tag:blogger.com,1999:blog-102285236193403842024-03-18T13:54:36.706-07:00Rex and the BassImpressions of music and musical equipment from my point of viewrexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.comBlogger1175125tag:blogger.com,1999:blog-10228523619340384.post-44854408629015664432019-03-26T21:33:00.001-07:002019-03-26T21:33:15.590-07:00Ranking Roger: February 21, 1963 to March 26, 2019<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdxY4qjX8P7ZE-z6RUbh4gWCvG63hhuiBIgoRLtJO8QpPXoIS6oz2nD8AL2hBrtdvMYjABrTMGFNT4O3I00U3dqvUwXKttKSXl5bi04IhrpBgM9ebBWW1jv2A6gxqSnuy0l7DuC35IWw/s1600/ranking_roger.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdxY4qjX8P7ZE-z6RUbh4gWCvG63hhuiBIgoRLtJO8QpPXoIS6oz2nD8AL2hBrtdvMYjABrTMGFNT4O3I00U3dqvUwXKttKSXl5bi04IhrpBgM9ebBWW1jv2A6gxqSnuy0l7DuC35IWw/s320/ranking_roger.jpg" width="320" height="200" data-original-width="800" data-original-height="500" /></a>
<p> Vaya con dios, amigo.rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com19tag:blogger.com,1999:blog-10228523619340384.post-11654151509779015992019-03-26T21:22:00.000-07:002019-03-26T21:22:13.087-07:00Blues Blast Magazine Album Review: Zoë Schwarz Blue Commotion – This is the life I choose.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy-Ai1B6wFNVrtzZuwYasK0ktFyc4lWduqe-ui-Ry-734u1VxrvQ8rTj9-ZT1wMqlpWJvY3yarSoETGPVTHTDMezufHCGa57S_aHzl6xf419dSORUrYHiplSpAffRKiiXg5uMJSgKMPg/s1600/Album+Cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy-Ai1B6wFNVrtzZuwYasK0ktFyc4lWduqe-ui-Ry-734u1VxrvQ8rTj9-ZT1wMqlpWJvY3yarSoETGPVTHTDMezufHCGa57S_aHzl6xf419dSORUrYHiplSpAffRKiiXg5uMJSgKMPg/s320/Album+Cover.jpg" width="320" height="320" data-original-width="250" data-original-height="250" /></a>
<p>Good day!
<p>This CD review was originally published in the June 29, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Zoë Schwarz Blue Commotion – <i>This is the life I choose.</i>
<p>33 Records
<p>www.bluecommotion.com
<p>www.33jazz.com
<p>13 tracks / 59:32
<p>Zoë Schwarz Blue Commotion has certainly been keeping busy, and earlier this year they released their fifth album in the last four years: <i>This is the life I choose</i>, a keen follow-up to their fantastic live release, I’ll Be Your Tonight. If you had the chance to listen to that CD you already know that this is a serious blues band with unique songs, tight instrumentation, and a powerful woman up front. This crew has not let up one bit, and their latest album is their best work yet!
<p>Blue Commotion is based in the United Kingdom, with Zoë Schwarz on vocals and producer Rob Koral on guitar. Their comrades in arms include Pete Whittaker on the Hammond organ and Paul Robinson on drums, and the horn section of Ian Ellis (sax), and Andy Urquhart (trumpet) also join in for a few tracks. These folks are pros, and they were able to lay down all thirteen tracks (eleven of them originals) in just two days last October at Platform Studio. The result of this fast-paced production schedule is an album with a vibrant feel, and Zoë says that she likes to work “in the moment,” which has been very effective for this band.
<p>The lyrics for the album’s originals were written by Zoë and Rob, and there also contributions from Phil Coles and Pete Feenstra. The songs are a neat mix of playful, sweet, and serious, and the ones related to living life in the music business will resonate well with listeners. For example, the title track sets the mood and theme for the album, as “This is the life I choose” provides a glimpse into the hearts and souls of musicians who put everything they have into their art. This power ballad is presented in a 1970s blues-rock format with cool dynamic changes and oodles of distorted organ from Whittaker and heavy drums from Robinson. Then there is “I Can’t Live Like That,” which has a completely different feel, going with an upbeat and funky sound that includes the horns of Ellis and Urquhart while Schwarz growls out the advice to message of not letting people get in the way of your dreams. And “My Baby Told Me So” spans the gap between blues and jazz with the message that, the blues and a faithful companion will make things seem a bit brighter, even if you are short on money.
<p>Relationships are also a reliable source of song lyrics, and Blue Commotion heads there right off with the opener, “Hold On.” Coles’ words capture the essence of a dying romance, and the band delivers with Zoë’s edgy vocals and their hard rocking accompaniment, which includes a scorching solo from Rob. There is also an upbeat plea for unity with our fellow man with “People,” which has a decidedly international feel with its driving bass line and slick solo breaks from Rob and Pete. But, perhaps the most poignant track on This is the life I choose is “Broken,” a heartbreaking R&B song that addresses a hopelessness that many of will never know, but many will endure. This song has been released as a single, with proceeds going to charity to help the less fortunate among us; please keep this in mind as you listen to Schwarz’s emotional narrative.
<p><i>This is the life I choose</i> is a wonderful combination of modern blues sounds with infusions of jazz, funk, rock and soul. The songs are all well written and performed by a professional band, and the engineering and mixing meet the group’s high standards. Blues fans will surely dig this new release from Zoë Schwarz Blue Commotion, and if you will be on their side of the Atlantic you are in luck as they have plenty of UK shows and festivals scheduled. For those of us in the states, there is always the possibility that they will make it over here for a festival or a tour sometime soon. They are highly entertaining with a great catalog of original music, so hopefully they can make this happen!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com16tag:blogger.com,1999:blog-10228523619340384.post-77781719549970717332019-03-23T22:23:00.001-07:002019-03-23T22:23:13.322-07:00Fender Champion 600 Guitar Amplifier Review<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge_abXiT1_TlQJ3mpEwls4vL5KXpp4yfeMpbcGhGamvvP98TEVDIfvanhMlxt9R-gnZXLRvHiMLou_ZAx471KpAuWYcwkHkt8mDZLfnoHsgsLGzGzXBo7pA5tuJF1pqmZcOM-NwYKB2Q/s1600/Front.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge_abXiT1_TlQJ3mpEwls4vL5KXpp4yfeMpbcGhGamvvP98TEVDIfvanhMlxt9R-gnZXLRvHiMLou_ZAx471KpAuWYcwkHkt8mDZLfnoHsgsLGzGzXBo7pA5tuJF1pqmZcOM-NwYKB2Q/s320/Front.JPG" /></a>
<p>Howdy
<p>Today we are looking at a super-fun Fender Champion 600 guitar amplifier. This is a re-issue of the original amplifiers that were built between 1949 and 1953. This is a pretty faithful reproduction of the original, although Fender said they have added a higher-gain pre-amp circuit to get more overdrive. I have never seen (let alone played) an original, so I will have to go along with them on this one.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyBQ6dApLJeSyLcC4uw6pJnRRgzSqrrdYvNhqYmzA0TnElAZJa7ZYou0jdqQn9Gb23rrh2doKyiy7Od5CT-MPUMz3EEiy3e5ASWtSp94V2ZRS_dBgWNSyzO1qzZ1YydxSoxbjz5jOniA/s1600/Back.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyBQ6dApLJeSyLcC4uw6pJnRRgzSqrrdYvNhqYmzA0TnElAZJa7ZYou0jdqQn9Gb23rrh2doKyiy7Od5CT-MPUMz3EEiy3e5ASWtSp94V2ZRS_dBgWNSyzO1qzZ1YydxSoxbjz5jOniA/s320/Back.JPG" /></a><p>>The Champion 600 is a neat amplifier, and very light weight. It weighs in at around 15 pounds, and measures about 12 inches wide by 11 inches high by 8 inches deep. The 50s groove is going ON with the two-tone Tolex.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOKpqyTS2F2IFA_yguvrFF2sZyWxhZA-wx8j9fIyt29aUrvtj6gyubxQzJIUcuxoFVJRbxpJsj8I846m9C4b0n4zTWTE-o5IfE4dsdgW9cIyE295xrGhhHdUA8EmIZV-JOPkAffr4xJQ/s1600/Controls.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOKpqyTS2F2IFA_yguvrFF2sZyWxhZA-wx8j9fIyt29aUrvtj6gyubxQzJIUcuxoFVJRbxpJsj8I846m9C4b0n4zTWTE-o5IfE4dsdgW9cIyE295xrGhhHdUA8EmIZV-JOPkAffr4xJQ/s320/Controls.JPG" /></a><p>The electronics are 1950s simple. This is an all-tube amp, with a 12AX7 pre-amp tube and a 6V6 output tube. The output is pretty low, putting out 5 watts at 4 ohms through the built-in 6-inch speaker. You can hook up a larger external speaker, should you wish. The controls are basic: 2 inputs (high and low gain), and a volume control. That is it -- you will have to do all of your EQ with the guitar or your pedal board.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8KkyrHzRRPNKyH9lvYfR4hQPfb7zA7LXB5sEpQfTTt1sXg8P4BBkHQvN1u88_I_3H8EQzr7az_p0smEviAz9NIJ33EknDCvZs8HgAr3Iy241jZp5s6Nv5VWwizQZ1o1FxvmaEWda5Rw/s1600/Guts.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8KkyrHzRRPNKyH9lvYfR4hQPfb7zA7LXB5sEpQfTTt1sXg8P4BBkHQvN1u88_I_3H8EQzr7az_p0smEviAz9NIJ33EknDCvZs8HgAr3Iy241jZp5s6Nv5VWwizQZ1o1FxvmaEWda5Rw/s320/Guts.JPG" /></a><p>There is not much more to describe, other than the tone. This amp sounds great! It does not hiss or hum excessively, and it puts out enough volume for home practice or recording. It overdrives fairly quickly, which is great if you want some old-style blues or rock and roll at reasonable volume levels. It sounds equally fabulous with my Strat or my Les Paul, and it is a bluesy little amp.
<p>Looking this one over, I would have to say the craftsmanship is pretty good. The Tolex is even, and the electronics are tidy. And, yes, these are built in China, so they do not have any “Fullerton” magic, but that does make them more affordable.
<p>Of course, it does not hurt that the Champion 600 is very affordable. It looks like it has been discontinued, and they now sell for more than they did when they were new, with prices starting around $200. But be careful, as these are popular amps to mod, and you might not know exactly what you are getting into.
<p>Mahalo!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com19tag:blogger.com,1999:blog-10228523619340384.post-80352656836702581632019-03-23T22:22:00.000-07:002019-03-23T22:22:07.244-07:00Blues Blast Magazine Album Review: Vanessa Collier – Meeting My Shadow<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSVHx-vDBFuZHL2sBzSssyl6r5gfrNmwoawjvL2vmv-sp6dm356v99OhpC053R61zseLk0p4l7IDUFq1xaoXY1lwARqgMVLmvwuHWK0_8oGmBTAoPbZIakRiHxbk5f9MJ8_9ac1jp1CA/s1600/Album+Cover.jpeg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSVHx-vDBFuZHL2sBzSssyl6r5gfrNmwoawjvL2vmv-sp6dm356v99OhpC053R61zseLk0p4l7IDUFq1xaoXY1lwARqgMVLmvwuHWK0_8oGmBTAoPbZIakRiHxbk5f9MJ8_9ac1jp1CA/s320/Album+Cover.jpeg" width="320" height="320" data-original-width="225" data-original-height="225" /></a>
<p>Good day!
<p>This CD review was originally published in the June 15, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Vanessa Collier – <i>Meeting My Shadow</i>
<p>Ruf Records
<p>www.vanessacollier.com
<p>www.rufrecords.de
<p>11 tracks / 44:23
<p>Vanessa Collier is a fresh face on the American blues scene, and in addition to her soulful vocals she brings a mighty sax to the table. I am not the only one that thinks so, as Vanessa was nominated for the best horn instrumentalist at the 2017 BMAs, putting her in the same club as Al Basile, Nancy Wright
Sax Gordon, and Terry Hanck. Also, her latest release, <i>Meeting My Shadow</i>, is making the rounds and it is a solid collection of original blues that serves to make the genre a bit more interesting.
<p>Ms. Collier is based out of Philadelphia, and her background is as impressive as her music. Vanessa is a graduate of Boston’s prestigious Berklee College of Music, and she brought her vocals and sax to tours with Joe Louis Walker’s band. Also, Collier’s 2014 debut album, Heart Soul & Saxophone, was highly praised on Dan Aykroyd’s blues radio show, and she was honored as the Best of 2014 Blues Breaker Artist on House of Blues Radio. It would seem that her schedule is pretty full, but Vanessa also finds time to run her own teaching studio, volunteer at schools, judge solo and ensemble festivals, and offer clinics all over the country.
<p><i>Meeting My Shadow</i> is Collier’s sophomore album, which was recorded in six days at Music + Arts Studio in Memphis, Tennessee; it was produced by Vanessa, Kevin Houston, and Thomas Ruf (of Ruf Records fame). She was joined in the studio by Daniel McKee on bass, Ty Jackson on drums, Charles Hodges on keys, Marc Franklin on trumpet and flugelhorn, and the blues giant, Laura Chavez, on guitar. This is a stellar line-up, and on this project, they demonstrate a palpable synergy that is infectious.
