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Blues Blast Magazine Album Review: Niecie – The Other Side

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This CD review was originally published in the July 23, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Niecie – The Other Side | Album Review

Self-release through Ride the Tiger Records

www.niecie.net

13 tracks / 48:08

Detroit is a truly soulful city; if you stop into most any bar there you will surely hear killer Motown on the jukebox, or if you are lucky, discover a fine band on the stage. This is the musical environment that inspired the amazing Niecie, whose powerful voice has been rocking the blues world since her debut album in 2005.

Niecie has lived all over the country and each locale gave her new experiences and enhanced her abilities. After growing up in the Motor City, she moved on to Chicago, Las Vegas, Los Angeles, and Boston, before finally settling down in Nashville, Tennessee. Once there she was able to take advantage of the gifted songwriting scene there, as well as the city’s population of incredibly talented producers and musicians. These folks helped her craft three solid solo albums, and there is a sampling from each on her latest disc, a compilation titled The Other Side.

As The Other Side is made up of thirteen tracks from these three different projects, there is a huge cast of characters there were involved, but besides Niecie, there was one name that kept popping up: Johnny Neel. Johnny is a first call producer and keyboard man (Allman Brothers, Gov’t Mule, and Dickey Betts), and he is also a terrific songwriter. He had a hand in all three of Niecie’s earlier projects, and you will see (and hear) that he gets some sort of credit on no less than eight songs on this album.

The opener, “Strange Way” is the first of four songs from Niecie’s 2013 release, Wanted Woman. This Neel-penned tune is a mid-tempo blues rocker that has an impressive array of Niecie’s cutting lyrics and some lovely guitar work from Chris Anderson – this lady has nothing but killer axe men on her albums! Also from this release is the spiritual funk of “God’s Got This,” the comedic hard rock of “Traffic Light,” and a touch of fusion with “Wanted Woman.” The latter is one of the standout tracks in this set, as it is a good example of Niecie’s songwriting with some tasteful Hammond and backing vocals from Johnny to bring it all together.

Niecie also included a trio of tunes from her first album, Peace of My Mind, and these songs from ten years ago guarantee that there is a good representation of all of the bluesy genres on this greatest hits disc. One favorite is the slow and heavy guitar blues of “Bed of Lies,” but the surprise hit is “I Used to Have a Brain (Then I got Married).” From the title the listener might expect a light-hearted and funny track, but Niecie is dead serious as she howls the blues on this one. Besides her voice, the highlights of this song are the killer lead guitar of Larry McCray and a take-no-prisoners horn section that was blessed with an incredibly tight arrangement.

Lastly, from somewhere in the middle of the timeline of her recording career, there is a nice selection of songs from Beyond the Surface, which was cut in 2011. Of these, Niecie wisely chose to finish her set with “Draw the Line” an upbeat rhythm and blues song that is right in her vocal wheelhouse. There is a bit of everything in this song: vintage organ, fat bass from Steve Forrest, a funky guitar ostinato and slick solo from Mike Durham, and smooth backing vocals from Crystal Tallefero. It may sound like a cliché, but ending with this song it really does leave the listener wanting more.

If you have not heard Niecie sing before, trust me when I say that she is the real deal. Her range, timing and feel are spot on, and she is a real pleasure to listen to no matter what type of music she is fronting. Check out her website for gig dates as she gets around the country quite a bit, and if she is not playing near you track down a copy of The Other Side. This is a fine set of music, and besides providing 48 minutes of soulful blues the chances are very good that it will turn you into a fan too!

Mahalo!

Album Review: Marshall Lawrence – House Call

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This CD review was originally published in the August 15, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Marshall Lawrence – House Call

Self Release

www.doctorblues.com

13 tracks / 43:37

Singer and guitarist Marshall Lawrence was given the nickname “Doctor of the Blues” by one of his fans, and it stuck. The funny thing is that he actually has a doctoral degree in psychology, which should be a requirement for anybody that is trying to keep a band together. He hails from the prairie city of Edmonton, Alberta, and has been practicing his art in the studio as well as at festivals and clubs throughout the territories of the chilly north. When performing his acoustic live show he will usually appear solo, or sometimes in a duo or trio. I have heard that it is a real treat to see him play, and hope to catch a show the next time I am in Canada.

