, strength and character to tackle these numbers, she infuses them with a lively and jaunty confidence that belies her age.
The whole album exudes a wonderfully rich mixture of blues and jazz licks; the brass section completely engulfs you in a treacle like comfort cocoon warmly encompassing the classic sounds of swing and the big bands of the past.
The musicians assisting Gina here are; Dave Gross; guitar, Scot Hornick; upright bass, Mike Bram; drums, Lance Ong; piano & organ, Dennis Gruenling; harmonica; Karel Ruzicka Jr; tenor & alto sax, Rob Chaseman; baritone sax, Matt Stewart; trumpet, V.D. King; rhythm guitar, Arthur Nelson; mandolin, Mazz Swift; violin.
This is a very fine debut album from Gina; engrossing, relaxing, hugely enjoyable and shows great promise for the future. I would suggest you don’t wait for the future, hear it now!
----- Brian Harman.
Artist: Dave Gross Title: Take the Gamble Label: Swingnation Records SNCD388006
Duke Robillard was so impressed with the skilful playing that Dave exhibited on his first album “You Don’t Love Me,” that he promptly to offered to produce the twenty two year olds second album; Dave happily agreed, and possibly as a consequence of Mr. Robillards helpful hints in the control room, Dave has been subsequently nominated in the category of “Best New Artist Debut,” for 2007 with this, his new release.
The whole album is awash with smooth slow Texas blues; combining with sweetly caressing swing era guitar which merges seamlessly with Texas country. The classic rich, warming sound, exudes from the speakers, a sound that was so beloved of many guitar players of the past; reaching as far back from the twenties, right through to the late forties, the result being a warm mellow sound with many creamy rich textures and oh! So jazz twangingly cool.
A surefooted bassline adds depth and feeling to the high calorie fat packed horn section which is charmingly interspersed with an insistent walking piano.
Of the thirteen numbers on this album only four are covers; lovingly crafted tributes to some of Daves heroes Clarence “Gatemouth” Browns “She Walks Right In,” ‘Hotlips’ Pages “Walkin’ in a Daze,” T. Bone Walkers “I Know your Wig is Gone,” and Henry Creamers “After You’re Gone,” the rest of the numbers are superb examples of a nearly lost sound.
The musicians helping Dave; guitar & vocals to create this wonderful sound are; Doug ”Mr. Low” James; baritone & tenor sax, Al Basile; cornet, Dennis Gruenling; harmonica, Dona Oxford; piano & organ, Arthur Neilson; upright bass & rhythm guitar, A.J. Hager; fender bass, Matt Mousseau & Mark Teixeira; drums.
If you want to be cool and mellow; it wouldn’t hurt to listen to this cracker of an album.
----- Brian Harman.
This review has been complimentary written for your newsletter by Peter "Blewzzman" Lauro, a contributing writer for BLUESWAX, BluesART and the Blues Editor at www.Mary4Music.com where you can read many more CD and live show reviews, view lots of blues photographs and find an abundance of blues material.
I can be reached at Blewzzman@aol.com
THE CHARLES BURTON BLUES BAND "I WOULDN'T LIE TO YOU" CHARLES BURTON MUSIC
Although this is the first review of a CHARLES BURTON release, regular and attentive readers of Mary4Music.com reviews may recall having heard his name mentioned here before. CHARLES appeared as a guest guitarist on Michele Lundeen's 2005 release, "Song Inside Me", reviewed here back in 2005. Back then, I only got to hear him on 2-3 tracks, now I get to appreciate him even more.
On "I WOULDN'T LIE TO YOU", an all originals disc, CHARLES BURTON, on vocals and guitar, is joined by EDUARDO SABOGAL on drums and RICK NASH and STEVE WELLS on bass.
The disc opens with the title track, "I WOULDN'T LIE TO YOU". Now I don't know about you, but whenever I hear that line, I can't help but think it's a lie in itself. As a matter of fact, that line should be right up there with the two other biggest lies in the world....."the check is in the mail" and .......oh never mind, you get my drift. On this track CHARLES appears to be telling some hot babe the many different ways that her boyfriend is mistreating her - in hopes that she'll go home with him instead. Wait a minute.....who's the real snake here? Great rhythm from STEVE and EDUARDO behind some great guitar highlights by CHARLES already have me thinking this may be one of the best tracks on the disc.
Jazz, and blues fans alike, will appreciate the instrumental track titled "CUBA". This one's all about CHARLES and his guitar. It's four and a half minutes of absolute skillful mastery over an instrument.
Very sharp drum work by EDUARDO leads the band in several tight grooves on "YOU CAN'T TREAT ME THAT WAY", "BIG EYES", "THIS LITTLE NUMBER" and "I HAD TO PULL HER OVER". These tracks pretty much emulate what this band is all about. You've got three very talented musicians doing what they do best- laying down tight rhythm, putting on virtuoso guitar performances and singing perfect sounding vocals. No trickery necessary!
