Blues Blast Magazine Album Review: Alabama Mike – Upset the Status Quo

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This CD review was originally published in the December 11, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Alabama Mike – Upset the Status Quo

Self Release through Jukehouse Records

www.alabamamikeblues.net

11 tracks / 59:25

Alabama Mike adopted his nickname as he was born in Talladega, and that is where he got his first experience as a vocalist in the church choir. But for the last thirty years he has made his living on the left coast of the United States: in the military, as a truck driver, and now as a bluesman. The latter has been very rewarding, as he has earned two BMA nominations, both as a solo artist and with his acoustic blues trio, The Hound Kings. Mike (a.k.a. Michael Benjamin) writes and plays traditional-sounding blues songs with more modern lyrics that connect well with today’s listeners. This is one of Mike’s ways of pushing the edge of the envelope, so the title of his third solo album, Upset the Status Quo, makes a lot of sense!

This record is a slick piece of work, with production credit going out to Kid Anderson, who recorded this project at his Greaseland Studios in San Jose. Eight of the eleven tracks were written by Mike, and he provided all of the soulful lead vocals in his distinctive tenor voice. Thirteen fantastic musicians joined him in the studio, and the result of their labor is an hour-long set of blues, soul, and rhythm and blues, with a little funk thrown in for good measure. These folks include Ali Kumar on harp, Bernard Anderson on sax, Sid Morris on piano, Derrick D’mar Martin and Ronnie Smith on drums, Jerry Jemmot and Kedar Roy on bass, Jon Lawton on slide guitar, Jim Pugh on the Hammond B3, Bob Welsh on guitar and piano, and Kid Anderson on B3 and guitar.

Mike and his friends kick off the show with the title track, and “Upset the Status Quo” is a mid-tempo shuffle with a rich feel thanks to Kumar’s harmonica and Anderson’s sax. The backline has a neat feel with a conventional bass line and a dry snare tone that kills (in a good way). The lyrics poke at things that modern man spends too much time focusing on, such as the pursuit of material gain and the allure of giving in to the pervasive influence of social media, and Mr. Benjamin howls about these things with gusto.

Modern themes are also visited in “Identity Theft,” “Restraining Order,” and “SSI Blues,” and it is cool that Mike can take the stuff that people have to deal with today and put it into a musical form that is timeless. The latter has a sweet old-time feel with raunchy harp from Kumar and plenty of barroom piano over a foot-stomping beat. Mike shows off a great range as he takes thing up a register to tear this song apart. This is one of the standout tunes on the disc, in my opinion!

There are also three cover tunes on this disc, including Jimmy McCracklin’s “Think,” John Lawton’s “Rock Me in Your Arms,” and Little Johnny Taylor’s “Somewhere Down the Line.” “Think” is my favorite of these as the gang turns up the funk knob with Anderson’s sax, plenty of organ and wonderful guitar leads – this is all top-shelf material. The final product is a respectful and talented re-do of a classic tune, and the band really nailed it.

The set closes out with “God is With You (Benediction),” and it has a gnarly intro that is driven by a heavy dose of the mighty Hammond B-3. It settles down pretty quickly into a conventional rhythm and blues song, and Mike’s voice is at his best here as he has soul down to his very core. There are lovely backing vocals from Loralee Christiansen and Lisa Leuschner Anderson and this song of faith and love is beautiful; it is a sweet way to finish the set.

Upset the Status Quo contains some of Alabama Mike’s best work, and it is a very well engineered and mixed album that is entertaining from start to finish. Check it out for yourself, and if you like conventional blues this might just be a nice breath of fresh air for you. Also, if you follow his Facebook page you will find announcements for his upcoming gigs in the Bay Area, and if you come to one of his shows you might even get to see a few of the guest artists from this disc sitting in too!

Blues Blast Magazine Album Review: AC Steel and the Galvanizers – Now or Never

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This CD review was originally published in the December 1, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

AC Steel and the Galvanizers – Now or Never

Self Release

www.acsteelblues.com

11 tracks / 48:24

Philadelphia’s AC Steel and the Galvanizers is a slick band and their new disc, Now or Never, is perfect for listeners who want plenty of guitar with their blues. You may never heard of their frontman, Stephen Solotist, but he took an interesting path to get to this point in his music career.

An awesome guitarist, Solotist and his band flirted with the big time back in the 1970s, opening for big name acts such as the Allman Brothers and Pink Floyd. After shipping off to England for a while and turning down a slot with UFO, he eventually came back to the States and entered the world of day jobs and daily commutes. But he also stayed in the music game, playing gigs with the Jukerockers and the Dukes of Destiny.

Stephen is joined on Now or Never by the Galvanizers, whose members include “Chicago” Carl Snyder on the keys, Rich Curtis on the bass, Bud Manton on the skins, and Arlyn Wolters with the backing vocals (most of these folks are also members of the Dukes of Destiny). The disc was cut at Buckeye Studios in the City of Brotherly Love by co-producer Peter Richan. Ten of the eleven tracks on this album are originals that were written by Solotist, and apparently he is a capable singer and songwriter, in addition to his prodigious guitar skills.

The disc starts off with a taste of edgy blues-rock, “Can’t Keep the Big Man Down,” and this tune is the story of Kevin McCann (the singer and guitarist for the Little Red Rooster Blues Band), who is recovering from Guillain-Barre syndrome. Joining into the fray with his harmonica is another Rooster member, Dave Holtzman, and he has a sweet tone!

The mood changes dramatically for the next song as a pair of locals join in: Wanamaker Lewis on banjo, and Larry Feldman on fiddle and mandolin. This instrumentation gives “What Would Muddy Say” more of a roots feel, as Stephen ponders how historical figures such as Muddy Waters, Robert Johnson, and Frederick Douglass would interpret the state of society today. The vocal harmonies between Wolters and Solotist really make this song special. Lewis and Feldman also help out on the lone cover on this disc, an acoustic and folksy take on Robert Johnson’s “Come On in My Kitchen,” featuring harp from John Colgan Davis (another member of the Dukes).

The band also lays down a few tracks that are more whimsical, and some listeners may find the funky “Little Cat Purr” to be adults-only material. There is also a slow-burning ode to the misuse of alcohol, “Tequila Seals the Deal,” and the mother of all stalking songs, “Love Hate Letters.” And finally, the album finishes up with “Too Many Guitar Slingers,” an uptempo blues piece where Stephen bemoans the surplus of guitarists on the market, and he warns “if you want to get paid and have it made in the shade, don't become a become a guitar slinger.” Snyder throws down a nice piano solo here and Curtis also get the chance for a bass solo, driving home the point of this song. For a change of pace, there is also a cool instrumental featuring AC’s guitar, and “Steelman’s Stroll” is a fun two and a half minute romp, just in case anybody doubted Solotist’s guitar slinger qualifications.

Now or Never is a neat album from AC Steel and the Galvanizers, and their particular brand of guitar-driven blues is fresh and fun. Please note that should you happen to purchase a copy of this CD, a third of the funds will be donated to Kevin McCann to help defray the expenses for his medical care. And, if you get a chance, head over to the band’s website and check out their gig schedule. They have some dates coming up, and if you are anywhere around Philadelphia area you should make the time to see one of their shows. There is a lot of experience in this group, which should translate well to the stage!

Blues Blast Magazine Album Review: The Mike Eldred Trio – Baptist Town

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This CD review was originally published in the October 20, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The Mike Eldred Trio – Baptist Town

Great Western Recording Company

http://mikeeldredtrio.com

http://www.greatwesternrecordingcompany.com

13 tracks / 58:18

Mike Eldred is no stranger to the guitar, as he ran Fender’s Custom Shop for many years, but he is also a masterful musician and songwriter. He has joined up with John Bazz and Jerry Angel of the Southern California’s best band that should have hit the big time, The Blasters, to form the eclectic Mike Eldred Trio. The band has released their fourth album, Baptist Town, and it a refreshing blend of Americana and blues music.

Eldred drew inspiration for this project from Baptist Town, a neighborhood in Greenwood, Mississippi that was home to many blues greats, including Robert Johnson, Honeyboy Edwards, Hubert Sumlin, Hound Dog Taylor, and many more. The poverty of Baptist Town is a stark contrast with the affluent neighborhoods of Greenwood, and this inequality has not changed much for the better since Johnson passed on in 1938.

For Baptist Town, Mike acted as producer, wrote twelve of the thirteen tracks, and provided the much of the vocals and guitars. Bazz laid down the bass parts and Jerry Angel took care of the drums, while a nifty crew of artists contributed their unique skills throughout the album. Many of the sessions took place at the birthplace of rock and roll, the legendary Sun Studio in Memphis, Tennessee (about 125 miles north of Greenwood).