<p>Eight of the eleven tracks are originals that were written by Vanessa, including the opener, “Poisoned the Well.” This song shows what a well-rounded musician Collier is, and she provides the vocals, flute, Rhodes piano, Wurlitzer, and clavinet. This funky blues rocker features smoky vocals with jazz influences in the phrasing, and a really neat orchestration that includes haunting flute parts. It must have been hard for her to set the sax aside at the beginning of the set, but hey - when was the last time you heard flute in a blues song? This is backed up by a little more funk with “Dig a Little Deeper” with its sassy vocals and 1970s vibe. We finally get to hear the sax here and Vanessa’s tone is amazing, as is her interplay with the clean horn style of Mr. Franklin.
<p>The rest of the originals cover a wide range of the blues-based genres, and it is all tasteful and well written. “When it Don’t Come Easy” has a cool electric delta blues vibe thanks to Chavez, and one of the best phrases ever: “I’ve been sanding down my splintered heart.” The band also goes old school with the vintage rock and roll of “Whiskey and Women,” which includes hearty vocals from Vanessa and the healthy backline of Jackson and McKee. And the closer, “Devil’s on the Downslide,” has a sweet gospel feel that features Collier on the Wurlitzer organ.
<p>There are also a handful of covers on Meeting My Shadow, including Rosetta Tharpe’s “Up Above My Head, I Hear Music in the Air,” which has a gospel call and response with ladies, killer piano, a hyper snare drum, a sweet chicken-pickin’ guitar solo, and a killer sax solo. There is also the unexpected inclusion of U2 and B.B King’s “When Love Comes to Town” from 1988’s Rattle and Hum. This version is slower than the original, which gives it a different feel, but it still rocks. Vanessa has an interesting character to her voice here and this complexity is compelling, which is helpful as this song is not presented as a duet this time. Also, Laura Chavez tears off an amazingly raunchy guitar solo that fits in perfectly. It is hard to outdo the original, but this version comes really close.
<p>Vanessa Collier and her crew did a wonderful job with <i>Meeting My Shadow</i>, and the result is an entertaining 45-minute set of original blues with a fresh sound. Regardless of what you think the blues should sound like, there is plenty to like here so you should take the time and give it a listen. Also, Collier has plenty of bookings coming up, with many North American tour dates from Florida to Maine to Canada, and everywhere west, as well as some shows in Europe. So, be sure to hit up her website for dates near you as Vanessa is an important part of the future of blue, and it would cool to support her journey.
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com9tag:blogger.com,1999:blog-10228523619340384.post-5797537215862269792019-03-22T21:55:00.001-07:002019-03-22T21:55:47.617-07:00Aguilar Tone Hammer 500 Bass Amplifier Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcDJQAcbzFZOS_ehWbs1FfTk3wc7UoHyN2TM9o40Edr_4u8V4JScx1bWVsiSj9d6-Uktgaua8gwhvJ8QN3QFuAxbQJcCLD9-RV6FrrUf9aIRRDDwk0QhwM6YaDsABZ7Nzn99zubT6O0ic/s1600/Logo.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="73" width="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcDJQAcbzFZOS_ehWbs1FfTk3wc7UoHyN2TM9o40Edr_4u8V4JScx1bWVsiSj9d6-Uktgaua8gwhvJ8QN3QFuAxbQJcCLD9-RV6FrrUf9aIRRDDwk0QhwM6YaDsABZ7Nzn99zubT6O0ic/s320/Logo.jpg" /></a></div>
<p>Howdy!
<p>Well, my latest Genz Benz Shuttle finally crapped out and I have given up on it. Seven year ago I said if I was happy enough with it, but that I though the Aguilar Tone Hammer 500 had a slight edge on tone. So... now I have an amp to match my two Aguilar 1x12 cabinets!
<p>Aguilar has been making extra-nice tube bass amplifiers since 1995, and they have a reputation for high quality as well as a clean and warm vintage tone. The Tone Hammer 500 aimed to recreate this tone, but in a totally solid-state package; there is not even a tube for the pre-amp. By the way, this amplifier is essentially an Aguilar Tone Hammer preamp/direct box with a class D amplifier added on.
<p>This unit is rated at 500watts at 4 ohms and 250 watts at 8 ohms, and it is very small, measuring 10" x 3" x 9". It is very light as well, coming in at around 4 pounds. Despite its light weight and small size it is very solidly built.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNCCJQuSDMurgAYu4_y3s-nh-2s3XnvZl6v7LImvxwEwZS9ieL9OW0et6R6oapkfjVShP-GlXKotTPlnVwtbUlY3qKjVZxy-ZPyEeUbDXMsVmKUdvUrmlAqo022K4N5Pu72icTSNuzHHg/s1600/Front.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="212" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNCCJQuSDMurgAYu4_y3s-nh-2s3XnvZl6v7LImvxwEwZS9ieL9OW0et6R6oapkfjVShP-GlXKotTPlnVwtbUlY3qKjVZxy-ZPyEeUbDXMsVmKUdvUrmlAqo022K4N5Pu72icTSNuzHHg/s320/Front.jpg" /></a></div>
<p>There are a few different controls on the front of the Tone Hammer 500, including these knobs: gain, master, bass, mid level, treble, and drive. Drive uses Aguilar’s Adaptive Gain Shaping circuit, which works by using the gain and mid controls to change the tone from warm all the way to overdrive. Also included on the front are the balance XLR out and effects loop jacks, as well as the ground lift, signal pad and a mute switch.
<p>The back is pretty barren with two Speakon outs, the tuner out a voltage selection switch. Oh yes, and the power switch. I hate it when they put the power switch on the back.
<p>I hooked the Tone Hammer 500 up to my pair of Aguilar GS112 cabs, one with a a tweeter and one without, and I am very impressed. I tested it out with my Nash P basses and my ESP 5-string, as well as some miscellaneous crap from around the studio, and I got some very tube-like tones out of it, and it is definitely voiced like the other Aguilar amplifiers I have played before.
<p>With all of the controls set flat, it dis a wonderful job of reproducing the inherent tone of whatever instrument I was using at the time. And as I started to futz with the knobs (especially the drive knob) I was able to get a panoply of tones from it -- everything from an aggressive growl down to a warm and mellow purr. At high volume levels it never got very harsh, and I actually had trouble getting a high-fidelity tone out of it. They really did make this thing sound like a tube amplifier!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_oc0NOKFx8tG8afEhNYHEZUBGyKNdMMYsbyL7GpWivdi3zoM_LmJTt0CP0j9OI9m-fnNbT0XPjUSRWznAuZZqgVU7Wr-yEQpjElVaZ1bdzpoMW_C8O3KMKjzPEG_TKw1s9tcoryfa5x8/s1600/Back.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="213" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_oc0NOKFx8tG8afEhNYHEZUBGyKNdMMYsbyL7GpWivdi3zoM_LmJTt0CP0j9OI9m-fnNbT0XPjUSRWznAuZZqgVU7Wr-yEQpjElVaZ1bdzpoMW_C8O3KMKjzPEG_TKw1s9tcoryfa5x8/s320/Back.jpg" /></a></div>
<p>As far as volume goes, this thing is just as loud as my Shuttle, which was rated at 600 watts 9now it is rated at zero watts). I guess manufacturers can rate things however they want, but the proof is in the pudding. It is plenty loud for smaller shows or quieter bands, but if you are really going to crank it out and compete with the guys with the Marshall stacks, you will need to bring another amplifier or go through the PA system.
<p>Aguilar’s is in line with the rest of the industry, and the Tone Hammer 500 has a list price of $999, and a street price of $749. I am happy with my choice, and hope that it holds up longer than the Genz!
<p>Mahalo!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com7tag:blogger.com,1999:blog-10228523619340384.post-67411856571747319272019-03-22T21:39:00.000-07:002019-03-22T21:39:31.013-07:00Blues Blast Magazine Album Review: Thorbjørn Risager and The Black Tornado – Change My Game<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4K6cc8KEbL840meAQT0PbEVNWYZb5Gm-Bj3q4mMqI-HP9vv9qBmlWLAbb8B6Z-dM86fRlDqjL6HU6SkCTA59wLqkPqcrc8dhjzJZ271cOatF24qtp6csNBaKddnHYM40t6bWww8_wEA/s1600/Album+Cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4K6cc8KEbL840meAQT0PbEVNWYZb5Gm-Bj3q4mMqI-HP9vv9qBmlWLAbb8B6Z-dM86fRlDqjL6HU6SkCTA59wLqkPqcrc8dhjzJZ271cOatF24qtp6csNBaKddnHYM40t6bWww8_wEA/s320/Album+Cover.jpg" width="320" height="320" data-original-width="750" data-original-height="750" /></a>
<p>Hello!
<p>This CD review was originally published in the June 1, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Thorbjørn Risager and The Black Tornado – <i>Change My Game</i>
<p>Ruf Records
<p>www.risager.info
<p>www.rufrecords.de
<p>11 tracks / 51:10
<p>When hearing Thorbjørn Risager sing it is natural to assume that he is from the American Midwest, as his powerful voice cuts through the mix with just a touch of twang. But Denmark is his home, and for the past fourteen years he has been churning out soulful blues-rock with his band, The Black Tornado. These gentlemen have recently released their latest studio album, <i>Change My Game</i>, and it is their best work yet.
<p>The stability of the lineup for Thorbjørn Risager & The Black Tornado is a rarity in the music business, as five of the eight members have been with the band since 2003. During their tenure they have released eleven albums and played over 800 live shows, so they have figured out how to do things the right way with a combination of well-crafted songs and good production values. Critics and fans agree, as the band was nominated for British Blues Awards in 2014 and 2015 and won Danish Grammy Awards in 2013 and 2014.
<p><i>Change My Game</i> was recorded at the Medley Studios in Copenhagen, Denmark in January and August of 2016. Risager took care of the vocals and guitar, backed by The Black Tornado band that includes Peter Skjerning on guitar, Emil Balsgaard on keyboards, Søren Bøjgaard on bass, and Martin Seidelin on the drums; there is also the horn section of Hans Nybo, Kasper Wagner, and Peter Kehl. The band self-produced this album (a first for them), allowing them to achieve exactly the sound they were seeking. It includes eleven tracks, and all of them are originals that were written by Risager and Skjerning.
<p>The set list includes a bit of everything in the blues spectrum, including blues-rock, soul, funk, and rhythm and blues; the latter is the basis of the first track, “I Used to Love You.” Slow jams like this show off Risager’s astounding voice that is undeniably smooth and strong, and demonstrate his range that extends from baritone to a growly tenor. This song of remembrance features soft horns and a guitar solo that is simple yet very effective. Another standout ballad is “Lay My Burden Down,” which is delivered in a maudlin lyrical style with piano accompaniment, and there is a lovely build to the finish as the horns join in.
<p>Don't get the idea that <i>Change My Game</i> is full of slow-paced ballads, as hard-blues rock is a specialty of this crew. “Dreamland” is sequenced early in the album, and it has a huge sound with distorted guitars, Hammond organ, and a stellar horn arrangement. There is also “Hold My Lover Tight” with its driving beat and creative use of synthesizers and guitars. This song features an awesome guitar solo that is not over-the-top crazy, but it is powerful and perfectly in sync with the rest of the instruments. But the sweetest jam is “Train,” which starts out with an acoustic intro and a decidedly different rhythm pattern. At first there is a folk feel with honky-tonk piano, but momentum grows as the full band comes in, and it finishes with a minute of electric hardcore insanity.
<p>The band also does a respectable job with funk and soul, as shown by “Maybe It's Alright” and “Change My Game.” This title track is catchy with its funkadelic intro and synthesizers, and the chorus draws the listeners in with its harmonies, but the smooth horns and tight backline really complete the package. The bass and drums of Bøjgaard and Seidelin are perfectly in sync, and are almost hypnotic. These two songs are an interesting contrast to “Holler n Moan,” a Delta influenced swamp tune that ends up as a funeral dirge party towards the end. This message here is that the band is able to play most anything, and the songs are slickly written and arranged so that they all work well together, even as they span multiple genres.
<p>After the band spends the first ten songs proving that they have mastered many elements of American music, they cut loose and have some fun by ending the album with “City of Love.” This is a hard-rocking blues tune that goes all out with powerful vocal harmonies on the chorus, a cool blend of acoustic and distorted electric guitars, and one last dose of the super-tight horn section. Everybody gets a chance to shine on this track, with props going out to Balsgaard’s killer work on the organ, and Risager’s (or is that Skjerning’s?) searing lead guitar.
<p>With <i>Change My Game</i>, Thorbjørn Risager & the Black Tornado have met the challenge of living up to their excellent 2014 breakthrough release, Too Many Roads. This is a fresh take on modern blues, and the band has really created something different with their blend of blues, soul, and rock – indeed, they have changed their game. Looking at their tour plans for the rest of 2017, it looks like they are only playing European shows, but hopefully there will be enough demand to get them over to the states soon. While you are waiting, be sure to check out this new release, as it is dynamite!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com4tag:blogger.com,1999:blog-10228523619340384.post-9084253947755587962019-03-21T12:41:00.000-07:002019-03-21T12:41:53.304-07:001999 Epiphone Japan Gold Top Les Paul Standard LPS-80
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1P8STH1KUXIJqLKQTIufgl4WzbVKqCLi22W3p7676MdQm5EJyuEIBfQCM946q5-WSrxlYdq_jvpIT6st3Kho7xmjRXmL_DA_sX49zSPgkOQgfMs4T9xzzhOYwmPqa3BkvnT6awbTxfw/s1600/3.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1P8STH1KUXIJqLKQTIufgl4WzbVKqCLi22W3p7676MdQm5EJyuEIBfQCM946q5-WSrxlYdq_jvpIT6st3Kho7xmjRXmL_DA_sX49zSPgkOQgfMs4T9xzzhOYwmPqa3BkvnT6awbTxfw/s320/3.jpg" width="320" height="240" data-original-width="1274" data-original-height="956" /></a>
<p>Aloha!