If you think that a title like "MY BABY DON'T LOVE ME" might be some low down dirty blues song, then we think alike. Happily, that's exactly what it is - the kind of stuff that lights my blues flame. CHARLES nails the mood with the vocal tempo and the blues licks on guitar are the best on the disc. This is good stuff.
Another instrumental, this one titled "SWING", has me very impressed. As proficient as this band is musically, I find myself uncharacteristically thinking I could easily enjoy many more of these instrumentals. Not since Ronnie Earl has a guitar player impressed me as much as CHARLES BURTON is now doing.
Other tracks on "I WOULDN'T LIE TO YOU" include "HOW WE DO IT DOWNTOWN", "BLOCK PARTY", "SEE MY BABY and "I'D LIKE TO KNOW".
I've said this before and I'll say it again. if you're going to make it as a three piece band, you better be damn good, and THE CHARLES BURTON BLUES BAND is damn good. Check them out at www.charlesburton.com and tell them the Blewzzman is talkin' 'bout 'em.
----- Peter "Blewzzman" Lauro
Artist: Paul Reddick Title: Revue: The Best of Paul Reddick Label: Northern Blues Music NBM0040
Paul started playing the harmonica at the age of twelve; a combination of practicing and listening to Muddy Waters, Sonny Boy Williamson and Howlin’ Wolf; over the years he became a highly skilful player. He formed his first band The Sidemen in 1990 in Toronto, Canada. Paul has, over the years also recorded with Colin Linden and Paul Neufield’s Rhythm & Truth Brass Band; during this time Paul has been nominated for a number of awards; including in 2006 a W.C.Handy Award for the album “Rattlebag.”
This eighteen track collection covers his body of work from the last sixteen years and also includes two previously unreleased numbers from the first album that he recorded with The Sidemen.
As with any compilation there probably will comparisons and questions as to what should or shouldn’t be included, in this particular instance I feel that the question is redundant, for all the numbers here are of the highest quality and deserve their inclusion.
As to the music itself, a very heavy, pulsating bassline is omnipresent throughout, whether the numbers are acoustically driven or literally electrically charged. The lead guitarwork is at times brooding and growling which just irrepressibly marches onward from the speakers.
Paul’s robust emery cloth like vocals match perfectly with this highly charged atmosphere. The classic New Orleans brass band strut is given a thoroughly menacingly overhaul which most definitely raises tingles in the spine. One might draw the conclusion that the very essence of backwoods rural Americana has been absorbed, altered and sent back to the U.S. as a musical ballistic missile and one that is squarely aimed at the emotion zone.
The quality of musicianship here, whether it is guitar, harp, mandolin, brass section or brooding double bass, is simply first rate.
The musical twists and turns of Paul’s journey into the heart of the early dark days and playing styles coupled with searching for the meaning of the blues is presented to you in all its enlightening glory commanding your sharp attention.
With this album the blues has had another powerful rejuvenating ‘shot in the arm!’
----- Brian Harman
Artist: The Twisters Title: After the Storm Label: Northern Blues Music NBM0037
Rootsy, folksy, unplugged down-home blues, jump jive or swing; these are just few of the words and phrases that can be used to describe this new album from The Twisters (if they were Americans and not Canadians you would undoubtedly also say rural Americana). Whatever label you dream up to describe the warm, happy, relaxing toe-tapping sounds that this band have created, you cannot fail to fall under the pleasantly pulsing hypnotic spell of the double-bass coupled with the gentle rhythmic striking of the drums, urging along guitar and vocals that are so soothing and calm you almost feel a cool summer breeze gently lapping your face. You are blissfully drifting along, until the jagged insistent Slim Harpo influenced harmonica brings the proceedings into a sharper focus and heightens the pleasure senses. Other equally pleasant numbers present a tighter, leaner guitar that is paired with a hot to trot piano, which have enjoyable reminders of Chuck Berry and Jerry Lee Lewis; which without doubt, certainly sets the pulse racing somewhat!
After a car accident in October 2005, which caused the death of James Taylor (the bands bass player) and injured the rest of the band; The Twisters future looked bleak, but following a period of recuperation the band re-grouped and re-formed with a new bass fiddle player; one Keith Picot, joining him here are the other members of the band; David Hoerl; harmonica and lead vocals, Brandon Isaak; guitar, dobro and banjo, and Matt Pease; on drums. Providing piano and organ is Kenny “Blues Boss” Wayne.
With this new album The Twisters have managed to re-create a sound bubble of a time when you lived life at a slower pace, when you seemed to have all the time in the world; a time that is most certainly gone and is now merely a faded memory.....
Fortunately, with this very, very fine album we can revisit that time and enjoy ourselves again and again!