Baptist Town is not exactly the Delta nor is it Memphis, and likewise this is not a rock or a Delta blues album but rather an amalgamation of American styles, set to lyrics that speak to the social issues that are relevant to the neighborhood. There is a lot going on here, as evidenced by the opening track, “Hunder Dollar Bill,” a story of drunken misanthropy set to a driving vintage rock sound with muffled vocals and a wickedly distorted harmonica solo courtesy of Phoenix’s awesome John “Big Nick” Samora.

Three Grammy-winning guest artists each bring their own flavor to this disc, too. David Hidalgo of Los Lobos contributes his distinctive vocals and accordion to “Bess,” and the result is a thumping slice of Louisiana style. John Mayer provides the lap steel and electric guitar parts for “Roadside Shrine,” a very pretty country blues song with restrained vocals from Eldred. Yet another big name was drawn to this project, as Robert Cray brings his guitar to the title track, and his smooth leads mesh well with a slick undercurrent of riffs in this laid-back soul tune.

The songs that connect best to the community of Baptist Town are the ones that feature the Emmanuel Church Inspirational Choir and a local fellow, Jarvis Jernigan, on vocals. “Somebody Been Runnin’” is only a few minutes long, but this a capella gospel tune is powerful with wonderful back and forth between Jarvis and Mike, and the vocal harmonies are beautiful. As an added bonus, it seems to be inspired by the fate of Robert Johnson! “You're Always There” closes out the set, and after a raucous introduction, it settles down to a funky gospel vibe with a healthy serving of Hammond organ courtesy of Papa John DeFrancesco, a true American treasure.

The lone cover is an odd duck that does not exactly fit it with the rest of the material, and there has never been a version of the Beatles’ “Can't Buy Me Love” that is anything like this. This is a timeless story of love with no strings attached, but its heavy tone and six-plus minute running time highlights that there is not much value or variety to the words (sorry, John and Paul). My guess is that Eldred is seeking to contrast lighthearted pop music with the harsh reality of a downtrodden people, but it is a stretch to connect this material with the community or the overall theme of the disc.

Aside from this one tune, the rest of Baptist Town is a sweet set of uniquely American music that draws inspiration from the blues, and the Mike Eldred Trio has shone a light on a community that does not get much attention. Be sure to head over to their website as there is cool media to support this album, including the lyrics, a gallery of quality images from the neighborhood, and videos that show the production process, including an explanation of how it came to be and documentation of how a few of the tracks were recorded.

Blues Blast Magazine Album Review: Alex Lopez – Is it a Lie

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This CD review was originally published in the October 24, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Alex Lopez – Is it a Lie | Album Review

Self Release

www.alexlopezmusic.com

10 tracks / 30:37

Alex Lopez figured out early on what his priorities were, and he stuck to his plan. Born in Cleveland, he took to music early on and was inspired by bands from the original British invasion. After moving to Florida, he continued to record and play out, but eventually Alex made the decision to put family first and took time off from the gigging world. During his time away he got back in touch with the blues, courtesy of guitar greats that included Buddy Guy and Albert Collins, and he wrote and recorded a lot of original material. Well, now his family is raised, and he has jumped back into the deep end of the pool with his new album, Is It a Lie.

This disc is almost an EP, coming in at around 30 minutes, but Alex managed to fit ten of his original songs on it. If you do the math, you can figure out pretty quick that there is no room for fluff; there are no endless guitar solos or choruses repeated over and over again. It must have been hard for him to resist, as Lopez is a capable behind the microphone or on the guitar. He provided all of the guitar and vocal work on this release (and was the producer, too), with John Baccoli on bass and Craig Robison behind the drum kit. Everything was put on wax over at Atomic Audio Recording in Tampa, Florida.

Alex’s voice is not what we usually hear in blues music, with his tenor range and a curious blend of smooth 50s, warbly 70s, and howling 80s blues and rock sounds. This is a good match for his guitar-driven songs, and the overall package provides a unique vibe.

Most of the album is made up of blues-rock songs, though each sounds a bit different than the others. The opener, “Can’t Hide Your Love,” has a driving beat that is reminiscent of Golden Earring’s “Radar Love.” This is followed up by “Morning Blues” which has a smooth feel and a few neat transitions when the rhythm guitar alternates between choppy and smooth phrases. The best of these is probably “Company Man” which is has equal parts of British blues-rock and funk.

There are a couple of accessible tunes that have enough pop in them that they could be radio friendly, though each of them clock in at just a touch over two minutes. “Smile at Me” is one of these, with a 50s love song feel and a touch of backing vocals. And “I Need to Know” is an upbeat song that is easy to get stuck in your head.

One of the standout songs on the album is the title track, which is labeled as a reprise even though it only appears once. “Is it a Lie” has a funky bass and drum foundation with solid rhythm guitar and killer leads, including an impressive solo. It would have been nice to get a few more minutes of this song!

Lopez interspersed a couple of acoustic songs that they serve to highlight his guitar skills. The first is “Cheatin’ Blues,” a fast-tempo tune with a fairly conventional blues construction that includes plenty of resonator guitar work. The other is the closer, “The Night is Closing In,” which is a slow and sober ballad that includes a short but tasty guitar break. This was a good choice to end the album on, sort of like a train pulling into the station at the end of a journey. It was a short journey, but Alex went to a lot of places on it!

Alex Lopez’s Is it a Lie provides fresh songwriting and musicianship in the blues-rock format. Take a listen and see if it is what you are looking for, and if you are around northern Florida head over to Alex Lopez’s website to see where he is playing next with his band, the Alex Lopez Xpress!

Blues Blast Magazine Album Review: Jon Spear Band – Old Soul

This CD review was originally published in the June 11, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Jon Spear Band – Old Soul | Album Review

Self Release

www.jonspearband.com

10 tracks / 45:53

There are a lot of reasons why bands head into the studio: to make a name for themselves, to make a little money – maybe even to make their fans happy and provide entertainment. The Jon Spear Band from the Shenandoah Valley of Virginia has not forgotten these last two things, and their debut release, Old Soul, is a stone cold cool collection of blues, soul, rock, and a touch of country.

The band is a talented quartet with more than enough experience and creativity to get the job done. Jon Spear is the leader and main songwriter for the band, and on this record he provides guitar and vocals. He was joined in the studio by Dara James (also on vocals and lead guitar), John Stubblefield on the skins, and Andy Burdetsky on bass. For a small group they have a big sound, and you will like what they have to offer on this collection of nine originals and one awesome cover tune. Besides their more obvious talents, they also give back to the art and are active participants in the Central Virginia Blues Society.

They kick off Old Soul with a slow and funky groove on “I Can’t Help Myself.” Right off, it is apparent that the backline of Burdetsky and Stubblefield is as tight as can be, and they provide a solid foundation for the rest of the album. The vocals are sweet and really clear which makes it easier to understand the lyrics, which are a funny account of a man who is stricken with love at first sight. If you listen carefully, you will hear some tasteful conga work from guest artist Nate Brown.

The title track is one of the slickest numbers on the album, and it is more radio-friendly than most songs you will hear on modern blues albums. “Old Soul” is a smoky mid-tempo burner featuring fabulous sax lines courtesy of D.C jazz saxophone legend, Ron Holloway. The story of a young woman that is mature beyond her years is full of vibrant imagery, and Spears paints a vivid image of the scene.

“Mean Mean Woman” has some nifty fast-paced calypso and Latin beats as the singer bemoans ever getting involved with the wrong person. Staying with the theme, it is backed with “Paid in Full,” the story of a long time love that has gone terribly wrong. The vocals are soulful and take advantage of cool backing harmonies on this powerful ballad. It is all about the lyrics on this one, but they make time for a rocking guitar solo that works naturally into the flow of the tune.

These fellows are able to cut loose and have a little bit of fun, too, and there is a fair share of lighter-hearted music to be found on Old Soul. “The Second Mouse Gets the Cheese” is a swing tune with killer harmonica from Dara, a fun walking bass line, and a reminder that patience is a virtue. There is very tasty country blues and a wonderful message to be found on “I Love My Skin.” The Dobro comes out and heartstrings are tugged as we get the dog’s point of view “Forever Home.” Lastly, “Live Music is Better” is a not so subtle gig plug for those of us who should get out to the clubs more often. Despite their more whimsical themes, each of these songs is chock-full of fine musicianship and solid songwriting.