<p>Before you start rolling your eyes at today’s subject guitar, I have to say that this is not one of the run-of-the-mill Epiphone guitars that are put together by little kids in China. These guitars were assembled at the Fujigen factory in Japan, so they are very well made and a tremendous value for the player who is on a budget.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1BN1dHFR2Vbjk-RKnQenNJNHdtBFahbExUEQlDNmh0zus8akhkTkcbf6w1ayEP93xc3T77ZvSXjxyDSHCM8WbJaa0FqrKXNYf5ZU4gSbXBIbTHIJDTHBFgf5XBc7_Se9Kna8zDuoB3A/s1600/11.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1BN1dHFR2Vbjk-RKnQenNJNHdtBFahbExUEQlDNmh0zus8akhkTkcbf6w1ayEP93xc3T77ZvSXjxyDSHCM8WbJaa0FqrKXNYf5ZU4gSbXBIbTHIJDTHBFgf5XBc7_Se9Kna8zDuoB3A/s320/11.jpg" width="320" height="240" data-original-width="1274" data-original-height="956" /></a>
<p>This one is a 1999 model year LPS-80 so it originally sold for 80,000 yen, which is a good chunk of change. It is a gold top, which is not the most common Epiphone color and it has the Gibson-style open book headstock shape. If you do not look at the headstock logo you would be hard-pressed to tell the difference between this and a real Gibson gold top.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZJlA5bpt4Qv2X9iGpXSvIByxlS_fO_oegAu-uyGBB0nkT3lXC6ZwcTVhlitppO9cae7V2W8vDO-G-J2_r2EIsnfpHx4SbcIIFFxZWqOlt7UAexiwh6lYpVGNlikOpN9Dff7C0FwJ3HA/s1600/8.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZJlA5bpt4Qv2X9iGpXSvIByxlS_fO_oegAu-uyGBB0nkT3lXC6ZwcTVhlitppO9cae7V2W8vDO-G-J2_r2EIsnfpHx4SbcIIFFxZWqOlt7UAexiwh6lYpVGNlikOpN9Dff7C0FwJ3HA/s320/8.jpg" width="320" height="240" data-original-width="1274" data-original-height="956" /></a>
<p>The bound body is made of mahogany with a carved maple top and it does not seem to be chambered. The hardware is standard Les Paull-issue chrome stuff (including Gotoh-sourced Kluson copies), and the single-ply pickguard matches the cream-colored binding.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ksZX1WNFAg5hTyVxZt8kCm5xzkETaRd6ruV3hTyD2aviB2D5SwHKGRLBK87d5fAGnCfvJ3GoyxPNQFMHf0U1voTBPS4QvqHf5Myc1ou-oB4F7ENujb1x5pHBe7DPUSvayTLq_MffJQ/s1600/1.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ksZX1WNFAg5hTyVxZt8kCm5xzkETaRd6ruV3hTyD2aviB2D5SwHKGRLBK87d5fAGnCfvJ3GoyxPNQFMHf0U1voTBPS4QvqHf5Myc1ou-oB4F7ENujb1x5pHBe7DPUSvayTLq_MffJQ/s320/1.jpg" width="320" height="240" data-original-width="1274" data-original-height="956" /></a>
<p>The electronics are very good. It is wired with a 3-way switch and dual volume and tone pots like every other Les Paul, and it has a very beefy tone. As it plays well and sounds good, I did not pull the pickups, but rumor has it that they were supplied by Gibson: a 498T in the bridge position and a 490R at the neck.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcDSUHYCto8_OOYgjtDkkgDNSgIcafVgPBxwoWGaSnTHE5j1m0YHwhffulLvGFXGWdzczBMwzIEqdtTB4j0-mIQ1MQbWLU6QXF5HoUiHF5CWh3kUS20eWztApDz14OghRfh85igFLHeA/s1600/6.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcDSUHYCto8_OOYgjtDkkgDNSgIcafVgPBxwoWGaSnTHE5j1m0YHwhffulLvGFXGWdzczBMwzIEqdtTB4j0-mIQ1MQbWLU6QXF5HoUiHF5CWh3kUS20eWztApDz14OghRfh85igFLHeA/s320/6.jpg" width="320" height="240" data-original-width="1274" data-original-height="956" /></a>
<p>The neck is nice and thick with a 50s feel. It has a rosewood fretboard and MOP inlays and fretwork show fine craftsmanship, and still look very good 20 years after this guitar was built. I do not really see anywhere where they cheaped out on this one.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5lwvy4_9gLHyDNfE_n0axduTOq0UQ_yRZRlRqv6mCu8r_aAjVzCW6Sfc_XMakmAeqWtndSE1okMSjPwIaHqGecvUS9nj_sx9sF-orqWjfRMBWmCyoh5yUkrnTFRlz09hJcSg4fKqCgw/s1600/2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5lwvy4_9gLHyDNfE_n0axduTOq0UQ_yRZRlRqv6mCu8r_aAjVzCW6Sfc_XMakmAeqWtndSE1okMSjPwIaHqGecvUS9nj_sx9sF-orqWjfRMBWmCyoh5yUkrnTFRlz09hJcSg4fKqCgw/s320/2.jpg" width="320" height="240" data-original-width="1274" data-original-height="956" /></a>
<p>For a 20 year old guitar, the overall condition is very good. The paint is still nice and glossy, with some swirling and a small chip on the back of the headstock. The headstock laminate started lifting at the nut, but this has been arrested, for now at least. There is very little wear to the frets, and no signs of a hard life or abuse. There appear to be no other repair history of modifications.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMzLg62eRM-2ovCKrZLrj_1Cvd0TWr9LCNG7LByudH0qa_8uSyyjP5gEIo2wfWUXkrA9baaeoEneSzRseVZv747lgVlKBNKUaFuDSCr9tBa4AbfsopGpdycHSPWZveQo7ahomGZaSGnA/s1600/9.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMzLg62eRM-2ovCKrZLrj_1Cvd0TWr9LCNG7LByudH0qa_8uSyyjP5gEIo2wfWUXkrA9baaeoEneSzRseVZv747lgVlKBNKUaFuDSCr9tBa4AbfsopGpdycHSPWZveQo7ahomGZaSGnA/s320/9.jpg" width="320" height="240" data-original-width="1274" data-original-height="954" /></a>
<p>This Epiphone is a really nice guitar for not much money, and it is probably is better quality than 90% of the guitars coming out of Gibson’s US factories today. After I set it up with Ernie Ball Slinky .010s. and it plays like butter and sounds killer. I hate to say it, because it never comes true, but this one might be a keeper!
<p>Mahalo!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com40tag:blogger.com,1999:blog-10228523619340384.post-33372707002608740542019-03-19T22:39:00.002-07:002019-03-19T22:39:56.946-07:00Blues Blast Magazine Album Review: Beth Garner – Snake Farm<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RnHvFdOB0S9xguI2AJqQefgLZk3ilz9QFWX4KyJ4G_Bg2qxB7Yxe3oL6zCJM4jSXEurYa8J-Ot9hf2HqMrBz4Y9HCoRCNcCsB6GqZg1JtwdH3-X3Ro-waxtrS7Xo_0f8B7K7Zszpaw/s1600/Album+Cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RnHvFdOB0S9xguI2AJqQefgLZk3ilz9QFWX4KyJ4G_Bg2qxB7Yxe3oL6zCJM4jSXEurYa8J-Ot9hf2HqMrBz4Y9HCoRCNcCsB6GqZg1JtwdH3-X3Ro-waxtrS7Xo_0f8B7K7Zszpaw/s320/Album+Cover.jpg" width="320" height="320" data-original-width="170" data-original-height="170" /></a>
<p>Beth Garner – <i>Snake Farm</i>
<p>Self Release
<p>www.bethgarner.com
<p>7 tracks / 26:19
<p>There are no hard and fast rules about how the blues should sound, and aside from a few basic structures and patterns, the limits of the genre are only set by an artist’s imagination and attitude. Beth Garner is not short on either of these attributes, and her third album, <i>Snake Farm</i>, is both unique and adventurous. These results are possible because of Garner’s personality and energy, as well as her prowess on lead and slide guitars.
<p>Beth started her musical career in Austin, Texas, and ten years ago she moved to a small town to the east of Nashville. From there Garner made her way into Music City to sing and play her ferocious lead guitar at the bars on Lower Broadway, and this record is evidence of the progress she has made over the years. Snake Farm was recorded “mostly live” at Slack Key Studios in Woodbine, Tennessee (south of the Gulch), and the results are vibrant and fresh.
<p>Beth Garner and Randy Kohns were producers for this project and joining Garner in the studio were Steve Forrest on bass, Wes Little behind the drum kit, Rory Hoffman on saxophone, keyboards, and rhythm guitar, as well as backing vocalists Angela Primm and Gale Mayes. This is a short album, coming in at a bit over 26 minutes, but Beth wrote six of the seven tracks and they all tell interesting stories. For example, the opener, “Alright by Me (Mr. Fisher),” is the tale of a woman who pines for Mr. Fisher, and the lively vocals are set to a laid back (yet funky) rhythm and blues score. Edgy guitar leads, honking baritone sax, and pretty harmonies complement Beth’s unique style.
<p>The listener never has the opportunity to get bored with Snake Farm, as each song is completely different than the others. “Backroads Freddie” is a swamp rocker with Austin-style guitar leads, slightly distorted vocals, and muffled harmonica. Garner swaps solos with Hoffman’s keys and one thing is for sure when this is all done – Freddie is a player! There is a bit of gospel doom too, as Garner uses “Drop Down” to warn about heavy stuff that is coming down (book of Revelation style). There is less instrumentation here, as the guitar carries the simple melody with accompaniment from Hoffman’s sax and the abundant vocal harmonies from Primm and Mayes.
<p>The mood picks up with “Used to Be,” a hot shuffle with bouncing bass, heavy slide guitar and tight harp accents. The message here is that maybe it is better to not settle for an old flame that didn't work out the first time. In a similar dysfunctional relationship theme, “Ramblin Man” is about falling for a musician that just won't be sticking around. This is a gnarly piece of funk that feels like a bass and drum jam that has a song breaking out on top of it.
<p>Then there is the title track, “Snake Farm,” which altogether different. This song is very entertaining, and Garner does a stand-up job of delivering the lyrics in a deadpan (almost spoken-word) manner. This is swamp rock, with cool reverb-soaked guitar providing the jangly leads, and Ray Wylie Hubbard’s lyrics are priceless. I found myself wondering if this is based on the Animal World & Snake Farm Zoo in New Braunfels, TX. If so, this was a nasty place 40 years ago, and this song perfectly captures the vibe.
<p>The seventh song is the closer, “Wish I Was,” where Beth yearns for how things were in the good old days. With its hammering beat and electric piano, it brings to mind the Read Hot Chili Peppers’ version of Stevie Wonder’s “Higher Ground.” As with the rest of the album, the sound is clear with a good mix, and the live recording vibe is genuine. I imagine they have been performing these songs live for a while, which is great preparation for the studio.
<p><i>Snake Farm</i> is a short but very satisfying album, and Beth Garner has shown that she is quite a songwriter. The lyrics are funny and clever, and her musical arrangements are not built around the chords that everybody else relies on. Her website only shows one upcoming gig (Plano, Texas in June), but hopefully more dates will be added soon, as Beth’s music is a real treat and it would be cool to see her show!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com1tag:blogger.com,1999:blog-10228523619340384.post-5684392267177488212019-03-18T21:48:00.003-07:002019-03-18T21:48:32.618-07:00Dick Dale: May 4, 1937 to March 16, 2019<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8QwjF-BwToXajNuNHcwoBXyo-kpeYr5dK1XXow3Z3SHTZ-P-XNGrcChWjCkxl-886VlpG-vkQHS0uvJDykPHe2xE0bzLyjX595Dyfues7ATAx3um_Xncil9SS838c5nWAJQC7Rv3kAQ/s1600/Dick+Dale.jpeg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8QwjF-BwToXajNuNHcwoBXyo-kpeYr5dK1XXow3Z3SHTZ-P-XNGrcChWjCkxl-886VlpG-vkQHS0uvJDykPHe2xE0bzLyjX595Dyfues7ATAx3um_Xncil9SS838c5nWAJQC7Rv3kAQ/s320/Dick+Dale.jpeg" width="320" height="240" data-original-width="540" data-original-height="405" /></a>
<p>Rest in peace, brother.rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com3tag:blogger.com,1999:blog-10228523619340384.post-36177793977669375052018-10-11T08:51:00.000-07:002018-10-11T08:51:24.790-07:00Blues Blast Magazine Album Review: Southern Avenue – Southern Avenue<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrm3eUA7MWzqPZmFqzjxuiCpSNqtP6WpPXryij7jmtgYH_QvdjEdpChoAEgmBdOiqxnaDpJP-qjYgfBXBz9IcZGaTWJtdfemqgTLU4pCeaS8hVyYbwfPwc2UhYbpeGWjOSWldgDLuJw/s1600/Album+Cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrm3eUA7MWzqPZmFqzjxuiCpSNqtP6WpPXryij7jmtgYH_QvdjEdpChoAEgmBdOiqxnaDpJP-qjYgfBXBz9IcZGaTWJtdfemqgTLU4pCeaS8hVyYbwfPwc2UhYbpeGWjOSWldgDLuJw/s320/Album+Cover.jpg" width="320" height="320" data-original-width="400" data-original-height="400" /></a>
<p>Good day!