----- Brian Harman
JIMMY BURNS Live at B.L.U.E.S.
Delmark DE 789 www.delmark.com
I love this tiny north side Chicago club, but it’s not the best place to film a performance. Patrons innocently get in the way of some of the views, yet this may make you feel as if you are among the crowd. Band members have to squish on to the miniature band stand. Greg McDaniel (bass) wedges in between Sunnyland Slim’s old piano and the drum riser. Four cameramen get so close to the performers, you can see their finger placements on the frets. An overhead camera captures James Carter on drums. Recorded August 13, 2006, the live on stage footage is interspersed with bartenders making drinks, the club’s walls and the photos that adorn, outside shots of the club, and club’s backyard BBQ party.
With a gentle approach, Jimmy Burns, who was born in Dublin, Mississippi and sings about the town in Leaving Here Walking, is the least Chicago blues-sounding artist of the last remaining Chicago blues greats. Perhaps that’s because Burns feels he never left the Delta although he’s now been living in Chicago for 51 years.
There is nothing flashy here; it’s just great down home music. The 12 songs, including four which do not appear on his three previous Delmark releases, are consistently sharp. Some are more memorable than others. Second guitarist Tony Palmer rocks out during Can’t Hold Out Much Longer. In general, Palmer tends to crank a bit too much. Better Know What You’re Doing, a tribute to John Lee Hooker, is full of Johnny B. Moore pushes and pulls. The blues’ influence on blues/rock and hard rock can be heard on this rapidly repetitive rumble. Jesse Fortune’s extremely frail vocals do not restrict him from belting out the lyrics of Three O’Clock Blues. Dressed in a light brown shirt and sporting a straw hat, Burns’ smooth and soulful vocals match his majestic guitar style throughout the 75-minute DVD.
The video and audio are both crystal clear. As an added bonus there is an audio commentary which reveals a lot about Burns and his music, e.g., he has two children and creates his own bottlenecks, which he uses to play slide guitar. Disturbingly some of the songs on the commentary have un-synchronized audio and video. Also available is a 68-minute CD (with two less songs).
----- Tim Holek
This review has been complimentary written for
your newsletter
by Peter "Blewzzman" Lauro,
a contributing writer for BLUESWAX,
BluesART
and the Blues Editor at www.Mary4Music.com
where you can read many more CD and live show reviews,
view lots of blues photographs and find an abundance of blues material. I can be reached at Blewzzman@aol.com
BLUE VOODOO "HOT WIRE (MY HEART)"
PURE AIR MUSIC
BLUE VOODOO joins the fast growing list of bands that are on their second go around here at www.Mary4Music.com reviews. Here it is just thirteen months after enjoying their release called "THE STORM", and this tightly tuned band is once again getting my wires hot with their new release....."HOT WIRE (MY HEART)".
Musician wise, the 2007 version of the band bears only one change. Joining BJ ALLEN who is absolutely outstanding on the vocals are: JERRY FULLER on guitar, piano and organ; JP HURD on bass and harp; and newcomer DAVID DANIELS on drums. Additional guests include JOYCE CARNES and HEATHER SMITH on background vocals and DEREK DANIELS on percussion.
As with their previous release, the band once again succeeds by capitalizing on their strengths.....very well written originals (all twelve tracks), BJ'S very powerful, yet never overpowering voice and the band habitually locking into tight grooves.
"DOIN' SOMEBODY" serves as a great opening track by pretty much featuring all of the band. It's a great taste of what's ahead. JP and DEREK are great together with the rhythm, JERRY'S guitar solos are sharp, the gals on background are meticulously melodic and BJ, as she does on every song, belts her heart out on the vocals.
Some of the best guitar work on "HOT WIRE (MY HEART)" can be heard right here on the title track. This one's all about JP and BJ. He's doin' his damndest to bust some strings while she's wailing out some gut bustin' blues.
"SOUNDS LIKE "L" is a smooth instrumental featuring a nice blend of funk and jazz. It's a completely relaxing number with lots of great rhythm and percussion. It doesn't get any tighter than this.
As the title might indicate, "BLUE AS BLUES CAN GET", is a burning ballad, featuring BJ at her best. JERRY'S soft piano intro, along with JOYCE and HEATHER'S backup vocals, add to this one's highlights. This is the kind of stuff that packs the dance floors.
"NOOSE AROUND YOUR NECK" is fast and funky. As you'd expect, JP and DAVID are on fire and DEREK'S fanning those flames with some furious beating of the congas. On this one BJ's telling her hound dog of a boyfriend that he'd better put a ring on her finger or he's gonna find a noose around his neck. Hmmm, hearing it said that way certainly gives new meaning to choosing the lesser of the two evils.