The set closes out with the sole cover on the release, an epic take on Jimmy Wilson’s 1953 hit, Tin Pan Alley” (which was also covered majestically by Stevie Ray Vaughan). This is an eight-minute blues-rock jam that has plenty great guitar tones from the talented Spear and James, a tastefully restrained groove, and vocals that find the right blend of emotion and power. This song is a classic, and the boys do not disappoint as they really bring it home.

Old Soul is a strong debut from the Jon Spear Band, and throughout all ten tracks they present top-shelf musicianship, mature songwriting, and a most importantly, a good time for the listener. Check it out for yourself, and if you are around Old Dominion this spring or summer click on their website for their gig schedule so you can see them in person!

Sari Schorr – A Force of Nature | Album Review

Sari Schorr – A Force of Nature

Manhaton Records

www.sarischorr.com

www.manhatonrecords.com

12 tracks / 57:00

Sari Schorr is an amazing blues singer from Brooklyn, and I am not the only one who thinks that she has tremendous potential. In fact, legendary producer Mike Vernon (Eric Clapton, David Bowie, Fleetwood Mac, John Mayall) put his retirement on hold to oversee the construction of her debut album, A Force of Nature. This is not an overnight success story as Sari has been working for years, touring the US and Europe with esteemed artists such as Joe Louis Walker and Popa Chubby, and she was recently inducted into the New York Blues Hall of Fame.

A Force of Nature was cut in Seville, Spain and London, England, and a cadre of top-shelf musicians were called on to back up Sari. The core band is made up of Innes Sibun and Quique Bonal on guitar, Jose Mena on drums, Nani Conde on bass, and Julian Maeso behind the keyboards. The list of guest artists is equally impressive, with contributions from Walter Trout and Oli Brown on guitar, as well as the keyboards of John Baggot, Jesús Lavilla, and Dave Keyes.

There are a dozen tracks on this album, and Sari collaborated on the writing of nine of them. First up is “Ain’t Got No Money,” a guitar-heavy blues rocker that kicks off with a slick intro from Sibun. He is a heck of a blues guitarist, but even that is overshadowed when Schorr starts to sing, as her voice is powerful with a more than respectable range and an abundance of emotion. This is backed up by “Aunt Hazel,” a rock song where Sari gets to cut loose and bemoan the results of substance abuse, accompanied by the rock-solid backline of Mena and Conde. This is one of my favorite original tracks from the album, as all of the parts fit together with precision without losing the feeling of spontaneity.

Walter Trout joined in with his guitar to help cover one of his own tunes, “Work No More.” Trout recommended this song, and it is a personal message for a friend he knew who had passed away. The respectful words are an honest eulogy for a wonderful woman, and Sari does a fabulous job of delivering them with emotion. Trout wails throughout this rocking track, with a little help from Baggott on the organ and Keyes on the piano.

The other two covers are really cool too! Schorr takes a legitimate run at Huddie "Lead Belly" Ledbetter’s “Black Betty,” and delivers the goods. This track is not a fast-paced rocker like the Ram Jam or Spiderbait versions, instead starting with a bare-bones acoustic guitar accompaniment, which transforms into a powerful piece of grinding blues-rock featuring organ from John Baggott. The final cover is on the other end of the spectrum, and Sari’s soulful and bluesy interpretation of The Supreme’s 1965 Motown hit, “Stop! In the Name of Love” is like no other version you have ever heard. Rietta Austin does a lovely job with the backing vocals on this track – you can't do this song without harmonies!

As you would expect from Vernon, the production values are first-rate, and this is a very well recoded and mixed project. The balance of the instruments and vocals is perfect, and the songs are sequenced so that the listener does not ever become weary of the content. For once, I have no complaints at all!

A Force of Nature is a stellar debut from Sari Schorr, and she certainly has plans for the future. Tour dates are scheduled throughout the US and Europe, Mike Vernon has agreed to work on Schorr’s next two albums (maybe he is just semi-retired), and she is writing new material with Innes. With Sari’s talent and Mike’s experience, her future is bright indeed!

The Lucky Losers – In Any Town | Album Review

The Lucky Losers – In Any Town

Dirty Cat Records

www.theluckylosers.com

www.dirtycatrecords.com

11 tracks / 52:43

Wow, I thought the Lucky Losers’ previous album, A Winning Hand, was really good, but their latest release In Any Town, is truly amazing stuff. The San Francisco-based duo of Cathy Lemons and Phil Berkowitz has really delivered the goods this time! There are a few pieces to this puzzle that make the overall picture so pretty, as you will soon see.

Cathy and Phil have been fronting the Lucky Losers since 2014, but they are no strangers to the music business as they both have successful solo careers. Prior to this collaboration, Cathy released a few of her own album through Vizztone, including the stellar Black Crow which is marked by genuinely emotional vocal performances. Phil has also made his mark with his voice and harmonica, honing his craft to cover Chicago blues, as well as west coast swing, rhythm and blues, and country blues.

The rest of the Lucky Losers includes the killer line-up of Marvin Greene on guitar, Chris Burns on the keys, Tim Wager on bass, and Robi Bean behind the drum kit. And the final pieces of the puzzle are a fine collection of guest musicians (more on this later), and production, recording, mixing and mastering by the legendary Kid Anderson at his Greaseland Studios in San Jose, California. How could you go wrong with all of this good stuff going on?

Well, you cannot go wrong, it turns out – this 52 minutes of killer blues, with nine of the eleven tracks consisting of original music that was written by Cathy or Phil. One of these originals kicks of the set, and “So High” is upbeat and big blues rock. This tune starts off with some sharp harp work from Berkowitz, and it has a decidedly live sound with jangly guitars from Greene and Anderson, natural sounding drums from Bean, and of course a touch of Hammond B3 from Burns. This is all great, but there is also the magical interplay and vocal harmonies from Cathy and Phil that really puts this song over the top.

I mentioned earlier that there are a few guest artists that appear on this disc, and here are a few more details:

- The horn section of Michael Peloquin (sax), Mike Rose (trumpet), and Mike Rinta (trombone) was brought in for a few songs, the originals “Don’t Let ‘Em See Ya Cry” and “Blind Man in the Dark.” The latter features Terry Hanck with a killer tenor sax solo, and in case you are not familiar with him, this award-winning musician was formerly with Elvin Bishop’s band and is a longtime friend and collaborator with Kid Anderson.

- There is also guitar work from west coast blues legend and fellow Bay Area denizen, Franck Goldwasser, and his fleet fingers brings a lot to the uptempo “I Can’t Change Ya.” His staccato chords are almost like a third voice that complements the vocals of Cathy and Phil, and he tears off a screaming solo that fits in perfectly. This is a fun tune that has earned a place in my ever-expanding party mix.

”Give Me a Sign” features Memphis’ Jeff Jensen on his guitar, and he gives his wah pedal a righteous workout on this one. This song is a perfect example of what Anderson can do in the studio, as this slow-grinding blue rocker has perfectly recorded guitar, harp, and organ as well as amazing drum tone. Cathy’s vocals are processed to give an even spookier vibe, and the overall effect is magical. This is one of my favorite tracks on the album.

There is not enough space in this review to cover every song, but you probably get the picture by now. The Lucky Losers with Cathy Lemons and Phil Berkowitz have definitely figured out how to write and present the blues, and In Any Town is proof of this. This disc is a must-buy, and if you are going to be around the Bay Area be sure to head to their website to check out their gig schedule!

Blues Blast Magazine Album Review: D.A. Foster – The Real Thing

Good day!

This CD review was originally published in the February 5, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

D.A. Foster – The Real Thing | Album Review

VizzTone Label Group

www.dafostermusic.com

www.vizztone.com

12 tracks / 48:45

It is appropriate that D.A. Foster titled his new album The Real Thing, because if anybody is the real thing, he is. He was the heart of The Shaboo Inn of Connecticut from 1971 to 1982, and during that time the 1000-seat venue hosted almost 3000 concerts, featuring young and upcoming acts that included the likes of Aerosmith, AC/DC, Journey, Cheap Trick, and the Police. It was like a 1980s rocker’s dream come true! But a lot of great blues acts made their appearance there too, such as John Lee Hooker, Willie Dixon, T-Bone Walker, Buddy Guy, and a probably a few hundred more. After the club closed its doors (thanks to the scourge of the disco era), a few months later it was destroyed in a fire.

But the story does not end there, as D.A. had a lot left in his tank. He started a production company and ran his own band with luminaries such as Matt “Guitar” Murphy” and Harvey Brooks. Foster brought his fine blues vocals to the table with this project to continue on with a performance career that has been brewing since 1979. Over the past 35 years, everybody under the sun has joined him onstage, including Keith Richards, Chuck Berry and Muddy Waters. You would be hard-pressed to find a better pedigree than his.