<p>This CD review was originally published in the May 11, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Southern Avenue – <i>Southern Avenue</i>
<p>Stax Records
<p>www.southernavenueband.com
<p>www.concordmusicgroup.com
<p>10 tracks / 38:47
<p>Southern Avenue is a street that cuts across Memphis, and it also happens to be then name of a band that does a marvelous job of representing all of the musical sounds of this diverse city. Their eponymous debut album takes a solid guitar-blues base and then captures pieces of many genres, including gospel, rhythm and blues, soul, rock, jazz, and even a touch of country. This is American music at its finest, and to top it off the band is signed to the newly revived Stax record label!
<p>The band’s guitarist, Ori Naftaly, came to the United States from Israel to compete in the 2013 International Blues Competition. He decided to stay, and after touring on his own for a while he joined up with a powerful vocalist from Memphis, Tierinii Jackson, and things just clicked. Southern Avenue was born, and Tikyra Jackon (Tiernii’s sister) pitched in on drums and backing vocals, with Daniel McKee on bass and Jeremy Powell on keyboards. Within a year, the band was touring and playing festivals, was chosen to represent Memphis at the IBC, and got signed to the aforementioned Stax record deal.
<p><i>Southern Avenue</i> is a fresh and original release, with nine new songs that were written by Ori and Tiernii, and one cool cover. The disc was cut at Inside Sounds in Memphis and Zebra Ranch in Coldwater Mississippi, and Kevin Houston took care of production, recording and mixing. You may be familiar with Houston from his work with the North Mississippi Allstars, Lucero, and Patty Griffin.
<p>The set kicks off with a hard-hitter, “Don't Give Up,” with a cool acoustic intro that quickly evolves into a blazing country rocker with a little help from the slide guitar of Luther Dickinson (also a member of the Allstars). But the real shining star here is Tierinii, who has parlayed her previous experience of singing in church and cover bands into a true leading lady role. Her voice is nothing but soulful; it is powerful and clear, and her range is certainly enviable.
<p>Next up on the songlist is “What Did I Do,” an upbeat soul tune that features organ from Powell, sweet vocal harmonies from the Jackson sisters, and tight horns from Houston and Suavo Jones (the Bo-Keys). This is followed by the jazzy R&B of ““It’s Gonne Be Alright” and the lone cover tune on Southern Avenue: “Slipped Tripped and Fell In Love.” The latter is a neat tune that was written by George Jackson and recorded by Clarence Carter in 1971. It has since been re-done a few times, including an interesting 1982 take by Foghat. In this case it is a fun and funky piece that is built around Ori’s guitar and Tikyra’s snare drum. The horns of Art Edmaiston and Marc Franklin join in to make this an epic track that is one of the standouts on the disc.
<p>Tierinii lays down a single ballad for this project, and it gives the listener a chance to really hear what this woman can do, showing that there is a lot going on here. On “Love Me Right” there is a lot of texture to her voice, and she demonstrates the ability to go from smooth to jagged in a heartbeat. The overall effect is very emotional and heartfelt. This is a cool contrast to the in-your-face outrage of “Rumble,” which includes the soon to be classic lines: “You can see the crazy on my face / You can smell it running through my veins.” This is obviously not a woman to mess with!
<p>This is a relatively short album, and before 40 minutes are up it is over, ending with “Peace Will Come.” This song has gospel lyrics over a country rock beat, and it features a few more Jacksons on guest vocals: Ava, Laurie, and Bradley. This the last opportunity for Naftaly to lay down a guitar solo, and as always it is tasteful and smooth without creeping into the realm of self-indulgence. This song builds consistently to the end, and as it finishes up it is apparent that this was the perfect choice for closing out the set.
<p><i>Southern Avenue</i> is a hit, and after just one listen it is obvious why this band was the hometown choice for the International Blues Challenge. The band is worthy of the Stax Records label, and this is one of the best debut albums of the year. It deserves a listen, and be sure to take a peek at their website as they have a heavy touring schedule through the end of summer, including shows all over the states and a few festivals in the Netherlands. If this album is any indication of what their live show is like, it would be a great idea to make the time to seek them out!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com9tag:blogger.com,1999:blog-10228523619340384.post-84667641716561380332018-10-11T08:44:00.000-07:002018-10-11T08:44:56.730-07:00Radial Engineering Presenter Compact Mixer Review<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA32ZKtGgHuHiNSfyyXrRxZpB7fGBrmDusiE9BaqPLhJqEspUgwNkN0DrvSgkM25IsfKTbcPjp_9R5f_In3BQGrnZ4BpCwySjkJyPpUqDtbIag4R02_26aGVzdthTj5sVa81Cm_6R6zA/s1600/TOp.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA32ZKtGgHuHiNSfyyXrRxZpB7fGBrmDusiE9BaqPLhJqEspUgwNkN0DrvSgkM25IsfKTbcPjp_9R5f_In3BQGrnZ4BpCwySjkJyPpUqDtbIag4R02_26aGVzdthTj5sVa81Cm_6R6zA/s320/TOp.jpg" width="320" height="320" data-original-width="500" data-original-height="500" /></a><p>Aloha!
<p>I saw the Radial Engineering Presenter at the Winter NAMM show earlier this year and thought it was a pretty neat solution for people who conduct training classes or hold a lot of meetings. This product is a small mixer that provides mic, 3.5mm and USB inputs, as well as a couple of speaker outs.
<p>According to Radial: “The USB input on the Presenter allows for direct connection to a laptop for high quality audio playback, perfect for presentations that include digital audio files, or for DJ applications. This connection also provides power for the Presenter, eliminating the need to carry around a separate power adaptor. For connection to mobile devices such as smartphones or tablets, a 3.5mm stereo input jack is included on the front of the unit, and can be adjusted using the program level control. The XLR microphone input is paired with low and high EQ controls to tailor the frequency response, along with a low cut filter that rolls off excessive low end.
<p>Both the microphone and the playback signals are mixed to stereo XLR balanced outputs, which can be connected directly to a PA system or a pair of powered speakers. A mono switch is provided if only one speaker is needed, and a ground lift ensures that the output signal is clean and free of buzz or hum from ground loops.”
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPTaAe1ez88hQEJ_yOo-BBiAYCtf4QP2NcRO5g3SmnoUYJ0_0tWDURQEMQ4L3DKY6p8ngiySbuOi5oZ_6EqxPESqEwAPvMA4ZYOz2STNqPaiCJpBzBMJm3x6LDya2L72bR-yIvR_87HA/s1600/Back.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPTaAe1ez88hQEJ_yOo-BBiAYCtf4QP2NcRO5g3SmnoUYJ0_0tWDURQEMQ4L3DKY6p8ngiySbuOi5oZ_6EqxPESqEwAPvMA4ZYOz2STNqPaiCJpBzBMJm3x6LDya2L72bR-yIvR_87HA/s320/Back.jpg" width="320" height="320" data-original-width="500" data-original-height="500" /></a><p>Well, they are not lying. The Presenter is small and packed with features in its 14-gauge steel box. Pretty much everything you need to do can be accomplished with the single XLR , USB type-B and 3.5 mm TRS inputs, and there are a pair of XLR outs. There is even a port where you can install a laptop lock so it is harder for this mixer to disappear.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGVEp4CjlZyHywag713nKKTCNVSEtTraB2BLZaRpA8O34KMLjNdlKYglLT2fDDvmQzwpiE_PlK2KsMeiJaTQgRoeROhDyUPyPCE1WfKW0okZCSdrvugkMxg141qgVBb1HxetvqDKmb4Q/s1600/Diagram+1.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGVEp4CjlZyHywag713nKKTCNVSEtTraB2BLZaRpA8O34KMLjNdlKYglLT2fDDvmQzwpiE_PlK2KsMeiJaTQgRoeROhDyUPyPCE1WfKW0okZCSdrvugkMxg141qgVBb1HxetvqDKmb4Q/s320/Diagram+1.jpg" width="320" height="320" data-original-width="500" data-original-height="500" /></a>
<p>To use it, both the microphone and the playback signals are mixed to stereo XLR balanced outputs, which can be connected directly to a PA system or a pair of powered speakers. A mono switch is provided if only one speaker is needed, and a ground lift ensures that the output signal is clean and free of buzz or hum from ground loops. The presenter can be powered with a power supply (not included), or by a laptop over USB. One downside is that only laptop or a 3.5mm input at any one time, which seems like a pretty major disadvantage when giving a presentation. On the plus side, the Presenter can be used as a USB recording interface, so lectures can be recorded for later use.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPxVs6yv_QR5MJYHV-nw7WtMvc3DNeFU_3aYxbU2-3fT5Gt7QhOv4eGH0o4qVECFPPK_p75cI2HKDdU4H4B_Q1xJm1MVecyQUQepucC-tRijmcMx4wZlbkgROXEzODsjkgSYPS8DMXAg/s1600/Diagram.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPxVs6yv_QR5MJYHV-nw7WtMvc3DNeFU_3aYxbU2-3fT5Gt7QhOv4eGH0o4qVECFPPK_p75cI2HKDdU4H4B_Q1xJm1MVecyQUQepucC-tRijmcMx4wZlbkgROXEzODsjkgSYPS8DMXAg/s320/Diagram.jpg" width="320" height="320" data-original-width="500" data-original-height="500" /></a><p>Radial Engineering is a quality company that makes good stuff, and their products are priced accordingly, meaning that the Presenter comes in at $299 (street price). This is a lot of cash for a small mixing board, and if you look around there are a lot of mixers under $100 that have all of these features (including the USB) and more. This one would be a hard sale for me…
<p>Mahalo!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com17tag:blogger.com,1999:blog-10228523619340384.post-10363064131401789842018-10-10T22:36:00.001-07:002018-10-10T22:36:53.037-07:00Blues Blast Magazine Album Review: Harpdog Brown – Travelin' with the Blues<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEispSAKkEbjsrKsWvKa0w5acH5tS9_bqS7-RXEIwtJRzwRDLfA81mjBzDHVuWPvIOYhOwwo-sVZTIX51llk1qxyxLrbWDa3ZDB9XxhuifSOSX8UQuzwA1E1CmZlSHdINw9ZbBCKMRD3jg/s1600/Album+Cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEispSAKkEbjsrKsWvKa0w5acH5tS9_bqS7-RXEIwtJRzwRDLfA81mjBzDHVuWPvIOYhOwwo-sVZTIX51llk1qxyxLrbWDa3ZDB9XxhuifSOSX8UQuzwA1E1CmZlSHdINw9ZbBCKMRD3jg/s320/Album+Cover.jpg" width="320" height="320" data-original-width="500" data-original-height="500" /></a>
<p>Good day!
<p>This CD review was originally published in the May 4, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Harpdog Brown – <i>Travelin' with the Blues</i>
<p>Dog House Records
<p>www.harpdogbrown.com
<p>14 tracks / 46:31
<p>It is always cool to get a new blues CD out of Canada, as they are often very entertaining. It seems like there is a lot of support for all genres of the music scene north of the border, and this community helps artists get a good foothold in the business. The new album from Harpdog Brown, <i>Travelin' with the Blues</i>, is no exception and this harmonica-driven disc is chock full of solid tunes and sweet guest artists.
<p>With seven albums under his belt, Harpdog Brown has been plying his trade since 1982, and after taking a decade off to help raise his son he is right back in the thick of things. He is a well-regarded singer and harp man, and over the past few years he has released two albums and won consecutive Maple Blues Awards for harmonica player of the year. This man is certainly still in his prime, as you will hear on this disc!
<p><i>Travelin' with the Blues</i> has pretty much everything going for it. Little Victor produced this album, and it was cut by the go-to guys in the blues business: Jon Atkinson at Bigtone Records and Kid Anderson at Greaseland Studios. If you ever wish to make your own blues album, head up to the San Francisco Bay area and hit up one of these fellows and you will not regret your decision. Brown provides the vocals and most of the harmonica for this project, and joining him in the studio are Jordie Edmonds on guitar and Pat Darcus on bass. There are special guests galore, and blues fans will probably be able to recognize most (if not all) of the names.
<p>Many of the 14 tracks on <i>Travelin' with the Blues</i> are solid originals that were written by Brown, his bandmates, Little Victor, the guest artists, and Harpdog’s longtime collaborator, Wayne Berezan. Regardless of who wrote the songs, they all fit together well and there is a glorious 1950s feel to the proceedings thanks to Atkinson’s magical analog studio equipment. This is apparent on the opener, “Better Days,” a cool bit of Chicago electric blues that Wayne wrote. It features Harpdog’s hearty vocals and plenty of dirty guitar from Kid Anderson, not to mention a hauntingly distorted harmonica break. Berezan also penned the ballad “Sacrifice,” which allows Big Jon Atkinson to show off a bit of his guitar and drums as Carl Sonny Leyland sets the mood on the piano. Both of these tunes highlight how solid Brown is with the vocals, as he has a tremendous sense of timing and drama, as well as flawless enunciation.
<p>The originals also include a few standup tunes that Brown wrote. These include “For Better or Worse,” a 1950s rocker with Kid Andersen and Little Victor on guitar, “What’s Your Real Name” (the story of how Harpdog got his name), and “Home Is Where the Harp Is,” a re-do of a song from earlier in his career. These last two include some fancy guitar work from reggae master Rusty Zinn, another nugget of California gold.