Other tracks include: "YOUR BLUES ARE MY BLUES NOW", "GYPSY WOMAN", "TOO MUCH TO DO", "PUDDLE OF MUD", "WRITTEN ON MY HEART", "DEEP VALLEY" and "NO RIGHT OR WRONG WAY".
Once again, BLUE VOODOO comes through with another very impressive release. This is the kind of consistency that's absolutely necessary for a band to take it to the next level, and I believe BLUE VOODOO'S got it within reach. Check out BJ and the guys at www.BlueVoodooBlues.com and let her know that she's got the Blewzzman "HOT WIRED".....
----- Peter "Blewzzman" Lauro
This review has been complimentary written for
your newsletter
by Peter "Blewzzman" Lauro,
a contributing writer for BLUESWAX,
BluesART
and the Blues Editor at www.Mary4Music.com
where you can read many more CD and live show reviews,
view lots of blues photographs and find an abundance of blues material. I can be reached at Blewzzman@aol.com
ANDREA MARR "WATCH ME WORK IT"
BLACK MARKET MUSIC
When it comes to youthfulness - I envy those that have it, as for talent - I marvel at those who possess it, intelligence is also a quality I commend and I truly admire the beautiful. However, possessorship of all of these should be downright illegal. Someone arrest ANDREA MARR.
Not only is this absolutely beautiful, young lady a superb vocalist, but she's an excellent songwriter as well. Add to that the ability and the savvy to surround herself with an equally as talented band and you've got quite the enterprising lady. Joining ANDREA MARR on this wonderful project are LLOYD SPEIGEL on guitar and backup vocals, LUKE HODGESON on bass and backup vocals, DEAN MATTERS on drums and backup vocals,CAMERON SCOTT on the Hammond Organ, piano and backup vocals,CHRIS MCCONACHY on harmonica, and ANDY COWAN on keyboards and backup vocals.
One need not read ANDREA'S bio to know that her roots stem from singing Gospel music as a child. Her soulful, passionate, energetic and certainty of her vocals - and the style in which she delivers them - make that quite apparent. That background, her father exposing her to jazz and hearing Elvis Presley are the ingredients that ANDREA accredits to her being blues influenced.
Residing in Melbourne, Australia, her popularity with the local blues community has been tremendous. An earlier release netted her the Australian "Female Blues Artist of the Year" in 2002, and in 2005 she was crowned "Blues Performer of the Year", sending her to Memphis as her blues society representative in the "International Blues Challenge". Not bad credentials.
"WATCH ME WORK IT" consists of ten tracks equally divided between originals and covers.The opening track, "NEIGHBOR, NEIGHBOR" immediately impresses. Andrea wastes no time in establishing her range and certitude and the band, featuring skillful work by CAMERON on the Hammond B3, is already on fire.
Like other things that are part of a women's life - like it or not, ANDREA has had her share of "MAN TROUBLE" (one of the discs originals). Behind some strong harp work by CHRIS, and several very hot guitar licks by LLOYD, LUKE and DEAN light this one up with sharp bass and drum work.
Another original, "HE ONLY ROCKS ON STAGE", uses some interesting lyrics to describe an ex-boyfriend who apparently has a rock star ego. It seems this "thriller of a killer" could only rock on stage. The band however, is a killer and a thriller on this rocker which is highlighted by smoking guitar and piano work by LLOYD and CAMERON.
Slowing it down to a slow and sultry pace, and showing where her roots come from, ANDREA belts out some real pure and raw blues on the Jimmy Witherspoon classic "AIN'T NOBODY'S BUSINESS". Being the blues burner that it is, you'd expect lots of great blues guitar, and LLOYD delivers. In spite of that, and more stunning piano work by CAM, ANDREA'S vocals blow this one out of the box. Obviously, due to several hits of the replay button and wishing that this four minute track was fourteen minutes, this ONE is unquestionably my particular favorite.
Another great cover is Jimmy Reed's "BABY WHAT YOU WANT ME TO DO". This one captures the whole band simultaneously peaking. It's musically the best track on the disc. Showcasing her vocal strength, ANDREA flexes her cords on this one. Having not seen this young, petite native of Sri Lanka, a listener would easily describe the singer of this song as a 300 lb, thirty year veteran of the blues from some where in Mississippi.
Knowing my taste always leans more towards the lowdown dirty blues, it's pretty much a gimme that songs like "IF I DIDN'T LOVE YOU", another original, get me going. This is the type of song that even makes the people who'd rather catch the flu than get up and dance, want to get up and dance. The soulful and sultry vocals, the steady and smooth tapping of the snare drum and the constant and very soft background organ make it impossible to not want to just close your eyes and sway. Man, this is good stuff.
The rest of "WATCH ME WORK IT" consists of: "WATCH ME WORK IT", "TOO HOT TO HANDLE", "STAND AND DELIVER" and "ONE SIDED LOVE AFFAIR".