Moving forward to 2015, D.A. has cut a fine disc, The Real Thing, which has its own roster of strong personnel; all of them are first-call musicians. Besides D.A.’s vocals, there is the Grammy-winning Phantom Blues Band to contend with, including Mike Finnigan (Big Brother and the Holding Company) on the keys, Tony Braunagel (Robert Cray, and many more) behind the drum kit, Larry Fulcher on bass and Bonnie Raitt’s Johnny Lee Schell on guitar. Other Phantom alumni to be found here are Darrell Leonard (trumpet), Joe Sublett (sax), and Lenny Castro (percussion). Braunagle and Finnigan produced this effort, and it is a polished piece of work, to be sure!

The twelve tracks span classic rhythm and blues and jazz ground as well as a few lesser-known covers, starting off with Dave Steen’s “Good Man Bad Thing.” This is a straight-up funky R&B tune which is a nice intro to Foster’s soulful voice, backed by some excellent B-3 work from Finnigan, sweet backing vocals from Julie Delgado and Nita Whitaker, and horns aplenty.

Not surprisingly, there are a few tunes by Don Robey, who was one of the most prolific R&B writers of the 1950s and 1960s. “Ain’t Doing Too Bad” puts the horns in the spotlight, and Schell brings a little more funk to the party with his syncopated rhythm guitar work, as well a rocking solo. The other Robey contribution is “This Time I’m Gone for Good” which shows off more of Foster’s impressive vocal range.

For pure fun, Eddie Hinton’s “Super Lover” takes first prize. It brings a little bit of everything to the table: fun lyrics, offbeat percussion (courtesy of Castro), machine-gun horn arrangements, and seductive backing vocals. This one should definitely go into your next party mix!

A different line-up was used for three of the songs, with uber-versatile Grammy-winner Josh Sklair on guitar and the hard-working veteran David Garfield on piano. With Josh’s leads and David’s subtle chording, “We All Fall Down” ends up with more of a jazz-rock feel. Bill Withers’ 1985 ballad, “You Just Can’t Smile it Away,” puts Garfield more forward in the mix, and gives guest artist Lee Thornberg a chance to shine on a beautifully muted trumpet (or is that flugelhorn?) solo. And the band’s remake of the oft-covered “Gee Baby Ain’t I Good to You” provides room for FInnigan to take over a bit on his Hammond, lending it a gospel/roadhouse feel.

The album closes out all too soon with George Henry Jackson’s “Down Home Blues,” which is the grittiest and most traditional blues track to be found on this disc. For this one, D.A. pushes his voice into the raspy range, which is a lovely contrast with the backing vocals of Delgado and Whitaker. The backline of Braunagel and Fulcher hold tight in the pocket as this awesome songs ends things on a killer note.

If you were a fan of the good old days at The Shaboo Inn or if you just like solid rhythm and blues, D.A. Foster’s The Real Thing would certainly be a wise investment. Check it out and see for yourself!

Mahalo!

Balkun Brothers – Balkun Brothers | Album Review

Balkun Brothers – Balkun Brothers

Dixiefrog Records

www.balkunmusic.com

12 tracks / 63:48

The Balkun Brothers out of Harford, Connecticut are a breath of fresh air in today’s music landscape with their varied influences that include artists such as Johnny Winter, Jimi Hendrix, Primus, Black Sabbath, and Led Zeppelin. Steve and Nick Balkun are young guys, but their sound is mature and the blues-rock they crank out is hard and true. They have gained a lot of notice with numerous awards to their name, have toured the world and played major festivals, and last year’s debut album, Redrova, is simply amazing.

Their eponymous second album is just as good; it was done as a duo, with Steve playing the guitar and singing the lead vocals, and Nick taking care of the drums and background vocals. The brothers wrote eleven of the dozen songs in the set, with over an hour of material for their listeners to enjoy. They got some extra special help at Serpentine Studios in Central Valley, New York, as none other than Popa Chubby recorded, produced, and mixed Balkun Bothers. You could not ask for a better mentor!

Here are a few highlights from Balkun Brothers:

- Steve and Nick start things off with “Been Drivin’” and this tune hearkens to the hammering feel of Golden Earring’s Radar Love, one of the greatest road songs ever. Steve and Nick do not waste any time showing off how much talent they have, as their work on guitar and drums is top-notch, and the vocals are strong with a nice weathering around the edges.

- They changed up the sound a bit for “Jail Bird” and brought in Dave Keyes to play the piano. This is a slow-tempo blues-rocker, and the Robby Krieger style keyboards add a little smoke to the mood. It starts with the components of a conventional blue rocker, but then it morphs into an awesome jam with an extended guitar solo over tricky drum rhythms.

- The sole cover on this album is Johnny Winter’s “Mean Town Blues” and this up-tempo romp is one of my favorite songs on the album. Nick sets up a mean drumbeat and Steve does a killer job of mimicking the guitar riffs as he howls out the lyrics. Apparently the brothers have shared the stage with Johnny before, and I cannot imagine that he would have any troubles with their interpretation of his song as is it freaking incredible.

- This disc finishes up with “Rainy Day Front Porch Blues” and with this Delta-inspired piece the brothers show that they have done their homework and have studied the classics of the blues genre. There is just a Dobro and a kick drum (plus a little rain sound effect) to accompany the sad story of a fellow who has lost his lady. Steve’s vocals are spot-on and this turns out to be is an excellent way to bring things to a close.

The Balkun Brothers are hot and it is no accident that they were named the best band in Connecticut or that they made it to the finals of the IBC. Their latest album is worth your time, and be sure to head to their website to see if they are gigging near you. Their live show comes highly recommended, and I am going to follow my own advice and see them as soon as I can!

The Mike Henderson Band – If You Think It’s Hot Here… | Album Review

The Mike Henderson Band – If You Think It’s Hot Here…

EllerSoul Records

www.mikehenderson.com

www.ellersoulrecords.com

11 tracks / 51:32

You are probably familiar with Mike Henderson’s work, even if you have not heard his name before. This three-time Grammy-nominated cat has written songs that were recorded by artists that include The Fabulous Thunderbirds, Kenny Rogers, Travis Tritt, Randy Travis, The Dixie Chicks, Trisha Yearwood, and even Adele (damn, she is popular). Or, maybe you have heard him on albums by folks such as Mark Knopfler, Albert King, Waylon Jennings, Emmylou Harris, Hank Jr., John Hiatt, Sting, Bo Diddley, Tim McGraw, Lucinda Williams, or Bob Seeger. Then there is his work with his own groups, the SteelDrivers and the Bluebloods, which is truly amazing.

If you still do not know who he is, maybe you caught him during one of the regular Monday night shows he has at Nashville’s Bluebird Café. Then you would know how tight his band is, and it would surely make you want to pick up a copy of his EllerSoul Records debut, If You Think It’s Hot Here…. Producer Kevin McKendree in Franklin, Tennessee’s Rock House studio, cut this set of hard-hitting roadhouse blues live in the studio. It is 50-minute mix of originals and covers that defines the Mike Henderson Band.

Mike took care of the lead vocals, guitar, and harmonica for this project and his band certainly meets his high standards. The roster includes McKendree on piano and B3, Michael Rhodes on bass, and Pat O’Connor behind the drum kit. First up on the track list is “I Wanta Know Why” and this original has a bit of a southern rock flavor to it. The most notable thing here is Henderson’s guitar tone -- it is full and meaty, and this sound is a major contributor to the anxious tone that the band was looking for. Mike lays down an awesome slide solo, and McKendree has a killer touch on the piano keys here, making for a solid opener.

Then there are a couple of Hound Dog Taylor covers, “Send You Back to Georgia” and “It’s Alright,” and there is no doubt that these fellows have the shuffle figured out. O’Connor is one hell of a drummer, and his timing really pulls these tunes together.

There are plenty of other extra cool covers on this album too. Muddy Waters’ “Mean Red Spider” is very catchy with nice snare work from O’Connor and a slick walking bass line from Rhodes. The classic “If I Had Possession” from Robert Johnson features (appropriately) lovely guitar work from Henderson; this song never gets old no matter how many artists cover it. Sonny Boy Williamson’s “Unseen Eye” features Chicago style guitar licks galore and very tasty barrelhouse piano from McKendree. And the traditional, “Matchbox,” is a romp that is just plain fun. There is not a dud in the bunch!