House Call is Lawrence’s fourth solo release in the past ten years, and it builds on the solid work that he did on his previous award-winning albums. There are eleven original tracks (all written by Lawrence) and two covers, none of which run over four minutes. He takes care of the vocals, guitar, mandolin and hand percussion, and is joined by a pair of top-shelf players: Russell Jackson on upright bass and David “Hurricane” Hoerl on harmonica. These guys are awesome musicians; you may know Jackson from B.B. King’s band, and Hoerl from The Twisters.

Marshall’s music is described as “Neo-Delta Acid Blues & Roots” but this acoustic set is not the least bit corrosive to the ears, and he has taken the rough edge of the Delta music and used it to cut some killer tracks. “Mean Momma Blues” is up first and he displays smooth fingerpicking skills and the ability to lay down a strong groove with his acoustic guitar. You would never think he grew up 2000 miles away from the Mississippi, as his songwriting and performance capture its essence completely. He is helped along the way by Hoerl and his uncanny feel for the harp, and a neat rhythm on the bass from Jackson.

The CD packaging announces “With Special Guests, The Holmes Brothers,” and indeed their vocal harmonies can be found in the gospel tune “Factory Closing Blues.” Their voices are so pretty that I would be afraid to join in with them, but Marshall plunges right in with his pleasantly worn tenor and takes the lead. He proves his ability to tell a story through song, this time the all-too common refrain of the victims of economic woes. Everything clicks perfectly in this track, and it is my favorite of the bunch, which is a bold statement as there are a lot of very good songs on this disc.

He is able to navigate though different Southern genres with alacrity. “Please Help Me Find My Way Home” is a lovely Southern blues (again with a touch of gospel) piece which features David Aide on the organ. His B3 sets the mood, and it is truly a welcome addition. The lyrics are particularly poignant: the tale of a soul seeking a more eternal existence after following a wicked path in the temporal world.

“The Ballad of Molly Brown” starts off with a harmonica intro, and then takes off running with a thumping bass line and layers of acoustic and slide National guitar. This folk blues song is roots music at its best, and when it ended after a bit over three minutes it left me wanting more. Fortunately the next tune in the queue was “Biscuit Rolling Daddy”, which contains a surplus of bawdy double entendres plus oodles of super-slick fingerpicking. This song has a unique sound with its pseudo-classical guitar part, and is just the sort of thing that could draw new fans into the blues genre.

The same thing can be said as Lawrence gives the other guys a break and takes on Tommy Johnson’s “Canned Heat Blues” with just his voice and guitar. He brings this fast-paced Delta blues song into the present age with some truly innovative picking and rhythms.

The album comes to a close with the traditional lament, “Death’s Black Train.” Lawrence called in a few more guest artists for this one, drummer Dwayne Hrinkiw and vocalist Barry Allen for some background parts. Hrinkiw lays down a heavy rhythm with his kick drum and snare that drives this song on relentlessly, and Allen’s voice is a good match for Lawrence’s as they harmonize through the chorus. This is yet another solid track and was a great choice to end things up.

After listening to this album it is obvious that Marshall Lawrence understands the blues and has the ability to translate it for today’s audience though his clever songwriting, deft fingers and soulful voice. This is one of the best new albums I have heard this year, and if you are a fan of Delta music or just like the blues, House Call is sure to please. Check it out if you get the chance!

Mahalo!

Big Al & the Heavyweights – Sunshine On Me Album Review

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This CD review was originally published in the June 20, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Big Al & the Heavyweights – Sunshine On Me

Self Release through Blusiana Records

www.bigal.net

11 tracks / 39:01

New Orleans is a mixture of different cultures, sensation and vibes, and it is cool that a few of Louisiana’s native sons have formed a band that is producing diverse music that any Crescent City native would be proud to call their own. That band is Big Al & the Heavyweights, which had its genesis in 1992 as the Unknown Blues band with founding members Warren Haynes and Al Lauro. After Dickey Betts tapped Warren on the shoulder with an invitation to be in the Allman Brothers (how could one resist?) Al pushed on and changed the band’s name to its current moniker.

They have earned a stout fan base by sticking to a solid game plan: making good music and getting out there to prove themselves to live audiences. The band has cut six well-done albums and is on the road more often than not, playing regularly around the Gulf States with occasional forays into the Midwest and points beyond, including the Chicago House of Blues. It does not hurt that they have staunch celebrity advocates (Dan Ackroyd and Emeril Lagasse) who are in their corner and are who do a stand-up job of getting their music out to the masses.