It's this listeners opinion that should ANDREA MARR get some world wide recognition that those Australian Music Awards could quickly be accompanied by a few other Blues Music Awards - namely the ones given out by the Blues Foundation. Please stop by www.andreamarr.com and check her out. Be sure to tell her she impressed the hell out of the Blewzzman.
----- Peter "Blewzzman" Lauro
ANA POPOVIC Still Making History Eclecto Groove EGRCD 501 www.anapopovic.com www.deltagroovemusic.com Singer, guitarist and songwriter Ana is now on her fourth solo CD and makes her US debut with this richly varied set. European artists signed to American blues labels are a rarity in themselves and she certainly sets out the brief for Delta Groove’s new subsidiary label ‘Eclecto Groove’ with the first three tracks of this CD.
She opens with ‘U Complete Me’ - a bluesy hard rock number, moves on to a funk influenced track and follows it up with a Bob Marley reggae styled piece – now that’s eclectic! This versatile approach continues throughout the set with plenty of rock, some jazz, and occasional world music elements, and on hearing the tough funky urban contemporary sound of ‘Sexiest Man Alive’, my wife asked if it was Joss Stone.
Of course, the blues underpins everything, and the blues pure and simple rings through loud and clear on ‘You Don’t Move Me’, a joyously romping cover of Snooky Pryor’s ‘How’D You Learn To Shake It Like That’, and a slow blues rendition of ‘U Complete Me’. Lyrically, Ana’s own compositions are thoughtful mixes of world and personal topics.
Not a set for the purists maybe, but certainly one to give notice that Ana has arrived.
----- Norman Darwen
SHARRIE WILLIAMS & THE WISEGUYS
Live At Bay-Car Blues Festival Crosscut CCD 11093 (CD)
Live At Bay-Car Blues Festival Crosscut CVD 5002 (DVD) www.crosscut.de
I really enjoyed ‘Hard Driving Woman’, Sharrie’s debut CD for Crosscut. It introduced a powerhouse female singer obviously drenched in the gospel tradition, with a strong sensitivity for the blues and a contemporary understanding of the rock influence. So I was certainly looking forward to hearing this CD, recorded in northern France at the end of April 2006, but unfortunately this is certainly a case of a live album where it was obviously much better to have been there rather than listening to it in the comfort of your own home. Unfortunately the Wiseguys have much more of the show than Sharrie, with most numbers stretched way beyond the comfort zone. The most effective songs are the slow blues of ‘How Much Can A Woman Take’, the thumping title track of that first album, and ‘Just You And Me’ with guest artist Robin Rogers on harmonica and vocals. There is nothing wrong with the Wiseguys – Lars Kutschke on guitar, Pietro Taucher on keyboards, Marco Franco on bass (and taking a solo in the middle of ‘I’ll Take You There’ was not perhaps the best thing to do!), and Larrice Byrd on drums – except that they are given way too much freedom! Sharrie must also take some of the blame though – ‘I’ll Take You There’ is a sublime song but she never really gets going, whilst ‘I’ll Give You Me’ meanders along for ten minutes or so, and although it does show that Sharrie is much more than a simple growler, it just does not go anywhere.
So if it was a show you needed to be at to appreciate it, the next best thing is to have the DVD, and indeed with the visuals, it does stand up better as a performance – though some of the faults are still apparent, and Sharrie does seem a little exasperated with a frequently unresponsive audience. Missing from the DVD though is the aforementioned ‘Just You And Me’, which is certainly a shame – but probably not enough for anyone but the most fanatical Sharrie Williams fan to consider buying both formats. If you enjoyed Sharrie’s previous set, you might – with reservations – also enjoy the DVD. Sorry – next time perhaps?
----- Norman Darwen
BOYD SMALL Diamond Boy Me & My Blues MMBCD 16
www.roundereurope.com www.boydsmall.nl This is a no-nonsense release from powerful singer and drummer Boyd, recorded in his home-town of Portland, Oregon, during August 2006. He has a strong, pleading vocal style and is backed by several guitarists (who are also friends) – the excellent Monti Amundson (I wondered what had happened to him!), Peter Damman, Josh Fulero, and the relatively famous Lloyd Jones - who all add real bite with some ferocious playing, though never straying too far from the straight blues, and the whole is anchored by the solid bass of long-time associate Willy Barber and Boyd’s own muscular drumming.
Boyd has written some fine original material for this set, and his borrowings show that whilst he has a sense of the blues tradition (Big Joe Turner/ Pete Johnson’s ‘Cherry Red’, Johnny Otis’s ‘Country Girl’), he also keeps up with the latest developments (Jimmy D. Lane’s ‘Lemon Squeezer’) – and there is a lovely rocker in Hubert Sumlin’s ‘Look Don’t Touch’.