These covers are neat, but the standout song of the album is the original title track that is already a certified crowd favorite. Henderson has been playing “If You Think It’s Hot Here…” for years in his live shows, and this ode to our place in the afterlife has wonderful lyrics and a solid melody. McKendree’s piano work is very powerful, and to add a little more depth a few guest musicians were brought in: Don Underwood on guitar, as well as Chris Stapleton and Morgane Stapleton on backing vocals. This is a song that can be listened to many times without getting stale, and it might just make you think about what may be in store for you when the pearly gates close. Or not.

If You Think It’s Hot Here… has a live gig vibe with the benefit of studio refinement, and the end product is an entertaining set of roadhouse blues that is very listenable from the comfort of your own home. The originals and tributes mix well together and the Mike Henderson Band play all of them with skill and passion. Be sure to check out Mike’s web page for his gig schedule (still playing on Mondays!), and think about picking up a copy of this disc for your collection!

Blues Blast Magazine Album Review: Sidney Green Street Band - SGSB

Hello!

This CD review was originally published in the February 12, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The Sidney Green Street Band – SGSB | Album Review

Self Release

www.reverbnation.com/thesidneygreenstreetband

11 tracks / 51:08

The Sidney Green Street band is promoted as a New Jersey bar band, but don’t let that description fool you into thinking they are amateurs – these guys are the real deal. But you do not have to travel to the Garden State to appreciate their brand of blues-rock, as they have recently issued their sophomore CD, SGSB.

Though they have only put out two albums, this quartet has more than enough experience to get the job done no matter where they are playing. Lance Doss (guitar and vocals) toured the world for over six years with John Cale, and guitarist Justin Jordan has over 20 years of professional experience, touring and appearing with artists as diverse as Sean Fleming, Shirley Allston Reeves and Gary US Bonds. Bassist Paul Page toured with John Cale too, and appeared with some really cool acts including Dion, Popa Chubby, Gary US Bonds, Bo Diddley, Del Shannon and Ben E. King. And rounding out the group is drummer Steve Holley whose resume includes work with Paul McCartney, Joe Cocker, and Chuck Berry to name a few.

The Sidney Green Street Band has a few things going for it that most North Jersey bar bands do not, and the first thing is original material: Lance wrote all eleven guitar-heavy tracks for this album. Another plus is a high level of musical ability, and the last piece is their take on Southern blues-rock. Apparently, Doss picked up a good dose of this from his home state of Alabama, but their vibe is still original with just a touch of Skynyrd here and there.

The band took a chance by opening the set with a slow song, “Bye, Bye, Bye,” but this burning rocker paid off for them. Jordan and Doss’ smoking hot guitars are run in stereo and Lance knocks the vocals out with his diverse style, which can be described as a rough on one side and smooth on the other -- kind of like a sheet of A-C plywood! This leads into the almost-pop “Sadie,” a play on the original Sadie Hawkins story as introduced in the Li’l Abner comic strip back in 1937 (in case you were wondering).

This change of genres is not unusual for the Sidney Green Street Band. “Some Things Ain’t Never Gonna Change” is a soft rock tune, but with hard hitting rhythm guitar work over the awesome backline of Page and Holley. It has a few unique guitar breaks, including a standalone dry solo and a heavily processed Wah pedal solo. Also, the modern boogie of “Number” is a jaw-dropping bit of guitar fun.

There are also a few standout tracks on the album that should be pointed out. The first is “Divine,” which has a catchy hook and an acoustic rock foundation. It shows mature songwriting, though it is uncertain if comparing your lady to a “good Southern Whiskey” will get you in her good graces. Doss’ voice is in fine form here with a surplus of emotion, and his harmonies with the other members are spot on. The other winner track is the country rocker, “Payin’ the Price” which is carried by its clever lyrics, an infectious rhythm guitar line, and some truly tasteful solo work.

SGSB ends with a really cool tune, “Consumer,” which has a lot going on. The rhythm section builds a sweet Boz Scaggs riff on the bottom, there is a smoking twin guitar attack on top, and a fun vocal history cuts through the middle. This track would be a good set-closer, and that is exactly what the band does with it on this disc.

The Sidney Green Street Band’s new album is a solid collection of original blues-rock with a Southern flavor. If you are a fan of heavy guitar blues with a killer beat this will be your cup of tea. And if you ever find yourself on US 46 between the Del Water Gap and NYC, make sure you stop in at the Great Neck Inn – they might just be on stage!

Mahalo!

Tweed Funk – Come Together | Album Review

Tweed Funk – Come Together

Self Release

www.tweedfunk.com

10 tracks / 39:08

Tweed Funk brings a Memphis sound to their unique blend of soul and blues, which is partly due to their frontman, Joseph “Smokey” Holman, who worked with Curtis Mayfield in the early 1970s. This Wisconsin based six-piece group formed in 2010 and a few months ago they released their fourth album, and you will find that Come Together is a sweet piece of art. These guys are doing everything they can to succeed: they have earned five Wisconsin Area Music Industry (WAMI) awards, they play all the right festivals, and they are getting great media coverage. It is all well deserved!

For this project, Holman sings the lead vocals, and he is joined by Eric Madunic on bass, J.D. Optekar on guitar, Dave Schoepke on the drums, Andrew Spadafora on sax, and Roomful of Blues’ Doug Woolverton on the trumpet. Chrissy Dzioba and Sara Moilanen contribute backing vocals on half of the tracks. All ten of the tracks on this disc are originals, and it was cut at Makin’ Sausage Music by Steve Hamilton.

Tweed Funk kicks off Come Together with “Light Up the Night,” and this is some extremely tight funk blues. From the intro the listener knows what the band is all about as the horns are popping over Madunic’s killer bass line that is perfectly in time with Schoepke’s drums. There is a lot going on here: Holman’s smooth tenor lyrics use Alice in Wonderland metaphors to spread the message of overcoming your troubles, Spadafora and Woolverton trade splendid riffs, and Dzioba and Moilanen’s backing vocals add just the right amount of soul. This is righteous stuff!

After this, the band shows that they are versatile as they run through different sounds, though the funk and the horns are never too far away. Here are a few examples:

-“Muse” has a light-hearted beat with Latin flavor, and Optekar does a stand-up job of setting the mood with his syncopated guitar chords. This is probably the best example of Smokey’s vocal style as this love song is right in his wheelhouse, both in range and style. This is the shortest song of the set, and I wish it were just a little longer!

-“Who is This” is a stone-cold funkfest, and this instrumental would be a great calling card for any of the musicians involved. Schoepke works the skins hard, and there are standout solos from Woolverton, and Spadafora.

-“Bullet” is an emotional and slow-tempo ballad with muted trumpet and reverb-soaked guitar. The message is somber, as it deals with a friend who chose to leave us too soon.

Coming in at 40 minutes long, this set goes by pretty quickly and before you know it things wrap up with “Soul Rockin’.” This is one last chance for the band to cut loose, and they build a brick house on top of Madunic and Schoepke’s foundation. Smokey’s voice is pleading as he expresses the need for some soul rockin’ from his lady. And, for one last time, the horns are off the hook and tightly hooked up -- this was a wise choice to close with.

Each new album that Tweed Funk has released has better than its predecessor, which is a tough task as their debut was pretty darned good. Come Together has solid songwriting and musicianship, and as a bonus it has a super positive vibe. This is a collection of wonderfully funky and soulful horn-driven blues, and it is a “must buy” in my book!

One last thing - on a more personal note, please keep Smokey in your thoughts as he was diagnosed with multiple myeloma after this disc debuted. The band is taking a break as he gets treatment, and will hopefully pick up again in October. Thank you for your support of him and the rest of Tweed Funk.

Various Artists – Blues for Big Walter | Album Review

Various Artists – Blues for Big Walter

EllerSoul Records

www.ellersoulrecords.com

16 tracks / 76:00

The use of harmonica in blues music owes a big debt to Big Walter Horton, who helped define the harp sound that we still hear today. Big Walter passed on back in 1981, which was way too soon, and to honor him and his contributions, Li’l Ronnie Owens (also no slouch on the harmonica) put together a cool tribute disc that includes nine harp players running down sixteen cool tracks. There is a little bit of everything on Blues for Big Walter, and recording took place on two continents over the course of three decades.

Besides Owens, on this production you will hear Kim Wilson, Mark Hummel, Bob Corritore, Sugar Ray Norcia, Steve Guyger, Mark Wenner, Kurt Crandall, and Andrew Alli. Each of these guys has a great sense of history and incredible talent, making this a very special project. As an added bonus, backing them are dozens of incredible musicians, including Anthony Geraci, Bob Welsh, Robert Lockwood Jr., Big Jon Atkinson, and many more. This was a labor of love, as the artists performed for free, and proceeds of sale go towards two fine blues charities: The Blues Foundation and the Handy Artists Relief Fund (H.A.R.T).