<p>There are also a couple of noteworthy instrumentals worked into the set. Brown and Little Victor wrote “Moose on the Loose,” with a melody that hearkens back to the Champs’ “Tequila,” and an unexpected harmonica duet of Harpdog and the legendary Charlie Musselwhite. Then there is the closing boogie, “Hayward Blues,” a pick-up track that was recorded at the end of a session. This one has a healthy vamp from Jordie Edmonds (who wrote it) and Jimmy Morello, and a fun honking harmonica part from Harpdog. Though this one is only 95 seconds long, it is a wickedly fun way to close out the set.
<p>The covers include a handful of neat tunes. The band’s redux of Otis Span’s 1954 Chess Records single "It Must Have Been the Devil" is amazing, and California jazz master Carl Sonny Leyland does a fine job of occupying Spann’s place behind the piano. There is also Willie Dixon’s “Bring it on Home” which was originally cut by Sonny Boy Williamson II in 1963 and then covered on Led Zeppelin II. This version includes Jimmy Morello on the skins, and it is great to see that he is recording again! And finally, going a little further back in time, there is Jesse Thomas’ “Another Fool Like Me” and Muddy Waters’ “Hard Days Blues.” The latter is the standout of the cover tunes, and Brown’s quirky vocals are well accented by his harp as Little Victor lays down smooth guitar fills on this classic tune.
<p>As if 46 minutes of quality music is not enough, if you buy the hard copy of the CD you will also get 16 pages of liner notes with brief bios for the guest artists as well as producer’s notes for each of the tracks. This wealth of information is a welcome addition, and a neat throwback to the days where listening to music was a primary activity, not something that was done as an accompaniment to other everyday chores.
<p>Harpdog Brown has a winner with <i>Travelin' with the Blues</i>, and any fan of the harmonica or classic blues would be happy to have a copy of this disc in their library. Looking over Brown’s website, there is a passel of Canadian shows scheduled for this spring and summer, so if you are going to be north of the border, you might want to check out his schedule. He is a master of the harp, and certainly worth seeing in person!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com11tag:blogger.com,1999:blog-10228523619340384.post-40747728678613778532018-10-10T22:33:00.002-07:002018-10-10T22:33:44.991-07:002018 Blues Blast Magazine Music Award Winners!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5GKMrGQtyYnlgez0Bb1zQ0POd3_F1o9m8mC3A6QGbiCzjgrKXs5hsp6he3Av5_zpo11iaezCG2_5bs25dAJ_6BBHo7v6TNVNfWY6PnBXHX07NOe874-ZVG3dE7NP_G1XZ6yVcMnZ2Sg/s1600/BBMA+logo.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5GKMrGQtyYnlgez0Bb1zQ0POd3_F1o9m8mC3A6QGbiCzjgrKXs5hsp6he3Av5_zpo11iaezCG2_5bs25dAJ_6BBHo7v6TNVNfWY6PnBXHX07NOe874-ZVG3dE7NP_G1XZ6yVcMnZ2Sg/s320/BBMA+logo.jpg" width="320" height="167" data-original-width="600" data-original-height="313" /></a>
<p>Greetings!
<p>The 2018 Blues Blast Magazine Music Award winners were announced at the show on September 29, 2018. Here is the press release:
<p>At one of the biggest Blues events of the season on Saturday night fans and artists celebrated the 11th Annual Blues Blast Music Awards at Tebala Event Center in Rockford, Illinois.
<p>The winners in the fan voting were announced at the show and are listed below. Congratulations to all the nominees and winners!
<p><b>The 2018 Blues Blast Music Award Winners</b>
<p><b>Contemporary Blues Album</b>
<p>- Danielle Nicole - <i>Cry No More</i>
<p><b>Traditional Blues Album</b>
<p>- Kim Wilson - <i>Blues And Boogie Vol 1</i>
<p><b>Soul Blues Album</b>
<p>- Bettye LaVette - <i>Things Have Changed</i>
<p><b>Rock Blues Album</b>
<p>- Walter Trout - <i>We're All In This Together</i>
<p><b>Acoustic Blues Album</b>
<p>- Sonny Landreth - <i>Recorded Live In Lafayette</i>
<p><b>Live Blues Recording</b>
<p>- Muddy Waters - <i>Live At Rockpalast</i>
<p><b>Historical Or Vintage Recording</b>
<p>- Muddy Waters - <i>Live At Rockpalast</i>
<p><b>New Artist Debut Album</b>
<p>- Heather Newman - <i>Burn Me Alive</i>
<p><b>Blues Band</b>
<p>- Rick Estrin & The Nightcats
<p><b>Male Blues Artist</b>
<p>- Walter Trout
<p><b>Female Blues Artist</b>
<p>- Beth Hart
<p><b>Sean Costello Rising Star Award</b>
<p>- Heather Newman
<p>Mahalo!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com2tag:blogger.com,1999:blog-10228523619340384.post-33388946683850995102018-10-10T08:43:00.001-07:002018-10-10T08:43:29.923-07:00Blues Blast Magazine Album Review: Reverend KM Williams – The Real Deal Blues | Album Review<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv5wgcKkzvhkUdp9CdkJnmUVaZiLQpGyjNJvJu9039L2xWp2YpXQ6NctOrRE7jrISHlQmQqrstI2vB9e2_b6YwX8-uQd_7_mKtKd-NlWMbQNxAlnpwBGltgJedAL3U3FpTPRPyxXGlYA/s1600/Album+Cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv5wgcKkzvhkUdp9CdkJnmUVaZiLQpGyjNJvJu9039L2xWp2YpXQ6NctOrRE7jrISHlQmQqrstI2vB9e2_b6YwX8-uQd_7_mKtKd-NlWMbQNxAlnpwBGltgJedAL3U3FpTPRPyxXGlYA/s320/Album+Cover.jpg" width="320" height="320" data-original-width="355" data-original-height="355" /></a>
<p>Good day!
<p>This CD review was originally published in the April 20, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Reverend KM Williams – <i>The Real Deal Blues</i>
<p>Cleopatra Blues Records
<p>www.revkmwilliams.com
<p>www.cleopatrarecords.com
<p>15 tracks / 52:10
<p>Reverend KM Williams was brought up in East Texas, where (legend has it) as a toddler he first played the guitar while sitting on the lap of Elmore James. From there, Williams built his skills over the years by playing in churches where he got a righteous background in gospel and rhythm and blues. The Reverend is a serious guitarist and vocalist, but he also has a mean touch with the Diddley bow, a single string instrument that produces an amazing slide guitar tone in the correct hands. After listening to his new album, <i>The Real Deal Blue</i>s, there is no doubt that Reverend KM Williams has the correct hands!
<p>These days, listeners can find Williams playing his unique brand of raw blues on the stages of the Deep Ellum clubs in Dallas, Texas, alongside his friends such as drummer Washboard Jackson and the BMA-winning harp man, Deacon Jeff Stone. You can get a feel for this scene and the Texas blues tradition in the album’s companion short film, which is also titled The Real Deal Blues. The Reverend took his stage energy and vibe into Atom H Studios in Austin Texas, where producer Jurgen Engler brought this project to life. The resulting 15 tracks are all distinctive and innovative, while still remaining 100% blues – the album’s title is no joke.
<p>Whatever you are expecting, once the set starts the sound of this disc will set you back on your heels a bit. It is all raw edges with a distant sound, jangly guitars, a wailing Diddley bow, and vocals that beg to you listen just a little harder. This is modern electrified music, but with the way it is recorded the gap between traditional and modern is bridged, and the way the listener interprets it might just depend on what mood he or she is in that day.
<p>The Real Deal Blues is all about feel and mood, not showing off with flashy solos or crazed vocals, and this is apparent from the first track, “Baby Please Come Home.” Williams’ easygoing baritone vocals are set back in the mix, and the subject matter is undeniably the blues. Musically, there is a strong backbeat and the instruments are processed and electrified, but the overall vibe is vintage due to the classic repetitive blues structure of the lyrics and the overall murkiness of the tone. From there the Reverend explores swamp rock with “The Runaway Blues” which has a melting pot of guitar layers and a nice touch of Diddley Bow.
<p>These first two songs are pretty intense, and Williams understands that this level of drama cannot be maintained for the whole album and still have people listening at the end. So there are a few conventional tunes sprinkled around the CD. “Ring in My Pocket” has a more laid back beat, and it is a sweet story of a man who has no cash in his wallet and plenty of holes in his shoes, but he is on the road home to his lady with a ring for her finger. Another more mainstream song is “Shoulda Left this Town,” which is a little slower and is built on a 12 bar blues foundation.
<p>There are a few shorter-length themed songs, which also help to lighten the load at times when things start to get a bit heavy. “Highway 666” has a 1950s Johnny Cash rockabilly feel with a driving tempo and groovy sound effects that accompany the story of a man who has bad ambitions. Another cool tune is “Haunted House” with its roadhouse beat and a truckload of killer guitar tone.
<p>If this album makes you wonder what a Diddley bow sounds like without electronics and processing, you will be happy that the closer is a bonus acoustic version of “Bad Boy Blues,” which appeared earlier on the album. In this case, the drama is still there, but it is a different mojo as the driving feel of the electric mix has been stripped away. Williams can make that single string sound like a dozen, and the man’s talent shines brightly when all of the studio magic is turned off.
<p>Reverend KM Williams remains true to his roots and to the genre with <i>The Real Deal Blues</i>, and this album is an edgy 52-minute set of hardcore Texas blues. It is not easy listening, and it would be best to not distract yourself while it is playing as you could miss a lot. If you like what you hear and want to see him in person, head over to his website to check out his schedule; if you are in Dallas, Mississippi, or Spain, you are in luck as he has plenty of shows coming up!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com4tag:blogger.com,1999:blog-10228523619340384.post-6063937418212913702018-10-10T08:37:00.000-07:002018-10-10T08:37:08.938-07:00Inventory Update: 4nd Quarter of 2018<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ZI4yHjaqFu0OudkK9uOJ7CbBbpdKJfOU9HlObTJ9g_yyOS1XzndEVFTSNqlS1Xxg0_p89myq989GqhL4K9RR5jcy3BwqTPo3JV7lzyqb7u22eHf60gFu1DxWFppYioRD51i9_U8itg/s1600/Body+Angle.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ZI4yHjaqFu0OudkK9uOJ7CbBbpdKJfOU9HlObTJ9g_yyOS1XzndEVFTSNqlS1Xxg0_p89myq989GqhL4K9RR5jcy3BwqTPo3JV7lzyqb7u22eHf60gFu1DxWFppYioRD51i9_U8itg/s320/Body+Angle.jpg" width="320" height="240" data-original-width="1600" data-original-height="1200" /></a>
<p>Hi there!
<p>I managed to make some room in the studio over the past few months, but would like to move more of this equipment on to good homes. If you see anything here that you cannot live without, drop me a line. It is all good stuff…
<p>First off, the basses:
<p>∙ 1974 Aria Telecaster Bass (STILL apart for repair)
<p>∙ 1986 MIJ Fender Jazz Bass Special Short Scale
<p>∙ 1986 MIJ Fender 1962 re-issue Precision Bass
<p>∙ 1995 ESP Christian Olde Wolbers Horizon 5
<p>∙ 1995 Fender JB75-90 Jazz Bass
<p>∙ 2005 Fender PB57-70US Precision Bass
<p>∙ 2007 Fender PB70-70US Precision Bass
<p>Electric Guitars:
<p>∙ 1970s Yamaha Studio Lord Les Paul copy
<p>∙ 1981 Greco MSV850 Flying V
<p>∙ 1982 Greco SS-600 SG Copy
<p>∙ 1983 Fender JV ‘62 re-issue Stratocaster
<p>∙ 1983 Squier JV ‘62 re-issue Stratocaster
<p>∙ 1984 Squier SQ Stratocaster CST-50
<p>∙ 1985 Squier Stratocaster ST-331
<p>∙ 1986 MIJ Fender ‘62 re-issue Stratocaster
<p>∙ 1989 Fender Telecaster TL72-55
<p>∙ 1996 Gibson SG Special
<p>∙ 1997 Fender Jag-Stang
<p>∙ 2005 Fender TL52-80TX Telecaster
<p>∙ Memphis Cigar Box Guitar by Matt Isbell
<p>Acoustic Guitars:
<p>∙ Martin Backpacker steel string
<p>∙ Kala solid mahogany soprano ukulele
<p>∙ Takamine EF341
<p>Amplifiers:
<p>∙ 1967 Acoustic 260 Guitar Head
<p>∙ Genz Benz Shuttle 9.2 with Aguilar GS112 and GS112NT cabinets
<p>∙ Fender Acoustasonic 30 DSP
<p>∙ Fender Champion 300
<p>∙ 1999 SWR Workingmans 12 Combo Bass Amplifier
<p>∙ BOSS Katana 100W 1x12 Combo
<p>Check in again in January to see what is still around. As always, you know it will be different!
<p>Mahalo!
Tags: Inventory, Hubris
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com1tag:blogger.com,1999:blog-10228523619340384.post-85945853207871603182018-10-10T08:34:00.000-07:002018-10-10T08:34:37.111-07:00Blues Blast Magazine Album Review: Cliff Stevens – Grass Won’t Grow<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuSQLTjxC5VpvEPkXnzvrsi0DldEhNypCPTyZM-_EO-mPyyzs5BtDw3o3HB5_nxzBEQQ8-5nEbiu0xZVYCSmzD6FJ9CaNwr1ewuPOjh0c_VCaMiJ95bSae9j0vVdpvRr9OtkfZNSmRVg/s1600/Album+Cover.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuSQLTjxC5VpvEPkXnzvrsi0DldEhNypCPTyZM-_EO-mPyyzs5BtDw3o3HB5_nxzBEQQ8-5nEbiu0xZVYCSmzD6FJ9CaNwr1ewuPOjh0c_VCaMiJ95bSae9j0vVdpvRr9OtkfZNSmRVg/s320/Album+Cover.png" width="320" height="320" data-original-width="417" data-original-height="417" /></a>
<p>Good day!