The Heavyweight lineup for Sunshine On Me includes New Orleans native Al on vocals and drums, bassist Dean Galatas from Bayou Liberty and two guys from Baton Rouge: Harmonica Red on the harp and James Bass on vocals and lead guitars. John “The Colonel” Fuhrman plays the harmonica and provides background vocals and Wayne Lohr plays the B3 and accordion as well as handling the lead vocals on a few of the tracks. This is an impressive line-up, and their talent is outshined by their ability to bring out the best in each other.

This most recent release includes eleven tracks, and you will find that their recordings have become more eclectic over the years, integrating element of blues, rock, jazz and Zydeco. The band has arrived at a place where they have their own sound, and it is a marvelous thing to behold. This is evident from the first track, “Don’t You Want Me,” which is hard to categorize in only one genre. It has an obvious blues foundation, but the hand percussion gives it a Cajun / roots music feel, and the break at the end of each verse is a real kick.

“What’s Up With That” has a more traditional blues feel, with a driving bass line and some nice work from James Bass on the sax and vocals. His voice is versatile, sounding very different from the opening track. You will find that their songwriting is mature, with this song constructed well to sync with the clever lyrics.

In the title track you will hear the heavy sounds of producer Anders Osborne’s electric guitar and the familiar tone of guest artist Warren Haynes’ slide guitar. This southern rock feel is seasoned with a tasty bit of Wurlitzer piano from Wayne Lohr. He takes over the vocal chores on “Money Matters,” a slow low-down blues song with wonderful harp playing from Fuhrman. Lohr also whips up his accordion for “Dance With Me,” a short Louisiana-fueled dancehall tune.

The Heavyweights pull out the stops with two down home Zydeco songs: “Pass a Good Time” and “Zydeco Boogie.” The combination of squeeze box, fiddle and washboard on these tunes provide a fun contrast with the road house and blues elements found throughout the rest of Sunshine On Me. Osborne did a fabulous job of producing this album and integrating all of these different styles, and all of the tracks play perfectly due to the engineering work of George Cureau and mastering by Parker Dinkins.

My favorite track on this disc is “Midnight Train to Memphis,” a blues rocker with some fine bass playing from Dean “The Bass Machine” Galatas. He does an admirable job of doubling Bass’ guitar work as Lohr belts out the throaty vocals while working the Hammond organ. The Colonel brings everything together on this one with his groovy harmonica stylings.

Big Al & the Heavyweights have come a long way since their first album, and Sunshine On Me is a just reward for two decades of hard work. It is a great listen and you should check it out for yourself. Also, make sure that you look through their website to see when they will be in town next so you can catch their live performance. With over a hundred shows per year the chances are good they will be near you at some point. I will surely be keeping an eye out for them during my travels!

Mahalo!

Nigel Mack Devil’s Secrets Album Review

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This CD review was originally published in the August 8, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Nigel Mack – Devil’s Secrets

Self Release through Blues Attack Records

www.nigelmack.com

12 tracks / 45:36

The technology to record and produce your own music has been available to the masses for years now, and though I have found the results to be mixed, often times it turns out to be really great art that otherwise would not have made its way to my headphones. When scrolling through the seemingly endless list of independent CDs on my computer, Nigel Mack’s self-produced Devil’s Secret stands out as one of the gems.

Nigel Mack (Mackenzie) is originally from Saskatoon, Canada, but in 1988 he relocated with his band to Vancouver, as it is a fantastic city with a thriving arts scene. But Professor Eddie Lusk hooked him up with the Chicago scene in the early 1990s, and he ended up touring across the United States for the next ten years. Finally, in 2003 he decided to call the Windy City his home.

All twelve of the tracks on Devil’s Secrets are originals, and they were recorded in Vancouver and Chicago, with different musicians at each location -- I guess he never lost those Canadian connections! Besides assuming the roles of writer and producer, Nigel also took care of the vocal chores, as well as contributing harmonica, guitar and slide guitar parts. Working with two bands, two recording studios, a mixing studio in Nashville, and a guest artist that was recording in Texas must have been difficult, but this CD still turned out to be a nice piece of work.