There are both studio and live recordings, acoustic and electric arrangements, and a lot of different sounds and feels. For example, “Easy” is covered twice here, with Mark Hummel and Andrew Alli each having a different take on it. Hummel went for a full band, while Alli kept it down to a more simple arrangement with just an acoustic guitar for accompaniment. Each version is wonderful, but variety is the spice of life and these guys deliver the goods. It is not possible to run down each of the other sixteen tracks, but a few of them really stood out for me:

”She Loves Another Man” showcases the hard-working Bob Corritore on harmonica and the late Jimmy Rogers on vocals and guitar. This is Chicago blues at its finest, and Bob’s understated harmonica work fits in perfectly. His phrasing and sense of space complement this song perfectly, which is what Hornton brought to the projects he worked on. Big Walter was the ultimate sideman!

”Sugar Ray Medley” is the showpiece of “Blues for Big Walter,” an 18-minute track that includes “That Ain’t It,” “Walter’s Boogie,” “Everybody’s Fishing,” “I Don't Get Around Much,” and “Blueberry Hill.” A lot of thought and practice went into this medley, as the individual songs blend seamlessly into each other and have an amazing balance. And, of course, Sugar Ray Norcia nails the vocals and harp parts; he is simply a joy to listen to.

Finally, the album closes up with ”Think Big,” a live version that was cut by Li’l Ronnie with Terry Garland on guitar in at the Canal Club back in 2009. Owen’s harp is crystal clear and takes a nice leading role over Garland’s acoustic guitar. It is cool to finish up with a bare-bones instrumental that features the harmonica up front for this very special compilation.

If you are a fan of blues harmonica or Chicago style blues, Blues for Big Walter is a must buy. Rumor has it that there were many more artists that were interested in participating, but there just was not enough room on the disc (it comes in at 75 minutes), so there might be a volume 2 coming up. So, keep your fingers crossed and check in with the Ellersoul website for updates.

Jeff Jensen – The River City Sessions | Album Review

Jeff Jensen – The River City Sessions

Swingsuit Records

ww.jeffjensenband.com

www.swingsuitrecords.com

12 tracks / 67:00

Jeff Jensen is one of the most energetic and engaging performers on today’s music scene, and his live shows are an amazing blend of the blues, funk, rock, and roots genres. You may know Jeff from his last release, Morose Elephant, which was an excellent album. This left coast bluesman has done wonderful work since his move to Memphis in 2011 (where he was director for Brandon Santini’s band), and since then his grueling solo tour schedule has continued unabated.

His latest disc is The River City Sessions, a live show that was recorded in December 2015 at the Ardent Studios in Memphis, Tennessee with an audience of the band’s fans in attendance. Jeff provided the guitars and vocals for this show and was joined by Bill Ruffino on bass and Robinson Bridgeforth on the skins. This club-friendly set included eight original songs and three cool covers.

After a quick intro from the famed Memphis bassman, Leo Goff, the band kicks off with a searing rendition of T-Bone Walkers’s “T-Bone Shuffle,” complete with an almost jazz-like interlude. Jeff has a tremendous vocal range that comes off as natural and relaxed, and his guitar chops are first-rate. This is pretty much one of the best live shows you will hear, as in the controlled environment it is easier to get everything at the right levels. So, the end result is a studio album with the spontaneity and audience reactions of a live show. One take!

From there they segue into an original, “Make it Through,” which is more casual with a gulf coast feel. This fun blues-rock tune highlights the tightness and talent of Ruffino and Bridgeforth’s backline. Then, “Empty Bottles” uses more light-hearted lyrics over a simple beat to show another side of the band’s ability. Jeff lays down a smooth solo, and eventually the tune flips into a full-blown rocker.

The band included a couple of instrumentals to break up the set. “JJ Boogie” starts out with the audience enthusiastically clapping along and once the band get going on this driving song it becomes hard to believe that there are only three of them on stage. Changes in dynamics keep things interesting, and there is no boring flailing on the instruments to be found here. In fact, this is the most kick-ass instrumental blues that I have heard in a long, long time. The other instrumental is “Elephant Blue” (from the Morose Elephant album), and this up-tempo piece features chords that give it an Eastern European mood. You will even hear a bass solo here, and it actually good with no gratuitous popping or slapping.

Jensen and his friends came up with a couple of other covers for the audience’s entertainment. Tom Waits’ “Hear Attack and Vine” (also covered on the Road Worn and Ragged disc) is more conventionally constructed and accessible than the original, and Jeff hollers out Waits’ horrible lyrics that expose the darkness of man while Bridgeforth hits the drums with everything he has. The group finishes up the CD with Dylan’s “All Along the Watchtower,” and after a jazzy intro they turn it into something bluesier than Bob’s version, and smoother than how Hendrix played it. Pretty much it became a Jeff Jensen song at this point, which is a good thing.

If Jeff Jensen and the band needed to find gigs, The River City Sessions would be the perfect demo and would surely get them plenty of work. But looking over their website, it appears that they are really busy with a European tour, and there are many US dates scheduled after they get home. So, you need to give it a listen for yourself and use what you hear for motivation to get off the sofa and head out to one of their shows. This could be your ticket to the Jeff Jensen experience!

Blues Blast Magazine Album Review: David Reo – Life is Good

Good day!

This CD review was originally published in the June 26, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

David Reo – Life is Good |Album Review

Self Release

www.davidreo.com

12 tracks / 44:00

After growing up in Rhode Island, David Reo has made the entertainment industry his life’s work, having attended the venerable Berklee College of Music in Boston and then moving on to Tinseltown to make a go of the television genre. While working on a few standout series (remember Happy Days?) he started writing and recording his own music in 1984. Since then he has produced other acts as well as playing a couple thousand shows with The Preachers Blues Band around the Los Angeles basin.

David’s fourth album, Life is Good, is a collection of a dozen blues-based and country songs, eight of which are originals. Besides writing these songs, Reo provided the vocals and guitar for the album. A score of other musicians contributed to this project, including Evan Grosswirth on bass, Pete Gallagher on the skins, Jim Calire on keyboards and sax, and Bill Flores on the pedal steel. Jeff Cowan was the engineer and producer for the album, which was cut in Ventura.

The album is divided into two parts: the first act is a set of original blues tunes that were written by Reo, and the second part is a collection of country songs that includes a few cool covers. The blues portion of the show kicks off with “Shell Shocked” a big-sounding song with in your face horns and slick guitar fills. This is our introduction to David’s pleasant tenor voice and it is readily apparent that he has a good feel for the rhythm and blues he is slinging.

“Uzbekastan” is really unexpected, with a Benny Goodman feel that is provided by righteous clarinet from Geoff Nudell and Gene Krupa-esque tom pounding from Gallagher. This song does not go whole-hog big band, as the guitar provides most of the melodies, but it still swings like mad and the lyrics are funny and fit well with the musical theme. This is followed up with “You Won’t Matter,” a more conventional slow-burning blues song with a hot horn section and fantastic piano and organ work throughout.

Reo finishes up his blues set with a “Too Far from Home,” which has a laid-back California-themed feel and lyrics. Michelle Corbin sings lovely harmonies on this one and Nic Mancini brings his vibraphone into play, which is something that does not happen much on blues albums that come across my desk.

There is a definite break when the country action starts with Led Zeppelin’s “Hot Dog” from their 1979 album, In Through the Out Door. The original is an Elvis-infused blues song with country elements, but David and his crew takes it all the way to Nashville with a bit of Albert Lee chicken pickin’ guitar, which is an improvement over what was kind of a strange song to start with.

Other country covers include Buddy Holly’s “Love’s Made a Fool of You,” which was made popular by The Bobby Fuller Four, and Lefty Frizzell’s “That’s the Way Love Goes” which was taken to number one by Merle Haggard back in 1984. A standout track from the country side of things is Reo’s take on Juice Newton’s “River Of Love,” a lovely song with fine vocal harmonies and prominent fiddle and cello parts.

To close out the set, Reo takes a completely different direction with “Jimi Jam,” which is a heavy dose of the psychedelic blues rock that was pioneered by Hendrix back in the late 1960s. It is well set up as Grosswirth and Gallagher play a nifty backline jam that allows Reo and Guy Martin to cut loose a little. The rest of the album is all about the songs so David had to put his guitar on the back burner, and it is nice that he finishes up with a cut that illustrates what a masterful axeman he is.