<p>This CD review was originally published in the April 13, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Cliff Stevens – <i>Grass Won’t Grow</i>
<p>Self Release
<p>www.cliffstevens.com
<p>11 tracks / 45:12
<p>Looking at the cover of Cliff Stevens’ second solo disc, Grass Won't Grow, you might think he looks a bit like Eric Clapton, but with a Cherryburst Les Paul instead of the signature black Stratocaster. Of course there is only one Slow Hand, but this Montreal native is actually one of the world’s foremost Clapton impersonators (www.EricClaptonTribute.com)! But besides being able to play “Layla” in his sleep, he can also crank out his own brand of righteous blues-rock, as evidenced by this new album. Other folks have faith in his abilities too, as he was able to successfully use a crowdfunding campaign to help finance this project.
<p>Stevens is a product of the late sixties music scene where he got to see icons like Clapton and Johnny Winter, and he took further inspiration from icons such as Albert Collins, Albert King, and Otis Rush. What better role models could a young guitarist ask for? He took his job seriously, and has toured for decades around North America and Europe, flirting with jazz and earning a master’s degree in music and education along the way. His eponymous first album was released in 2009, and this mix of original and cover tunes was well received, earning him critical praise and plenty of award nominations.
<p><i>Grass Won't Grow</i> is a worthy follow-up, and it features Cliff on guitar and vocals, Eric Suavé on the keys, Alec Mc Elcheran on bass, and Sam Harrisson behind the drum kit. Stevens was the producer for this project, and it was laid down on tape (analog!) at Studio Mega-Rex in Montreal, and the result is a decidedly live sound. This 45-minute set is made up of eleven songs, all of them originals, and it turns out that his man has a lot of cool stuff to say.
<p>The set kicks off with “Don’t You Say,” which has a funky jazz feel thanks to a sweet walking bass line, plenty of ride cymbal and hi-hat, and Stevens’ ultra smooth guitar touch. Rest assured that Cliff has his own voice, and his laidback vocals and guitar chops are not a re-hash of Clapton’s style. Next up is “Price You Pay,” a fun piece of blues that describes the relationship difficulties that a touring musician has to deal with. The guitar leads on this track have an excellent clean tone, and Suavé’s keyboards subtly set the mood without distracting the listener. Then the upbeat title track follows with country-style leads and a pop feel courtesy of backing vocals from Kim Feeney. ”Grass Won't Grow” is fun, and a neat reminder of the joy that musicians can express; the blues does not have to always be a stone-cold bummer.
<p>As you can see, these songs are not exactly straight-up blues, but they are all still closely related to the genre and they all work well with each other. The songs are all well written and performed, but there are a few that stand out from the rest. “Running” is a radio-friendly rocker with an easy-going feel, a catchy chorus, and a heavily processed guitar break. There is also a sentimental bluesy ballad, “Crying My Heart Out,” which clicks on all levels with its Hammond B-3 and a dramatic mood that builds throughout. And if you like drama, the spooky feel of “All Through the Night” will be right up your alley. Stevens’ guitar work shows variety on this last one, as throws down some cool arpeggios and then lets it rips with and extended dirty solo that is one of the highlights of the entire disc.
<p>Cliff Stevens has put together a solid album with <i>Grass Won't Grow</i>, and this cool set of modern blues-rock is catchy and well crafted. He just finished up supporting its release with his fourth European tour in the past three years, and hopefully he will add some North American dates soon. Keep an eye on his website for updates, and you can also follow him on Bandsintown.com for automatic notifications if he adds shows in your area. He is quite the showman, and you will like what he has to offer!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com0tag:blogger.com,1999:blog-10228523619340384.post-63986178432187932502018-10-10T08:29:00.001-07:002018-10-10T08:29:53.034-07:00Otis Rush: April 29, 1935 to September 29, 2018<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiZFqYqSqAxG8iCZX-t3WVeFHoq16Y6pFPxmKI707pK0OjTWA-CAnOOQycYyWvZJUTdUWmxr1TCYUjdCYX8UIxeNunLJsVKB2ZnG4rx68J2eKIHrs6s8jkID0Z1hjuGai50839M3dn3Q/s1600/Otis-Rush.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiZFqYqSqAxG8iCZX-t3WVeFHoq16Y6pFPxmKI707pK0OjTWA-CAnOOQycYyWvZJUTdUWmxr1TCYUjdCYX8UIxeNunLJsVKB2ZnG4rx68J2eKIHrs6s8jkID0Z1hjuGai50839M3dn3Q/s320/Otis-Rush.jpg" width="320" height="160" data-original-width="790" data-original-height="395" /></a>
<p>Rest in Peace, Mr. Rushrexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com0tag:blogger.com,1999:blog-10228523619340384.post-44806790827088509652018-10-10T08:26:00.000-07:002018-10-10T08:26:04.721-07:00Blues Blast Magazine Album Review: Marty D. Spikener’s On Call Band – help! I need some GOOD BLUES!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXEtdIu2ETesNS_FYmhY2cDk3f6t4Ru3BbSvQcprXot-eGvRZ2TJfZYWnmAyYCUEoyf5kauz4FKQXtEEn7Y-nfkn6ghXesABwlOnyzVl67QdXt-eFZTwKO-3euCLTCZEW3m4u8s2QFGw/s1600/Album+Cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXEtdIu2ETesNS_FYmhY2cDk3f6t4Ru3BbSvQcprXot-eGvRZ2TJfZYWnmAyYCUEoyf5kauz4FKQXtEEn7Y-nfkn6ghXesABwlOnyzVl67QdXt-eFZTwKO-3euCLTCZEW3m4u8s2QFGw/s320/Album+Cover.jpg" width="320" height="320" data-original-width="460" data-original-height="460" /></a>
<p>Hello!
<p>This CD review was originally published in the April 6, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Marty D. Spikener’s On Call Band – <i>help! I need some GOOD BLUES!</i>
<p>Self Release
<p>https://www.facebook.com/MDSOCB/
<p>9 tracks / 38:55
<p>Marty D. Spikener has been playing the blues for almost 40 years, and the St. Louis club scene is much richer with him perched behind his drum kit and growling out perfectly timed vocals. Marty D. Spikener’s On Call Band performs both originals and cover tunes, and their new album, <i>help! I need some GOOD BLUES!</i>, is a fine sampling of blues, rhythm and blues, and just a little touch of jazz.
<p>The On Call Band includes Spikener, as well as Chuck Loeb on harmonica and vocals and Doc Evans on bass, while Ryan Waked and Solomon Haynes share the guitar work. Paul Niehaus IV cut this disc at the Blue Lotus Studio (also in St. Louis), and it sounds like it may have been recorded live. I say this because there is a cool dynamic and a noticeable energy between the artists as they run through this 40-minute set, which works out well for the music they chose for the set list.
<p>Two-thirds of the songs on this disc are covers, and the On Call Band starts things off with a neat re-do of Don Robey’s “Ain’t That Loving You,” which was originally released by Bobby Bland in 1962. This is a straight-up electric blues tune that allows the throaty and soulful vocals to shine. Waked and Haynes each deliver clean guitar solos, and Loeb goes for a dirtier sound with his harp. Next up is the Paul Butterfield Blues Band’s “Born in Chicago,” which is faithful to the original, but here it is played at a slower tempo, giving it a Latin feel.
<p>The other covers are a diverse collection of American tunes, including a soulful take on John Hiatt’s “Feels Like Rain,” and the Louis Armstrong-inspired vocals on James Harman’s hilarious “Tall Skinny Woman.” But the standout is “Lord Help Me to Hold Out,” which was originally recorded in 1969 by Harrison Johnson and the Los Angeles Community Choir. This acoustic gospel song has a wonderful interplay between the harmonica and the inspirational vocals, while the backline of Evans and Spikener hold everything together.
<p>The three tunes that Marty wrote are solid, the first of which is the funky “Good Blues,” and this song offers up the opinion that the blues does not have to be a stone-cold bummer. Guest artist Bobby Schneck (Santana and Slash) provides the stunning guitar solo while the tone of Waked and Haynes’ rhythm guitars set the mood perfectly. Then there is the sobering “Guns of St. Louis,” a soulful plea for peace and sanity in the Gateway City. And the last of the originals is the light-hearted “Pill for That,” which is chock-full of slick drum fills courtesy of Mr. Spikener.
<p>Wrapping up this disc is “Walkin’ with Grover,” a tribute to Grover Washington’s 1975 soul/jazz chart-topper, “Mister Magic.” There are no horns to be found on this instrumental, but the guitars and Loeb’s harmonica fill in nicely. The band pushes the tempo more than the original, and Evans’ walking bass line transforms this song into more of a blues tune, though there is still an obvious jazz influence. Each player gets a chance to shine on this track, making this the perfect outro for the set.
<p>It is really cool that Marty D. Spikener’s On Call Band documented their sound so that listeners outside of the Show Me State can hear their music. <i>help! I need some GOOD BLUES!</i> Is a solid package, and it would be neat to here more from these fellows, so hopefully they will be heading back to the studio soon. But In the meantime, head on over to the band’s Facebook page to hear them for yourself and to find out where they are playing next!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com0tag:blogger.com,1999:blog-10228523619340384.post-63999080661951869212018-08-26T13:14:00.000-07:002018-08-26T13:14:18.564-07:002008 Epiphone Les Paul Custom Guitar Review <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKotH_8LQ8J4qfcVFRiV_RG1sDSBrMRO9ixJpMlHmaSKyIRgEyKsrR91V3fc7HI7t6Um4BxiA_wud0C4Zs7ibNkUDpVpc6Az04AH9TtwKaU9-m_jU0QYpvTmaRwMierNo2EpwCWzfEpg/s1600/Front.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKotH_8LQ8J4qfcVFRiV_RG1sDSBrMRO9ixJpMlHmaSKyIRgEyKsrR91V3fc7HI7t6Um4BxiA_wud0C4Zs7ibNkUDpVpc6Az04AH9TtwKaU9-m_jU0QYpvTmaRwMierNo2EpwCWzfEpg/s320/Front.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a><p>Howdy!
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHkKUdHpfmFG9DU9v2Q-iHhd_N9Se90gp-7rzVghbNddM5BvOG6uK00r-3BxuFyPMihhSLjgqm8ZU_syvoLGtPrKVgPmtXE2-ESvJ9x1iXAxFxyqRB46x4N8J3PC9FlqrqK9QGPCkqGw/s1600/Front+2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHkKUdHpfmFG9DU9v2Q-iHhd_N9Se90gp-7rzVghbNddM5BvOG6uK00r-3BxuFyPMihhSLjgqm8ZU_syvoLGtPrKVgPmtXE2-ESvJ9x1iXAxFxyqRB46x4N8J3PC9FlqrqK9QGPCkqGw/s320/Front+2.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a><p>Today we are looking at an Epiphone limited edition Silverburst Les Paul Custom guitar that was only sold for a brief time in 2008, though they must have made o ton of them because I see them pretty often. It is a fine looking instrument and is well built, but the electronics have not held up too well over the years.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQYoLuEtDd2simdOsZeF6UE9BQLTtrMgRBZBO_bG5An_rarVVm8w3efNQIb8at5HwKJtQCK7TJaUGqpX8wHv_O6hhI-efSppa6xOtBBW4qpGS0E5nc-_l4Dg1qVkU_7vJa27jGrZxitw/s1600/HEadstock.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQYoLuEtDd2simdOsZeF6UE9BQLTtrMgRBZBO_bG5An_rarVVm8w3efNQIb8at5HwKJtQCK7TJaUGqpX8wHv_O6hhI-efSppa6xOtBBW4qpGS0E5nc-_l4Dg1qVkU_7vJa27jGrZxitw/s320/HEadstock.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a><p>The Custom has always been the top of the Les Paul line-up, and this one is a tribute to the original Silverburst instruments that were made from 1979 to 1985. The vintage Silverburst Les Pauls have been the go-to axe for Adam Jones from Tool, so they have developed a cult following and they are stupidly expensive now.
<p>Les Paul Customs are set apart from the Standard models by more intricate inlays, as well as multi-ply body binding. This Epiphone got these adornments, but not the usual gold-plated hardware (thankfully).