To sum up then, a fine set of rock solid blues - I enjoyed this one a lot.
Australian blues-rocker Gwyn Ashton recently toured Britain in support of the UK release of his powerful new CD ‘Prohibition’ (Riverside RRUK CD 14). Here he talks about some of his acquaintances from the Australian blues scene and some of the artists he has met during his hectic touring. I began by asking him how the blues scene was when he started out in the seventies:
The scene was great. Bands playing 5 nights a week with 3 or 4 gigs a night EACH! Chain were at the forefront, still one of my all time favourite bands and Matt Taylor (singer/harp) and I have played together on numerous occasions. Matt is one of the most original guys I’ve ever met. He sounds like no-one else. True Oz Blues. I played a show with Dave Hole around 1992 in Western Australia. We’ve done several shows together in London and only a few weeks ago played together in Germany.
I recorded with Jim Keays (Masters Apprentices singer) on one of his solo albums back in the early nineties and when I was in Melbourne last year I played on his new acoustic album. Jim’s one of the most respected musos in Australia.
BB King was cool. I played a festival in Golem, Czech Republic, in ’98 or ’99 and he was headlining the festival. I’d met him a LONG time before in Melbourne. He told me off for being late! I’d arranged to meet up with him when he was touring and I got stuck in traffic. He signed the back of my guitar, nonetheless.
Hubert Sumlin is a lovely guy. He invited me onstage with him at the Bury Blues Festival a few years ago. He even wore my T-shirt onstage! I ran into him in LA a few months ago and we’re staying in contact.
I toured Germany with Canned Heat, my band opening each night, and I actually played with them on the last gig. I think we’re doing a show with them again in October this year in Austria. Great guys.
I’ve done a lot of shows with other people such as Mick Taylor, Don Airey, Graham Bonnet, Pat Travers, Robin Trower, Jeff Healey, Dan Baird, Walter Trout, Snowy White, Frank Black, Fun Loving Criminals and some fellow Aussie guys like Chris Finnen – the King! - Kevin Borich, Ian Moss.....
Favourites today? On an international level I’d say that my favourite new bands are North Mississippi Allstars and The Black Keys. They’ve got the old and the new happening. There’s some good stuff in Australia though, sadly, most of it won’t see the light of day outside Oz.
Success? Success can be taken different ways. If I play to 10 people and they all buy a CD and appreciate my music, then that’s success. I’m not successful in that I have an expensive car or a big house and have gold records hanging on the wall. Shit, I struggle to pay my bills! I’m successful in the fact that I get to play my music in lots of different places all over the world, don’t have to be a jukebox, it pays my way through life and I’m not on the dole. I also get to meet (and occasionally play with) some of my heroes. How can an Adelaide boy ask for any better that that? Having said that it would be nice to be able to pay cash for a Lamborghini!
----- Norman Darwen
PAUL JONES & DAVE KELLY An Evening With..... SPV 49687 DVD Live At The Ram Jam Club SPV/ Blue 49672 CD
In the late seventies I went to the Half Moon, Putney to see Memphis Slim, I think it was. As I was leaving, a woman said to me, “If you liked him, you want to come back next week, there’s a group of old British guys on calling themselves the Blues Band – they’re good”. Well, it turned out she was right – and it is often forgotten nowadays that Messrs. Jones, Kelly etc were veterans even at the formation of the band. This duet DVD (though it also includes a fine washboarding Rob Townsend replacing Paul on Fred McDowell’s ‘Few Short Lines’) is a lovely reminder, with guitarist Dave and harmonica ace – sometimes we overlook just how good he is – Paul Jones sharing the lead vocals rather democratically on a programme of older material, either borrowed or written some time back by either man. The Ram Jam Club is the revived venue in West London and the setting is warm and intimate; there is a very palpable rapport with the audience. Both men have stories to tell of their youthful associations with the blues greats such as Sonny Boy Williamson or Howling Wolf – and do so in a twenty odd minutes long interview which is a DVD bonus feature - but their own music is distinctive, individual and transcends the ‘British blues’ tag, with which it was once damned with faint praise. There are a variety of camera angles, Dave changes instruments several times, numerous jokes, and a relaxed yet committed ambiance throughout the hour’s worth of music.
Any album that opens with such an exquisite version of ‘Statesboro’ Blues’ as the CD does has to be worthy of your attention! This CD release was recorded at the same venue and duplicates five titles with the DVD but that still leaves eight tracks exclusive to this set. Sorry, but Blues Band fans will just have to get both!