The first track up is “King for a Day,” and right away it is apparent how slick this album is. Though this is a blues-based song, there is almost a samba feel to the bass line, and the band is as tight as can be. Most notable is the Chicago-sourced horn section of Lise Gilly on sax, Johnny Cotton on trombone, and Victor Garcia on trumpet. Lise and Nigel did a top-notch job of arranging the horns and integrating them into the tune (and three others on this disc).

The title track is a more basic blues rocker. Things really get into the groove here, and this where I noticed Nigel’s strong voice. He imparts a touch of humor to its tone that fits in well with the clever lyrics of a man torn between right and wrong. Mack’s slide guitar is also very good and it contrasts nicely with the popping bass from Vic Jackson and the rich organ tones of Brian James.

“Here’s to You” is a slow tempo number which features a return of the horn section and some nice lead guitar work from Nigel. This drinking-man’s ode to the love of his life is followed up by a Creole-tinged tune, “Come Back Baby.” This one is a treat as Mack switches over to harmonica and we get to hear some wonderful accordion work from guest artist CJ Chenier, straight out of the Lone Star State. I think I heard a little washboard in there too!

There is plentiful word-twisting to “Dead Presidents (Don’t Tell No Tales)” as he details the woes of a man who finds out the hard way that it is better to not leave a paper trail when stepping out on his old lady. This is a classically constructed tune with a decidedly “Mustang Sally” vibe to the backline. By the way, this is the first of the three Vancouver tracks on Devil’s Secrets; I do not see any real difference in the recording or engineering between the different studios, so the progression of songs is seamless.

“Chicago Bound” is a live recording from Pete’s Place in Chicago, and it turned out to not be the Jimmy Rogers version that I had been expecting. It is an original tune with Nigel masterfully playing a well-mic’d National steel guitar, stomping his foot and howling the vocals. This bare-bones blues song is a real gem, and I love that he snuck this one into the mix.

Nigel shows a strong grasp of many different genres on Devil’s Secrets, and “Meet Her Funk” shows that he was paying attention during the 1970s. This Vancouver-based track features some first-rate horn playing from saxophonist Steve Eisen while David Webb tears thing up on the organ. There are at least three guitar parts in this one, and though Mack is credited for the vocals, I had to listen to it a few times before I realized there aren’t any words to be found.

He snuck another instrumental in, and “Strut Your Stuff” has a driving Chicago blues feel to it and some astounding harmonica tone. Nigel trades his harp with some awesome guitar work from Todd Taylor and James Rogers. And finally, “Let’s Make a Date” leaves us with no doubt that those years on the road working with so many great artists honed his skills and gave him a solid understanding of the blues.

Devil’s Secrets is a very good album of original material, and this work proves that Nigel Mack is a force to be reckoned with. He has set the bar high with first-rate musicianship, writing, arranging and production; I expect great things from him for his next release. If you check out this album, you will become a believer too!

Mahalo!

Austin Young & NO Difference – Blue As Can Be Album Review

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This CD review was originally published in the August 15, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Austin Young & NO Difference – Blue As Can Be

Vizztone Label Group

www.austinyoungband.com

www.vizztone.com

13 tracks / 57:02

It does not happen often, but every few years a new teenage blues rock talent knocks me back on my heels, Tyler Bryant did it a few years ago, and Austin Young has done it again. Austin Young & NO Difference’s second album, Blue as Can Be, is an enjoyable listen and it gives me renewed hope for the future of blues and the music industry as a whole.

17-year old Austin is based out of Colorado Springs, and it is hard to believe that he is self-taught and that he has only been playing for five years. Apparently he has not been wasting his teenage years by playing video games and watching television. Besides taking care of the guitars and vocals he also produced this album and did a lot of the writing. He is joined by fellow teen Noah Mast on bass and vocals, and Tim Young (his dad) on drums and vocals.

You would expect a blues rock guitar prodigy like Austin Young to throw a Stevie Ray Vaughan or Jimi Hendrix cover tune into the mix, but he resisted temptation and filled up Blue As Can Be with thirteen original tracks. Austin Young and NO Difference wrote all of these songs, and they show some depth by experimenting with a few different genres outside of their baseline of blues rock.

“Thunderhead” kicks things off with an uptempo drum riff, and quickly adds a searing guitar line with a few layers of rhythm guitar underneath. Austin immediately establishes himself as a top-shelf guitarist, but is voice is very good too. As he belts out the classic blues pattern of lyrics I am struck that he sounds quite a bit older than the teenager that he is. This power blues rock tune gets things off to a strong start!