<p>Other than the color, the specs are fairly standard for an imported Les Paul. It has a mahogany body with a carved alder top, which is surprising considering that these usually have maple tops. The 24.75-inch scale set neck is mahogany, which is normal, but differs from the maple necks on the original Silverburst Les Pauls. The whole thing has a coat of thick poly and the Silverburst fade is only on the front. The back is glossy black, while the originals were Silverburst back there instead.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1dNipxubADcZkUcf8ugQXtDIISojUey-8snq7Mmei_4MapsBoZ9gu1Ga2KguPDA8yDTqMZ9DL4b-taYjd3YG8vvxOV7gG7FJh6Vj0Ez10onc4EffF4O00ftXVtV0if0H0lOS2qwcxxQ/s1600/Tuners.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1dNipxubADcZkUcf8ugQXtDIISojUey-8snq7Mmei_4MapsBoZ9gu1Ga2KguPDA8yDTqMZ9DL4b-taYjd3YG8vvxOV7gG7FJh6Vj0Ez10onc4EffF4O00ftXVtV0if0H0lOS2qwcxxQ/s320/Tuners.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a><p>The neck has a 1 11/16-inch wide nut, and a fairly fat profile. The rosewood fretboard has trapezoid pearl inlays, and it has an evenly applied cream binding. The headstock carries the 5-ply binding over from the body, and it is equipped with chrome Grover sealed-back tuners. In case you care, there is a diamond mother of pearl inlay on the front of the headstock, and an Epiphone Custom Shop Logo on the back. I would be curious to see their Custom Shop…
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5S3cEHtFuwWfUpyMfC5X6RNsotLOsvLFGBlx8YspAqosns5uQu1jDFMjI0hEZyTg86H0QlL3-Dw_Z3xHO54OnY9Lmj0w9ezg9oFKU1X_29e88LKgGr-UVrI0zMMI1dV56pDWNOUi4hQ/s1600/Bridge.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5S3cEHtFuwWfUpyMfC5X6RNsotLOsvLFGBlx8YspAqosns5uQu1jDFMjI0hEZyTg86H0QlL3-Dw_Z3xHO54OnY9Lmj0w9ezg9oFKU1X_29e88LKgGr-UVrI0zMMI1dV56pDWNOUi4hQ/s320/Bridge.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a>
<p>The rest of the hardware is standard fare, with a chrome Tune-o-matic bridge with a stopbar tail piece and a multi-ply black pickguard. And the electronics are just about what you would expect on an Epiphone. These Customs come with plain-Jane Alnico humbucker with the usual Les Paul 2 volume / 2 tone knobs set-up.
<p>In the end, this turns out to be a good collection of parts, and Epiphone’s Chinese (factory did a fab job of sticking them together. I am continually astonished that the public continues real-deal Gibson Les Pauls with terrible necks and frets when there are much better alternatives out there for less money.
<p>This Silverburst Les Paul Custom has a nice neck with perfect frets and a pretty low action with no fiddling around or modifications. It has a C profile and its thickness is right in the middle between the 50’s and 60’s neck profiles that are so popular. This translates into a lot smoother playing experience for me, which is worth a bunch because I do not have much talent.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiSF0coe3UuGB5wDDgLfnAa2R7dhECl0eS4LoOFUmPujEIkRYHZ818ziVGW3839Sa9Ez-nvKq-ybmLknM7k8y-t8CvJrXsYWZtMQTDRvmeOxsx5W9bxxEbfXF6maiOxxgLMwX95s6umQ/s1600/Knobs.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiSF0coe3UuGB5wDDgLfnAa2R7dhECl0eS4LoOFUmPujEIkRYHZ818ziVGW3839Sa9Ez-nvKq-ybmLknM7k8y-t8CvJrXsYWZtMQTDRvmeOxsx5W9bxxEbfXF6maiOxxgLMwX95s6umQ/s320/Knobs.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a>
<p>Unfortunately, the years have not been kind to the electronics on this one, as one of the pickups has dies and the other has a whacky tone that is super muddy. It certainly could benefit from new pickups and wiring, and I think a set of Burstbuckers (maybe out of phase) would be magical in this guitar. If you are going for the full Tool mod, Jones says he uses a Seymour Duncan JB at the bridge, though I have my doubts that he is being truthful, and without a maple neck and ebony fretboard it just will not sound the same anyway…
<p>When this run of Epiphone Silverburst Les Paul Customs was originally on sale their street price was around $600 (with no case), which is pricy for an Epiphone Les Paul. But nowadays they go for around $300 to $400, which is a good price for a nice guitar. But, make sure you plug it in before you buy…
<p>Mahalo!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com0tag:blogger.com,1999:blog-10228523619340384.post-39107928358522188632018-08-26T12:54:00.000-07:002018-08-26T12:54:52.368-07:00Blues Blast Magazine Album Review: Peach and the Almost Blues Band – A Night in Copenhagen<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhh7cAjl2DOmJ-18oPi_Ej7TElGy7t_U9z0i1lME0-j_CwEMsQcTuk8TPqQZYYHba7fXJ1-JPh2n86Mzb21PLsiSZ1T8FheGPnchKcDfJCayln9_YhhShvLEGzjGrqS0RiZcxZJX3W-A/s1600/Album+Cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhh7cAjl2DOmJ-18oPi_Ej7TElGy7t_U9z0i1lME0-j_CwEMsQcTuk8TPqQZYYHba7fXJ1-JPh2n86Mzb21PLsiSZ1T8FheGPnchKcDfJCayln9_YhhShvLEGzjGrqS0RiZcxZJX3W-A/s320/Album+Cover.jpg" width="320" height="320" data-original-width="500" data-original-height="500" /></a><p>Good day!
<p>This CD review was originally published in the March 9, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Peach and the Almost Blues Band – <i>A Night in Copenhagen</i>
<p>Magic Music
<p>www.almostbluesband.dk
<p>8 tracks / 36:28
<p>A cool thing about the blues is that the form easily translates to different cultures and allows musicians from all parts of the world to get together and create killer music. Language is not much of a barrier, as the chord patterns and song structures are familiar to anyone who has played the blues for a while. Peach totally gets this, and this fixture of the Los Angeles music scene has released a cool set of blues that she laid down with some friends in Denmark, titled <i>A Night in Copenhagen</i>.
<p>Peach (her last name is Reasoner) grew up in the Midwest, but found work and built her musical career on the West Coast as a jazz and blues singer and guitarist. Along the way she has toured the world and collaborated with folks that include Taj Mahal, Jim Messina, Keb' Mo' and Condoleezza Rice. Yep, it is the Condoleezza you are thinking of – she was Peach’s accompanist at the University of Denver.
<p><i>A Night in Copenhagen</i> was recorded in February 2016 straight out of the mixing board at Café Bartof. Peach handled the lead vocals and played her sparkly Tele; she was joined by locals Michael Engman Ronnow on guitar, Helge Solberg on bass, and Niclas Campagnol on the skins. Her longtime band mate, Ken Stange from Los Angeles, made the trip across the Atlantic and sat in on keys and harmonica for this gig. This disc includes eight songs from the show, and most of them are covers that perfectly fit Peach’s vocal style.
<p>First up in the set is “Tonight I’ll Be Stayin Here With You,” a Bob Dylan tune from 1969. Things get off to a soulful start with Stange’s sweet harp work, and it is not long before Peach joins in. Her voice has all the right things going on - it is strong and has a weathered character that sets it apart, but that is not all. Her phrasing and timing are both spot on, and she comes off like the true pro that she is. This gives Peach the ability to take this song from a Nobel laureate and make it her own. The same can be said about the second song on the album, B.B. King’s oft-covered 1978 hit, “Never Make Your Move Too Soon.” This song comes off as a roadhouse tune with Peach howling the vocals over Solberg’s thumping bass, Campagnol’s hard-hitting snare, and Stange’s barroom piano.
<p>This is pretty much how the album proceeds, as the band is not afraid to take on songs that were made famous by others, but they consistently prove that they have the talent to pull them off. Junior Wells’ 1960 song, “Little by Little” is a tough shuffle with lovely organ from Stange and a walking bassline from Solberg. The lyrics translate well to having a woman sing them and Peach delivers them with sass! There is also Harvey Scales and the Seven Sounds’ “Love-It is,” which most folks will associate with the J. Geils Band. The guitars shine on this rocker, and the band kicks in with backing vocals on the super-catchy chorus, which really helps to bring this tune together.
<p>The covers are all great, but one of the standout tunes on the disc is an original that was written by Peach, “Tell Me You Love Me.” Maybe it is because this song is a ballad, but the change of mood is striking as Peach’s emotional lyrics rise to the top over multiple layers of keys and the heavy high-hat and snare of Niclas Campagnol. This song could make the listener wish that the band had snuck a few more originals into the mix.
<p>This is a short set, and a little over a half hour in the band takes on the finale, Frankie Miller’s “Ain’t Got no Money,” a song that was also done by Cher and Bob Seger. This uptempo romp is barroom blues at its best, and after a slick break on the piano from Stange, the band brings things to a close on a high note
<p><i>A Night in Copenhagen</i> is a neat recording of a fun show by Peach and the Almost Blues Band. Her jazzy blues interpretations of classic songs work very well, and the band was definitely hitting on all cylinders that chilly winter night in Denmark. Give it a listen for yourself – there is plenty here for blues fans to like!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com0tag:blogger.com,1999:blog-10228523619340384.post-27373373312915877172018-08-26T12:50:00.001-07:002018-08-26T12:50:29.685-07:00 Lazy Lester: June 20, 1933 to August 22, 2018<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-7Jufp6KAIsaZVU4cC2vbAZqFJ6q02SOhJKVjXqjRUWvj_nCYwG70xEhKTJTeVdiv0skKlUTbPaF3hn6n5OQe3mhHbiH3_6phf7KUkks9MgrkeYJRs4iH98uddXbKlQycvyUwRIFgMA/s1600/Lazy+Lester.jpeg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-7Jufp6KAIsaZVU4cC2vbAZqFJ6q02SOhJKVjXqjRUWvj_nCYwG70xEhKTJTeVdiv0skKlUTbPaF3hn6n5OQe3mhHbiH3_6phf7KUkks9MgrkeYJRs4iH98uddXbKlQycvyUwRIFgMA/s320/Lazy+Lester.jpeg" width="320" height="319" data-original-width="225" data-original-height="224" /></a><p>Rest in peace, Leslie Carswell Johnson.rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com1tag:blogger.com,1999:blog-10228523619340384.post-77307606684212147302018-08-26T12:45:00.001-07:002018-08-26T12:45:43.566-07:00Blues Blast Magazine Album Review: Dave Orban and the Mojo Gypsies – I Heard You Twice the First Time<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPGUhpZ8mQWtnTGrg82mJC5xodpXdBVpL5vAevv38MJB16owJ9xOfg96WhVPj8CgQQ9MdYpRXi01Vk6dmL32PPs7m4HK7si3r96xM23Ib0tjq5aMIECgkg6g6M1iG_54RzPrIus5rIQg/s1600/Album+Cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPGUhpZ8mQWtnTGrg82mJC5xodpXdBVpL5vAevv38MJB16owJ9xOfg96WhVPj8CgQQ9MdYpRXi01Vk6dmL32PPs7m4HK7si3r96xM23Ib0tjq5aMIECgkg6g6M1iG_54RzPrIus5rIQg/s320/Album+Cover.jpg" width="320" height="320" data-original-width="200" data-original-height="200" /></a><p>Aloha!
<p>This CD review was originally published in the March 23, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Dave Orban and the Mojo Gypsies – <i>I Heard You Twice the First Time</i>
<p>Self Release
<p>www.mojogypsies.com
<p>14 tracks / 66:45
<p>Many folks dream of becoming a musician some day, but Dave Orban actually went out and did it – twice! Inspired by the British invasion of the 1960s he joined the throngs of kids who purchased instruments and figured out how to sound like their heroes, though Dave took it a step further and learned about the blues that inspired many of these groups. As time went on, he made the “sensible” decision to do the whole school and day job thing, and for 17 years Orban dropped out of the music scene completely.
<p>Then one day an old friend got ahold of Dave and asked him to come to a jam. With his borrowed guitar Orban realized that he had forgotten everything he had ever learned, but this experience ignited a fire in him that made him realize how much he missed the music. Skipping forward a few more decades, we find that he got his groove back and that his current lineup of the Mojo Gypsies has released an album of 14 of Dave’s very respectable original tunes. <i>I Heard You Twice the First Time</i> is a solid set of guitar-driven modern blues that draws on music from all over the United States, and it is definitely worth a listen.
<p>On this disc, Dave Orban lays down the vocal and guitar tracks, and he is joined by the Mojo Gypsies, all of who are from the same New Jersey / Pennsylvania area. These fellows include Jeff Michael (aka Flourtown Fats) on bass, Mark A. Shewchuk on the skins, and Mike Scott on the tenor sax. Besides writing all of the songs Dave acted as the producer for the project, and the album was cut by Bobby Dreher and mixed by Brett Kull; these guys did a marvelous job of getting a clear and well-balanced sound.
<p>The band kicks their set off with “Got That Woman on My Mind” which begins with a raunchy guitar intro and then rolls down into a luscious Chicago-style mix. Right from the start the Mojo Gypsies click, with a slow walking bass line from Michael, three or four layers of Dave’s guitars (in stereo), and bright and crisp drums from Shewchuk.
<p>This is a big album (66 minutes!), so there is not enough room here for a blow-by-blow on every track, but there is a little bit of everything on I Heard You Twice the First Time. This includes straight-up guitar blues (“Baby, Take Your Time” and “Big-Boned Baby”), sweet Louisiana beats (“Ain’t No Lie” and “Dallas”), a touch of jazz (“The Told You So Blues” and “Trouble-Makin’ Woman”), and even a little rockabilly (“What’s Wrong”). The band carries all of these with no trouble at all, held down Shewchuk’s drums and augmented by Scott’s horn arrangements.
<p>There are guest harmonica players on a few of the tracks too, and their presence provides a little extra spice for the sauce. Dave Holtzman (Little Red Rooster Blues Band and AC Steel) joins in for “I’m Sayin’ ‘Yes’ to Everything” and his haunting tone works magic alongside Orban’s jangly slide guitar for this Delta-tinged burner. And “Marky B” Berkowitz brings his harp to “Someone Else’s Woman,” a conventional acoustic blues song with a decidedly vintage vibe.