Life is Good is a solid effort from David Reo, and if you like your blues served up country style this CD will be right up your alley. If you want to hear more from David, he is playing regularly with The Preachers Blues Band in clubs around L.A., and he also just released an album of country classics which should be a real gas.

Mahalo!

Blues Blast Magazine Album Review: Solomon King – Train

Hello!

This CD review was originally published in the June 12, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Solomon King – Train

Self Release

www.solomonkingmusic.com

9 tracks / 31:34

There is nothing like a little mystery to keep things interesting, and everything about Solomon King is intriguing. He is cagey about his birth name and his personal history, but we know that he grew up around Detroit. As he passed through a number of bands, he took the logical route in Motown and became an autoworker for his day job. After the usual rounds of layoffs during the industry downturn of the 1970s he packed his guitar and left town, heading for a rosier future and the much better weather of Los Angeles.

In the City of Angels he continued to pursue his musical dreams, and in the mid-2000s he threw himself wholeheartedly into the blues, playing jams and working with artists who helped him hone his craft. In 2008 he adopted the Salomon King moniker, in honor of his Jewish heritage and as a shout out to all of the legendary bluesmen that used the King surname. That year he released his first album, Under the Sun, which was produced by Motown heavyweight Sylvester Rivers (Diana Ross, the Jacksons, Smokey Robinson, the Temptations…). This release was a home run that was nominated for a Grammy and had two of its songs used in the first season of the HBO’s series True Blood. Over the next few years he gigged like crazy, cut another album, and starred as Phil Spector in an independent film. Wow!

Train is King’s third album, and it is made up of nine original tracks that he had been playing in his live show for over a year. He did not mess with a good thing, and chose to use his gigging band in the studio. Solomon took care of the vocals and guitars, and was joined by Johann Frank on guitars, Steven Marshall behind the drum kit, Buddy Pierson on the Hammond B3, and Princeton Arnold on bass and backing vocals. He also tapped the talents of harp men Jimmy Powers and Glenn Doll, as well as backing vocals from Maxayn Lewis, Connie Jackson, Gaby Teran and Jorge Costa. King wrote all of the songs, and Jorge Costa produced, engineered and mixed this CD.

It is apparent that King is not trying to copy any of the artists that came before him, and this album has a unique and modern blues rock sound. This evident from the first track, “Baby Does Me Good,” which has a cool blend of slide guitar, thumping bass and sweet vocal harmonies over a Bo Diddley beat. King’s voice is a clear tenor on this song, but do not get used to this as his vocals sound different on every track.

After taking his voice down an octave for the blues rocker “Bad to Me,” Solomon approaches the baritone zone for the sexy “Coffee Song.” He is no Barry White (and who is?) but his inflections make the listener wonder where the double-entendres end and reality begins. This mellow tune features saucy backing vocals and tasteful harp work, making it a favorite from the album.

This is backed up by another standout track, “SLO Blues.” This one is set against a background of the super-tight pocket of Marshall and Arnold, with Pierson setting the mood with his rich work on the Hammond. King makes his voice a bit grittier for this blues ballad, and there are plenty of guitar fills as well as a heartfelt solo just past the two minute mark.

Solomon threw in a catchy country song midway through with the clever title, “Country Song.” He pokes fun at the usual stereotypes and clichés that can be found in the genre, and his wit shines through. As he says, these are “them songs you don’t forget,” and proves himself right by penning a catchy song that is easy to get stuck in the head.

The title track is the most out there song of the set, and “Train” has a gnarly driving drum beat with layers of out-of-phase and clean guitars, and lyrics that are sort of a combination of Tom Petty and Lou Reed. After this the album tapers off with the final song, “Blue Angel,” a pretty almost-country ballad that starts off with simple guitar and keyboard accompaniment. It builds with the addition of bass, drums and soft background vocals, allowing things to end on a positive note.

If there is anything to gripe about with Train, it would be that it is not very long. Most of the songs clock in at around three minutes, and the whole album only lasts 32 minutes. For the money it would be nice to get a few more tracks, or to expand a bit on the ones that were included. But, if this is all he had ready to go, it is better that he did not pollute nine very good songs with material that was not ready for prime time.

If that is the only thing to complain about, Solomon King did a fabulous job with Train. His songwriting and musicianship are certainly top-notch, and this ends up being an interesting album with a fresh sound. We can only hope that he sticks to his guns and keeps innovating, because the future of blues relies on souls such as him.

Mahalo!

Blues Blast Magazine Album Review: Delta Generators – Get on the Horse

Good day!

This CD review was originally published in the May 15, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Delta Generators – Get on the Horse | Album Review

Self Release

www.deltagenerators.com

13 tracks / 50:07

Boston is an incredible city with a rich history, a diverse population and the best restaurants on the east coast. But it is also has a thriving arts scene, and it has launched bands that are revered in most every genre, including Aerosmith, The Pixies, New Edition, The Cars, J. Geils Band, The Dropkick Murphys and James Taylor. The Delta Generators could well be their best representative of the modern blues scene.

The Delta Generators were founded in 2008 and they hang with a heavy crowd, having shared the stage with Robert Cray, Three Dog Night, James Cotton, Jimmie Vaughn, The Fabulous Thunderbirds, Johnny Winter, Walter Trout, Candye Kane, Michael Burks and Sonny Landreth. Heck, Brad Whitford from Aerosmith has sat in with them before. Through endless touring throughout New England and the tri-state area they have garnered their fair share of loyal fans, and it is these fans who financed their latest album through pledgemusic.com.

Get on the Horse is their third release, and their sound and has evolved a lot since their last album. This is in part due to the team they brought on board to fine tune their recordings from Barn #81 in Hopkinton, Massachusetts. Their fans’ pledges helped pay for mixing by Grammy winner David Z (Prince, Eric Clapton, Buddy Guy, Etta James, and Gov’t Mule), and mastering by Dave McNair (David Bowie, Bob Dylan, Los Lobos, and Derek Trucks). The band’s line-up is familiar, with Craig Rawding on vocals, harmonica, and acoustic guitar, Rick O’Neal on bass, Jeff “J.J.” Armstrong on drums and piano, and Charlie O’Neal on guitar and banjo.

The music for all thirteen tracks was written by the band, with Rawding penning the lyrics. They recorded this album mostly live with just a few overdubs so there is a vibrant mojo that is very hard to get with a traditional studio album. This is very apparent on track one, “Whole Lotta Whiskey” which hits hard right out of the gate with Charlie O’Neal’s driving electric slide guitar. Rawding is up front with his extra-strong vocals, and it only takes a listen or two to realize that their lyrics have improved as much as their production. This tale of two old friends who took different paths in life in life is well-told and is an omen of what the rest of the album holds in store. By the way, there is the added bonus of some tasty organ work from guest artist John Cooke on this song.

Setting the mood in a tune full of painful lyrics, “It’s Been Hard” kicks off with “Driving drunk and singing out of key / Down your street / Spinning out and crashing at your feet / You don’t see me.” This is a beautifully personal song of loss that showcases Rawding’s versatility and features lovely harmonies and backing vocals from Keri Anderson. This blues-tinged ballad is definitely one of the standout tracks of the album.

No genre is taboo for the Delta Generators, and heavy English blues rock is represented by “Spider Bite” -- sort of a Deep Purple or Led Zeppelin vibe. Accompanied by heavy ride cymbal and a thunderous snare, Rawding howls the vocals while Charlie O’Neal does his best Ritchie Blackmore imitation. This is quite a contrast with ”Night of the Johnstown Flood” which is a slow blues song that memorializes this 1889 Pennsylvania disaster while drawing parallels with the biblical story of Cain and Abel. Charlie O’Neal gets to tear loose on the guitar over a foundation of John Cooke’s sublime organ work in a gorgeous interlude. This is seven minutes of incredible music, and it should not be missed.

“Diablo Rock” is completely unexpected and shows that the Delta Generators have a sense of humor. This is a rocker with crunchy guitars and heavy toms that describes a night of God and the Devil drinking accompanied by a few Gary Glitter “Rock and Roll Part II” interludes. This leads straight into “Blood Sugar Baby,” a danceable funk song that features Prince-styled falsetto vocals. These guys are not reluctant to mix things up, and this album never gets dull.

The band closes out the CD with “The More I Find Out (The Less I Want to Know),” a sad tale of a man who opens his woman’s closet and is dismayed by all of the skeletons that fall out. This is a slow-burning blues song that has Latin and jazz elements courtesy of Armstrong’s innovative percussion and Rick O’Neal’s Spartan bass lines. O’Neal’s brother has a great touch with his electric guitar and uses phrasing and silence to create drama galore, making this the perfect song to end the disc.