The title track comes up next, and he indicates in the liner notes that “Blue As Can Be” is his tribute to Muddy Waters. This slower-tempo song is heavier and dirtier, with a thumping bass line and an organ they brought in from somewhere. This is a really tight song, and the backline of Noah and Tim do a bang-up job of keeping things moving.

“Magdalena” is a lovely folk tune that has some nice steel guitar work within. His buddy Jim Adam provided the lyrics for this one, and the background vocals too. Unfortunately his lyrics are good enough that it makes the songs written by the rest of the band seem a little cliché-heavy. But this is only their second album, and they are a young band so they have plenty of time to work on this aspect of their music.

NO Difference can dish out a fast-paced roadhouse tune with some honky-tonk piano too. That piano and a little call and response give “Who’s Coming Out?” a Jerry lee Lewis good times vibe, and Austin does an admirable job of cranking out some 1950s style guitar work. This is followed up by “Borrowed Time,” a pop tune that features some nice vocal harmonies in the chorus.

Though I consider my myself a blues fan, my favorite track on the album is the jazzy rockabilly song, “That’s It.” I think it has a great beat, a strong chorus, and I am a sucker for the scat he threw out in the middle. This is 2½ minutes of fun, folks.

Don’t think I have gone too soft, though, “Give Me One Good Reason” come in a very close second. This is a seven minute slow grinding blues jam, and shows that the band has amazing blues chops and feel. Austin’s Dad does an especially good job of hammering out the drum lines, and reminds me a bit of Reg Isadore from Robin Trower’s band.

The sweet finale of Blue As Can Be, “Miss You Moore,” is an instrumental dedicated to the memory of the late bluesman Gary Moore, who left this world far too soon. His smooth guitar work is a fine tribute to this legendary British guitarist that we all miss so dearly.

By the way, I would be remiss if I did not point out that this CD stands out from most of the ones I get these days as it has exceptionally good liner notes. I like to read up on what I am listening to, and they put together notes for each track, a short bio for each artist and even a timeline of his short (but distinguished) career. They stopped short of adding the lyrics, but I can understand what they are singing, so that is not a loss.

Blue As Can Be is a very strong sophomore effort, and I hope that Austin Young can stick to his guns and continue to grow in his songwriting, while continuing to be his own man and follow his dream. Like prodigies that came before him, his exceptional guitar and vocal skills would make him a valuable draft choice for an established rock or blues band that needs a second guitar. It would be a shame if this happened and we did not get to see him not standing out front of the band, where he belongs.

Mahalo!

Billy Jones Bluez – I’m a Bluesman Album Review

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This CD review was originally published in the August 1, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Billy Jones Bluez – I’m a Bluesman

Self release through American Blues Recording Company

http://www.myspace.com/billyjonesbluez

7 tracks / 34:12

Blues music does not have to come out of Chicago, Memphis or the delta, and I am reminded of this as I listen to Billy Jones Bluez’s latest CD, I’m a Bluesman. Billy Jones hails from North Little Rock, Arkansas, which I had never even considered as being a hotbed of blues music.

Billy Jones has long been a bluesman, having been exposed to the blues as a boy at his grandfather’s café and at a nearby juke joint. He was inspired to be like Elmore James and B.B. King, and by the time he was in his early teens he was quite a guitar player. He went on the road at the age of 14 and has not stopped since, playing all over the US and Europe.

His newest CD is a short one, coming in at a little over a half hour. There are seven tracks, including one cover and six original songs. Billy takes care of the guitars and vocals, and he is joined by Corey Bray on keyboards, Derrick Kendricks and Palmalee Byrd on bass and Rickey Martin and Reginald Hammeth on the skins.

I’m a Bluesman kicks off with its only cover tune, “The Iceman,” which is a modern interpretation of Big Joe Turner’s “Ice Man Blues.” This is a fun song with an easygoing vibe, and Billy’s voice and guitar playing are smooth and restrained. Bray has good keyboard skills, and his playing helps fill in the spaces in this well done piece.

After this, you will see that Billy is comfortable enough with his writing and playing that he does not need to be shoehorned into any one genre. “I’m Yo’ Freak” has a funky hip-hop beat that is dominated with 1970s synthesizers and heavily distorted guitars. He keeps this funky vibe for “Nothing But The Blues” but the music is harder-edged with more modern keyboard samples and rocking guitar parts. This song has classic blues lyrics and structures, but he has evolved it into something totally different.