<p>The Mojo Gypsies end their set with “Lookin’ for a Woman,” a righteous chunk of 70’s vintage funky blues. The bass and guitar tones are to die for on this track, and Shewchuk works the snare with a heavy backbeat. Topping all of this off, Mike Scott lays down a breathy solo break that nestles perfectly into the groove. This is nothing but the right stuff, and it is a perfect way to bring things to a close.
<p>Dave Orban and the Mojo Gypsies did a fine job with <i>I Heard You Twice the First Time</i>, and as I said earlier, it is worth a listen. But you will want to listen to it more than once, as the songs are well written and provide a personal feel that is hard to find in the cover songs that fill many of the new blues albums. <p>And be sure to head over to the Mojo Gypsies website to peruse their gig schedule – if you are anywhere near Philly you just have to see their live show!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com0tag:blogger.com,1999:blog-10228523619340384.post-1613933782403038512018-08-26T12:40:00.000-07:002018-08-26T12:40:05.197-07:00Aretha Franklin - March 25, 1942 – August 16, 2018
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja2bno7K7cHDaogZyifA-ibwKhotLcxDREgkbbkJMJ54Nfk-k5TeS1U3wz4iShsIzotip6W6xozPLnCU67VVSjcFdYVSoPDWjOP1wGYClGmMgJljaO5weSwbI5Qs18xSH6NBkkzYadHw/s1600/Aretha.jpeg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja2bno7K7cHDaogZyifA-ibwKhotLcxDREgkbbkJMJ54Nfk-k5TeS1U3wz4iShsIzotip6W6xozPLnCU67VVSjcFdYVSoPDWjOP1wGYClGmMgJljaO5weSwbI5Qs18xSH6NBkkzYadHw/s320/Aretha.jpeg" width="320" height="213" data-original-width="275" data-original-height="183" /></a>
<p> Rest in peace, and hopefully you are leading the choir in heavenrexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com0tag:blogger.com,1999:blog-10228523619340384.post-34562984447746224112018-07-30T18:52:00.000-07:002018-07-30T18:52:51.471-07:00Blues Blast Magazine Album Review: Adam Karch – Moving Forward<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpXjmFCOXJO1rjP7OrXD_zmouAFL4mwaDUSbqpXkLNEY8o8ooTbdrhwhljo7dwyN5o1j1XvPNGR28mq07YCuRNS270qytIicce7S8Fo4vh1BLAqGLcu-rvNh3U7CFoOgb6Z-A9d-NDhA/s1600/Album+Cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpXjmFCOXJO1rjP7OrXD_zmouAFL4mwaDUSbqpXkLNEY8o8ooTbdrhwhljo7dwyN5o1j1XvPNGR28mq07YCuRNS270qytIicce7S8Fo4vh1BLAqGLcu-rvNh3U7CFoOgb6Z-A9d-NDhA/s320/Album+Cover.jpg" width="320" height="320" data-original-width="500" data-original-height="500" /></a><p>Good day!
<p>This CD review was originally published in the March 2, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com
<p>Adam Karch – <i>Moving Forward</i>
<p>Disques Bros Records
<p>www.adamkarchmusic.com
<p>www.bros.ca
<p>12 tracks / 44:37
<p>Adam Karch produces knockout roots music and acoustic blues from his hometown of Montreal, and his latest album, <i>Moving Forward</i>, is his best work yet. Karch got an early start on his music career, first taking a leading role in bands as a teen and then releasing his first album when he was still in his early 20s. Through endless touring he moved further from his rock beginnings and developed his own acoustic fingerstyle sound; the handful of albums he has released over his career reflects this growth. Evidence of this is his 2014 release, <i>Blueprints</i>, which is an amazingly effective reworking of classic songs into an acoustic blues context.
<p><i>Moving Forwar</i>d represents a further movement along the same arc, and most of its twelve tracks are originals that were written last winter, when Adam was in a time of transition. The resulting music has a personal sound and thoughtful lyrics, and there are also a handful of cover tunes are just too cool. Karch provided the vocals and guitars for this album (as well as acting as co-producer), and he was joined in the studio by a few of his friends from Quebec: Marc André Drouin on bass and Bernard Deslauriers behind the drum kit.
<p>Adam has a strong synergy with Marc and Bernard, and the listener will discover this as the trio comes together for the opener, “Seaside Venues.” This is slick acoustic rocker that allows to Karch to shine both with his fancy picking and his voice, which is strong and equal parts smooth and gritty. There are only a few of songs on the disc that include this trio, but in each case the backline of Drouin and Deslauriers really delivers the goods. This includes the blues rock of “Lil’ Black Dress,” the pop / soft rock of “The Contract,” and the laid back feel of two California country songs, “On a Cold Grey Sky and “Those Steady Lights.” By the way, Kim Richardson provides sweet vocal harmonies on that last one, which is a welcome addition to an already strong song.
<p>The majority of the tracks on <i>Moving Forward</i> are solo acoustic numbers, and on some of these Karch’s friends sit in to help make the mood. Dimitri Lebel-Alexandre lends his pedal steel to the country blues of “Louis Collins,” and his tastefully restrained playing is quite a complement to Adam’s tricky picking. Also, Guy Bélanger brings his harp to a cover of Keb’ Mo’s “City Boy,” which wisely retains a similar pace and feel as the original, but with considerably less instrumentation. The listener will agree that this arrangement is a beautiful and simple accompaniment to the heartfelt lyrics. Towards the end of the song, Bélanger first makes himself heard with a lovely solo, and his wailing harp helps Adam bring this one home. This is definitely one of the standout tracks on the album.
<p>There are a few other covers on Moving forward, including a re-do of one of Adam’s own songs, “Did You Get the Latest News,” which was originally released on his 2002 debut album, Crossroad Diaries. Then there are a few others that will definitely grab your attention when you look at the track list. Karch takes a successful run at Bob Seger’s 1981 hit, “Night Moves,” with a healthy serving of fancy fingerpicking and a steady beat. Then there is an acoustic country version of Warren Zevon’s “Werewolves of London” that features a fun break before the chorus is reprised one last time. In both of these popular tunes, Adam does a very respectable job with the vocals, which is no small feat as these songs were both originally recorded by vocalists with very distinctive styles.
<p>Is there anything missing here? Well, if you were thinking you would like to hear a solo acoustic instrumental then you are in luck as “Somewhere in El Paso” is a clean showcase of Karch’s guitar work, and this song is a fine tutorial for young players who need to learn a thing or two about the use of dynamics and repeated forms.
<p>After listening to the whole disc, there is no doubt that Adam Karch can cut a mean record, but he is also a solid live performer. On his website you will find gig dates for the first half of 2017, and if you are going to be in Quebec you will be happy as there are plenty of shows coming up. On his site you can also listen to samples of each of the dozen tracks on <i>Moving Forward</i>, and you will dig them if you are into roots music and acoustic country and blues. Listen for yourself and see what you think!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com0tag:blogger.com,1999:blog-10228523619340384.post-46105324088031659392018-07-30T18:47:00.000-07:002018-07-30T18:47:51.871-07:002004 Fender Stratocaster XII 12-String Guitar Review<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuQkyELWn5uQoD2-tzurpUHjKZdBrRxN8l8rxTVR0Gc8CsPlZmvjj2fGJoHCm2mPqCdfH6hHUBWL_GDuXYZTQIB656E0Q8hJ0B2YSKp_hookMVXK_dKgpzHdumpdzRTu5EViMBPrp6qQ/s1600/Headstock.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuQkyELWn5uQoD2-tzurpUHjKZdBrRxN8l8rxTVR0Gc8CsPlZmvjj2fGJoHCm2mPqCdfH6hHUBWL_GDuXYZTQIB656E0Q8hJ0B2YSKp_hookMVXK_dKgpzHdumpdzRTu5EViMBPrp6qQ/s320/Headstock.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a><p>Aloha!
<p>Today we are looking at something a little different – an early 2000s Fender Stratocaster XII that is a pretty neat piece of work. These guitars are somewhat based on the Electirc XII that was built back in 1965 to 1969 era and are very collectible, even in today’s slower market. Fortunately for us Fender Japan reproduced this version from 1985 to 1995 and 2004-2009 so we can achieve a similar sound and feel for a lot less cash.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvlm3eaer__2Kzk56Rvmat04EbkNGRJPOnlV4QO1N8yTO5B2lel4fyz1f0jvh2ItXpcmdcncwQDFJGheQt3_8ospKeGnswz2JE6GDNumwDN8VtNW41NR12nmEEQyPM3hdVlmk6cvSKOg/s1600/front.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvlm3eaer__2Kzk56Rvmat04EbkNGRJPOnlV4QO1N8yTO5B2lel4fyz1f0jvh2ItXpcmdcncwQDFJGheQt3_8ospKeGnswz2JE6GDNumwDN8VtNW41NR12nmEEQyPM3hdVlmk6cvSKOg/s320/front.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a><p>This one has a Crafted in Japan Q-prefix serial number, so it was built in 2004. It has a pretty sunburst finish over its alder body, and a rosewood fretboard on its maple neck. It got a white pickguard, pickup covers and knobs, and they have a nicely aged vintage cream look to them.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiusYIf3KhfXAriaZ165CZw_kPARcJ4F-D6UVAjhhhjdmbYc2h417q8Ql8hyV0coUh4ZT7FxNLNoTN3dfzCKOlEL9H4pbsv7Nt-8hNX89QZ2Zh6blXC1Fy1OtiSEJyA7JzKukZF44u6lg/s1600/Body+Front.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiusYIf3KhfXAriaZ165CZw_kPARcJ4F-D6UVAjhhhjdmbYc2h417q8Ql8hyV0coUh4ZT7FxNLNoTN3dfzCKOlEL9H4pbsv7Nt-8hNX89QZ2Zh6blXC1Fy1OtiSEJyA7JzKukZF44u6lg/s320/Body+Front.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a><p>The neck has a 25 ½-inch scale length with a 7.25-inch fretboard radius. There are 21 vintage style frets set into it. The profile is not much different than a 6-strint Strat, and there is a comfy C profile to the back of the neck. The headstock is quite a deviation from the usual Fender shape, so that it can accommodate those 12 tuners.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0UDQMgVGcTgpo58eqmm_eaKcrp5UqOQCm8mUu-PBvHPLHk7mYCF0wG25ESRhnmSmhXDsEX5opt3V7MnTJj2TH4QX6j9T6vvaN4qgRKrExJj0gN0jfvU7P5Pm62UkDdd0k7ttQqnOkzQ/s1600/Tuners.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0UDQMgVGcTgpo58eqmm_eaKcrp5UqOQCm8mUu-PBvHPLHk7mYCF0wG25ESRhnmSmhXDsEX5opt3V7MnTJj2TH4QX6j9T6vvaN4qgRKrExJj0gN0jfvU7P5Pm62UkDdd0k7ttQqnOkzQ/s320/Tuners.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a><p>The tuners are Ping style finished in chrome, as is the hardtail bridge. The bridge is set up so the primary strings feed through the back of the body and the secondary strings are loaded from the top of the body. The electronics are standard Stratocaster fare, including 3 single coil pickups, a 5 5-way selector switch, a volume control , and two tone controls.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil1yMKQ8U2he3sqb9CQA2fODsdW_a4ZUwzkRIKVIYcsqfCbLYbsvmdBjmHKQ_2Tuy-bNuZyQq4lvsIsTK83O8wPH6re5uyzPnCwoCFqb08JPCXHNHU7-CkUPXsRw_GsVXnWeALrecY4g/s1600/Bridge.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil1yMKQ8U2he3sqb9CQA2fODsdW_a4ZUwzkRIKVIYcsqfCbLYbsvmdBjmHKQ_2Tuy-bNuZyQq4lvsIsTK83O8wPH6re5uyzPnCwoCFqb08JPCXHNHU7-CkUPXsRw_GsVXnWeALrecY4g/s320/Bridge.jpg" width="320" height="240" data-original-width="1600" data-original-height="1200" /></a><p>The guitar we are looking at here is in excellent original condition, with no repairs or modifications. It is very well built, with gorgeous paintwork and fabulous fretwork. It is a tad heavy, coming in at just under 8 pounds, but it is still 3 or 4 pounds less than my Les Paul. It is one of the easiest playing 12-strings I have ever run into, as it does not feel very lot different than the 6-string version.
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiREYHL5Jn_pib0w5uyR8qfisYtS1Z_fJu8TCR2jdqBriqIR874fayXT-K1rRA5hu58y9RzmSMQCMPHqm9KfTkcmHS2z9worQC5smEQmg5qZcs2XwVVHEjSguOeW2itXnDHjVD6eImBEQ/s1600/Body+Back.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiREYHL5Jn_pib0w5uyR8qfisYtS1Z_fJu8TCR2jdqBriqIR874fayXT-K1rRA5hu58y9RzmSMQCMPHqm9KfTkcmHS2z9worQC5smEQmg5qZcs2XwVVHEjSguOeW2itXnDHjVD6eImBEQ/s320/Body+Back.jpg" width="240" height="320" data-original-width="1200" data-original-height="1600" /></a><p>Sound-wise, it is (of course) more full than a regular Strat, and probably a bit janglier than a Rickenbacker 12-string. Don't take that the wrong way – it does have a very lovely and useable tone. Pretty much, it is a winner for not a lot of dough. If you ever have the chance to try one of these out you should give it a go. See what you think!
<p>Mahalo!
rexhttp://www.blogger.com/profile/15648858770612741967noreply@blogger.com0