Get on the Horse is the Delta Generators best album to date and it has well-written original songs that cross genres and are performed admirably. When you throw in first class production values from start to finish, buying this modern blues collection is a no-brainer. Of course an artist is only as good as their next album and because they set the bar high this time there will be great expectations for their next project. They are certainly up to the task, and hopefully the wait will not be long!

Mahalo!

Album Review: David Michael Miller – Same Soil

David Michael Miller – Same Soil | Album Review

Food for the Soul Records

www.davemillermusic.com

11 tracks / 54:56

Hi!

I do not get a lot of new Blues music out of Buffalo, New York, but apparently there is some pretty awesome stuff going on there judging by the CD from David Michael Miller, Same Soil. Miller grew up just south of there the Buffalo, where he started his musical endeavors by playing at church, while still getting a wonderful education into the ways of blues, R&B, and soul. After years of playing gospel music, he formed a few bands to explore the world of blues and soul music, including Beautiful Bones and Dive House Union.

A few years ago he started recording solo projects, and Same Soil is his sophomore disc. David crammed the studio full of vintage equipment, and put his voice and guitar to work. He was joined by plenty of awesome sidemen, but his core band included keyboardist Jim Ehinger (Bonnie Raitt and Albert Collins), drummer Carlton Campbell (The Campbell Brothers), and saxman Jason Moynihan (Buddy Guy). Miller penned all eleven tracks for the disc, and it clocks in at a respectable 55 minutes – that is a lot of music for the money!

The first track in the set is “All the Blues to You,” which is an encouragement to enjoy blues in all of its forms. This is a great intro for the album, as David walks the walk: there are no two songs that sound the same, and he leads the listeners on a journey through many of the sub-genres of the blues. His voice is marvelous with clear and consistent tone, great intonation and outstanding diction. You will not need a lyrics sheet for this one!

Miller is also a very talented guitarist, and he lays down respectable acoustic and electric riffs throughout. His choice of vintage instruments was worth the effort as his tone is amazing. Likewise, Moynihan does a marvelous job of arranging the horns, Campbell has a heavy beat, and Ehinger is the master of the keys.

There is a little bit of most everything related to blues going on here: roots, rhythm and blues, soul, rock, blues rock and southern rock. There is even a killer live track, “Got Them Blues,” which was recorded at Buffalo’s bastion of the blues: The Market Bar. One of the standout tracks is “Doing Me In, Doing Me Wrong,” a killer stop time blues song with only riffs to die for.

This collection of diverse music all fits together into a cool package and none of the songs stand out or do not fit in. David Michael Miller turned in a solid performance on Same Soil with mature songwriting, good musicianship, and excellent production values. It is totally worth your time, so check it out if you get a chance!

Mahalo!

Blues Blast Magazine Album Review: Manhattan Blues Connection – Cadillac Blues

Good day!

This CD review was originally published in the January 16, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Manhattan Blues Connection – Cadillac Blues

Self Release

11 tracks / 65:14

Manhattan Blues Connection out of Brooklyn is a relatively new band on the New York City scene, but do not think for a second that these guys are wet behind the ears, as all of the members are seasoned professionals with an uncanny feel for the blues. The band is led by its founder and drummer, Les Chalimon, and he is joined by Andy Story on vocals and guitar, Darius Reza on bass and Billy “Blue” Blend on keyboards and saxophone. Blend was also responsible for recording this disc at his Blendini Studios, and he mixed it alongside Reza, making this a truly home-brewed project.

Cadillac Blues is their first release, and after two original tracks that were written by Story and Reza, this quartet tears out nine traditional blues songs, all of them in a style that would make it easy to assume this album is a product of the south side of Chicago (though if you listen closely there is also a 1970s NYC influence in there too). It is guitar-heavy music with rich keyboards, smooth horns and a whiskey-voiced frontman that can hang with the best of them.

“Good Loving Woman” is the first track, and it definitely sticks with this theme. Andy Story wrote this one, and it perfectly suits his throaty voice and deft guitar licks. Billy Blend hammers the piano throughout, punctuating the mood with well-placed organ chords and riffs. “You Don’t Know” is the other original, this time penned by Darius Reza. This song has a catchy riff and, once again, Blend kept extra busy behind the mixing board adding multiple layers of sax and keyboards.

The cover tunes are a murderer’s row of blues classics, starting off with “The Things I Used to Do,” which was originally put into the limelight by Guitar Slim back in 1953. Manhattan Blues Connection’s take on it makes it one of the more laid-back versions of this song, with a decidedly smooth (almost jazz-like) vibe. It is fun to hear a more traditional version of this song after years of hearing the Hendrix and Stevie Ray renditions. The band also kicks out a funky version of “Black Cat Bone” that gives the Albert Collins/Robert Cray 1980s hit a good run for the money.

“Driving Wheel” is a straightforward 12-bar blues that highlights the rhythm section of Chalimon and Reza, which is possible due to the fine work that Blend did in recording and mixing Cadillac Blues. Sadly, the run time for this song is under three minutes, but you will not have to go far to find another good song, as there are no bad ones to be found on this disc. In fact, “Black Jack Game,” the next track up, features tasteful interplay between Blend’s honky-tonk piano and Story’s vocals and lead guitar noodling.

The three standout tracks are slow-burning blues songs: Sister Rosetta Tharpe’s “Strange Things Happening,” Jimmy Rogers’ “That’s Alright” and Jessie Mae Robinson’s “Cold, Cold Feeling.” Andy Story’s guitar is the star of these tunes and the listener can hear that he is more than the usual axe-slinger – he has a natural style and a genuine feel for the blues. Of course, it does not hurt that he is accompanied by a first-rate backline with rock solid-drums and bass.

Manhattan Blues Connection’s Cadillac Blues provides over an hour of traditional good-times Chicago blues, and the band’s respect for the history of the blues is evident in the collection of really cool songs that they put together for this project. They are gigging around NYC, so check them out if you are in town, and in the meantime we can only hope that they are back in the studio writing some new music as a follow-up to this solid debut!

Mahalo!

John Weeks Band – John Weeks Band |Album Review

John Weeks Band – John Weeks Band |Album Review

Self Release

www.johnweeksband.com

7 tracks / 31:21

The members of the John Weeks have far-flung roots, but still managed to come together a little over a year ago in beautiful Denver, Colorado. They recently put out their eponymous self-produced EP, and it is a pretty neat piece of work.

John Weeks grew up in Europe, and built up his vocal and guitar chops in the bars and clubs of Paris, mostly with his band, TNK, which played around 200 gigs per year. He is joined on this disc by Andras “AC” Csapo (who came to the U.S. from Hungary) on keys, harp and vocals, Curtis Hawkins on bass, and Tim “Chooch” Molinaro behind the drum kit. The rhythm section is from Illinois and Michigan, which is almost as cool as France and Hungary…

This is not a terribly long album, coming in a little over a half hour, but all seven of the tracks are originals that were written by the gentlemen referenced above. The first song is “All Night,” and despite the diversity of their backgrounds they somehow ended up with a Texas shuffle that features a bouncing bass line and crunchy guitars. There is no trace of Weeks’ French heritage in his vocals, and his voice has a pleasant Midwestern tenor twang. Though this is one of the shorter songs on the disc, Csapo finds time for a nifty organ solo, and he provides catchy vocal harmonies too.

The band takes things down a notch for “Devil in My House,” which features John on acoustic guitar and Andras on the harp. Though this is a more bare bones song (Delta with a hint of funk), it still has a full sound and Chooch’s drums have a wonderfully dry sound to them. This is followed up with a brief instrumental track, “Why Don’t We Sleep On It?” which is fun jump blues with doubled harmonica/guitar leads, not to mention a trick rolling bass line courtesy of Hawkins.

Most of their songs are about relationships, as any good blues album should be. “How Can You Love Me” has an early Led Zeppelin slow-rolling blues-rock feel to it, and the lyrics are true misery as the frustration of a soured love spills over. And, “You Never Say What You Mean” uses a Latin beat and tasteful organ work as the setting for a stormy love story. Weeks lays down an epic guitar solo with great nuance and feel, and this may be some of his best work on this release.

The album finishes up with “Moving On,” a funky song about deception, and it is one last example of some really good songwriting – these guys have a lot to say and do a good job of making it happen. The John Weeks Band did a really nice job on this debut CD, but its short duration left me wanting more. Hopefully they will pick up their pencils and write some more originals and head back to the studio soon. Looking at their website, they have a few new members, so we can expect a bigger and more complex sound in their future work. Let’s hope they keep their momentum, as this is really good stuff!