This is the third CD from this top-notch Croatian session guitarist who was born in 1971. No, don’t expect a million notes a minute, lots of flash and meaningless posturing. The ten tracks – all originals from the pen of Mr. Buhin - are eclectic in style, ranging across blues, rock, jazz, pop, jazz-funk and soundtrack numbers, with Nebojsa’s clean, concise and melodic playing (mostly on electric, though he does play some acoustic) right out in front of an aggregation of equally talented accompanists. All bar one track – the Latin flavoured ‘Big Girl’ featuring vocalist Ricardo Luque – are instrumental, and the results are very impressive indeed.
----- Norman Darwen
OCTAVIA Driven By The Harp AVAP Records AVCD-1002
INFUSION WITH OCTAVIA Live At the Lancaster Jazz Festival
AVAP Records AVCD-1046
OCTAVIA & THE EARTHBLOOD BLUES BAND Down In The Hollow
AVAP Records
Pennsylvania-based Octavia has been singing since 1955 and is an accomplished instrumentalist - she is most notably a very fine harmonica player. ‘Driven By The Harp’ presents a selection of material she recorded up until 1987 – and a varied set it is too, ranging from folky tunes (‘Feel This Now’), through fairly straight blues (the wonderful, slightly ramshackle ‘Service Call’), ‘Twelve Moon High’, which I would guess was probably recorded around the time of Maria Muldaur’s ‘Midnight At The Oasis, due to something about the sound, rock with ‘Three Strikes (You’re Out)’, and on to disco – try ‘Shake It Off’, which, writing as one who loved Bobby Rush’s ‘Ms. Fine Brown Frame’ to which this bears a slight resemblance (though it could be just because it’s disco with a little bit of blues harp) is OK with me – though I realise others might disagree. Delving a little further even into the dreaded sound is ‘Hot Juice’, inspired by diva Donna Summer! If you are put off a little by that, let me reassure you – or rather, be reassured by such tracks as the different take on ‘Stormy Monday’ or the low-down instrumentals ‘Raunch Harp Boogie’ or ‘Slow Cooked Jam’.
Infusion with Octavia presents her as a fine jazz singer, rather unusually these days interpreting the songs in a straightforward jazz manner and letting the listener hear the lyrics to many numbers perhaps more familiar these days from the repertoires of the great jazz saxophonists. In one memorable segment she references Bessie Smith, Billie Holiday and Judy Garland – how’s that for a range of jazz singing? Her harmonica playing is unusual too, playing in a jazz style, but crossed, blues fashion, as far as I can tell. Carlos (Sweet Fingers) Enriquez plays fine piano and takes many solos, and the rhythm section of Keith Mohler and Chris Santiago (bass and drums respectively) are appropriately laid-back. Definitely jazz, but I know some readers will certainly enjoy this CD.
The third set is perhaps the most immediately appealing for strict blues fans of course. The Earthblood Blues Band consists of Bill Wasch on lead, rhythm and slide guitars, Bobby Fry on bass guitar, Chad Salvaggio or Butch Walker on drums, with tenor sax from Randy Bucksner on two titles; Octavia herself does all lead and backing vocals, blues harp, acoustic six and 12 string guitars, electric rhythm guitar and miscellaneous percussion instruments. The majority of the songs are excellent Octavia originals, though she does cover ‘Cold Day In Hell’ (intense slow blues), ‘Unchain My Heart’ (powerhouse rhythm & blues), and ‘I Need A Little Sugar In My Bowl’ (wickedly lascivious!). She reworks her own ‘Service Call’ into a strong blues-rock number, ‘The Village Will Provide’ is almost southern soul, and the closing instrumental ‘This Train’s A Commin’ (sic) is an excellent dialogue between harp and guitar.
Octavia is one talented lady, and it is very rare these days to find a musician who can successfully straddle the boundary between jazz and blues with such consummate ease. Check her out.....
----- Norman Darwen
PAUL LAMB
A Journey Through The Blues With A Harmonica SPV/ Blue Label
www.spv.de This DVD is just like having British harmonica maestro Paul sitting in your living room! Subtitled “A Tutorial and Interview” – there is already a live music DVD on the market – here we have a ninety-five minute interview with Paul by fellow British harpman Buzz Brown, ranging over his early musical experiences, his friends and acquaintances, his favourites, his style, his gear, his band, and his philosophy. It is indeed a fascinating journey, and Paul frequently picks up the harp to demonstrate and elaborate on the point he is making – ranging from the well-known traditional song ‘Blaydon Races’ of north-east England to George Smith. The ‘tutorial’ section has as its main focus the playing of his heroes Sonny Terry and Big Walter Horton, though there is also a section on both of the well-known Sonny Boy Williamsons and the aforementioned George Smith, such a massive influence on all those California harp blowers. Because of the nature of the harp, it is difficult for a student to see exactly what is going on (though Paul does try to enlighten us) but anyone with even a rudimentary knowledge of blues harmonica should be able to pick up a few tips - well, I did anyway. A photo gallery of Paul and his band the King Snakes completes a package warmly recommended to Paul’s fans, and even more so to harmonica players.
----- Norman Darwen
This review has been complimentary written for your newsletter by Peter "Blewzzman" Lauro, a contributing writer for BLUESWAX, BluesART and the Blues Editor at www.Mary4Music.com where you can read many more CD and live show reviews, view lots of blues photographs and find an abundance of blues material.
I can be reached at Blewzzman@aol.com
HOWARD GLAZER & THE EL 34'S "LIQUOR STORE LEGEND" RANDOM CHANCE RECORDS HOWARD GLAZER'S back, and he's up to the same old stuff - the same good old stuff that is, as he was just about this time two years ago. His new CD, titled "LIQUOR STORE LEGEND", is full of thirteen new originals performed the only way HOWARD knows how to perform them - hot, hard, rough and rockin'.
Joining HOWARD GLAZER on vocals, electric, acoustic (Howard? on acoustic guitar?), resonator and lap steel guitars are the EL 34's: BOB GODWIN on electric and acoustic bass and background vocals; CHARLES STUART on drums, hand drums and percussion; and extra guests LARRY MAREK on the Hammond organ, THE GREENFIELD STREET SINGERS (SEAN BONDAREFF, MIKE BLASZKIEWICZ, STEPHANIE JOHNSON, BOB GODWIN and MAGGIE MCCABE) on background vocals.
The opening, and title track, "LIQUOR STORE LEGEND", pretty much sets the tone for what you can expect to hear on most of the tracks - lots of blazing guitar leads and good old gruffly sung blues vocals. Hopefully, this track derived from fiction and not real life experiences. It seems that being this liquor store legend means being known in every liquor store from Detroit to NYC. This one's got lots of great background organ work by LARRY.
Being the hard driving, rockin' song that it is, "LET'S GO FOR A RIDE" is appropriately named. I'm just hoping that the ride's not being taken after partaking in some of the merchandise purchased above. HOWARD tears it up ala Chuck Berry on this one.
Some of HOWARD'S best stuff can be heard on "BROKEN DOWN HOTEL BLUES". For some reason this track reminded me of an old T-REX song called "BANG A GONG". Let's hope it's as successful. MAGGIE and STEPHANIE add some nice backup vocals to this one.
Being the real low down blues track that it is, also makes "WONDER WHY" my particular favorite track. Man, when HOWARD gets the blues, watch out. This is pretty much seven minutes of him tearing up some blues riffs. This is the kind of stuff I'd love to see more of on HOWARD'S future projects. More good organ work by LARRY.
The rhythm section OF BOB and CHARLES are on fire on "BAR FLY BOOGIE". On this one they set a frantic pace which HOWARD just takes and runs with. They each get a very impressive bass and drum solo toward the middle of the track.
Other tracks on "LIQUOR STORE LEGEND" include: "HANGING BY A THREAD","BURNING AIN'T NO FUN". "GOT TO GET GOING", "TAKE ME BABAY", "POWER" "GAS PUMP BLUES", "WALKING IN THE RAIN" and "NEXT TRAIN OUT".
Those of you who like your blues packed with high energy need to add some HOWARD GLAZER to your collection. You can do that by going to www.howardglazer.com and picking up a copy of "LIQUOR STORE LEGEND". Of course, you'll tell him the Blewzzman sent ya.
----- Peter "Blewzzman" Lauro
Artist: The LowFi-Kings (featuring: ‘Sir’ Oliver Mally)
Title: A Hard Night’s Day Label: Stormy Monday Records M081204 (German catalogue number)
The beauty of this recording is that the numbers here do not leap out at you and grab you by the throat; in fact they casually waft towards your ears and when they find them they wrap them in gently stroked, mellow, jazz tinged Blues. Each track has a richly fat sound, but with gossamer light, guitar tones, which resonate and percolate in your head. The varied influences that are readily brought to mind; are T. Bone Walker, Lazy Lester, Slim Harpo and a little known mellow guitar master named Goree Carter.
The LowFi-Kings do not try to unnecessarily hurry to impress or stamp their signature sound on the twelve tracks on the album; the simply and calmly play in an authoritative relaxed mature manner which pleasantly invokes memories of a less hectic time when the only thing you could with a ‘blackberry’ was eat it!
The LowFi-Kings are one of a number of quality bands which are flourishing in Germany; their line-up is Jan ‘Chuck’ Mohr; guitar, Martin ‘RT’ Bohl; harp and vocals, Dirk Vollbrecht; bass and Bjorn Puls; drums.
Taking guest lead vocals and guitar on the album is the very talented Austrian bluesman ‘Sir’ Oliver Mally, who infuses the whole proceedings with a calm assured approach throughout, that together with The LowFi-Kings they have you reaching for the replay button again and again.
Buy it! You will not be disappointed.
----- Brian Harman.
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