“I’m a Bluesman” is a more traditional blues rocker with a dance beat, neat doubled guitar parts and Hammond B3 samples. This title track is the longest song on the album and there is a cool jam in the middle where it sounds like there are five layers of guitars stacked up.

Billy Jones gets back to more traditional blues for “Do Right Baby” which has some fantastic guitar tone over an assortment of different synthesizer sounds. There is a slow rolling 12-bar blues base to this one, and the lyrics include one of the coolest lines ever: “You gonna have to run off and join the circus, baby, if you’re looking for a clown.” This song fades out while he is still singing, which is an interesting choice as blues songs usually have a distinct conclusion.

There are synthesized strings and heavy organ work on “Love Nobody Else,” which ends up with a Latin nightclub flair as Billy channels his inner Carlos Santana. His voice works well with this genre too, and his guitar work is smoking hot. This mood carries over to the final song on the album, “You and Me.” His guitar playing on this one crosses over from Santana to Prince, and Corey Bray does a great imitation of Jan Hammer on the keyboards.

Billy Jones’ I’m a Bluesman is an interesting piece of work, and shows that he has solid writing, performance and production skills. If you choose to seek it out you will find it is not in a traditional blues form, but it is still fun music to listen to. He performs regularly throughout the Midwest, and I think it would be a kick to check out one of his shows.

Mahalo!

Various Artists – Jock’s Juke Joint Contemporary Blues from Scotland Volume One and Volume Two Album Reviews

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This CD review was originally published in the July 11, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Various Artists – Jock’s Juke Joint Contemporary Blues from Scotland Volume One and Volume Two

Lewis Hamilton Music

www.facebook.com/jocksjukejoint

www.lewishamiltonmusic.com

Volume One 17 tracks / 1:17:44

Volume Two 18 tracks / 1:15:25

In my ignorance, it used to be that I associated the UK blues music scene only with London and the seaports of Liverpool and Belfast. But over the past year I have reviewed CDs from some really fine Scottish blues artists, including Lewis Hamilton and the Boogie Brothers and the Bare Bones Boogie Band. Despite these positive experiences I still did not fully grasp the depth of their blues scene until I got Volume 1 and Volume 2 of Jock’s Juke Joint Contemporary Blues from Scotland. It turns out that great blues was always there and I just did not know about it.

These two compilation CDs are intended to provide an anthology of the great original blues music heritage of Scotland. In the real world there is no Jock’s Juke Joint (nor any other juke joint in Scotland), but you should think of it as the place where you could go to hear some fine tunes and have a good time. Many of us will not be familiar with these bands, so the liner notes provide a nice biography for each artist in addition to describing their roles in the local blues music scene. This is a very helpful and pleasant surprise, as many CDs I get these days are bereft of interesting information like this.

Compilation albums like these are awesome because they provide exposure for bands that may not otherwise see the light of day. I often find stuff I really like to listen to -- leading to many album purchases, which is surely what the people that put them together are hoping for. I guess their marketing works well on me!

On the two discs of Jock’s Juke Joint Contemporary Blues from Scotland there are 35 tracks from different artists, and they cover the gamut of blues types from delta to boogie to Chicago-style and blues rockers. There is no way I can describe each one in detail (and have you finish reading this review, anyway), which is a shame because there is not a bad song to be found within. So here are highlights of a few tracks from each volume that stand out for me.

From Volume One “South of the City” by Albany Down got my attention early on in this disc. This well-written blues song starts out with a basic acoustic guitar riff and builds into a monstrous guitar anthem. Paul Turley gets guitar credit, and Paul Muir’s vocals are smoking! Also, Lewis Hamilton and the Boogie Brothers’ “Empty Roads” is a hard-edged countrified blues number which gives Hamilton a chance to tear loose on his guitar. This is surely one of the standout tracks from this disc.

I would be remiss if I did not mention The Bare Bones Boogie Band’s contribution of “Fallin’ for Foolin” from their Blue CD, one of the best albums I reviewed last year. Helen Turner’s vocals are incredibly emotional on this 7-minute jazzy slow burner, as are fellow Scot Iain Black’s guitar work and Trev Turley’s spot-on bass. This song is so tight that you can tell they have been together for over two decades.

Volume Two is just as good, with some fun stuff including the instrumental “Jam’al” from the 4 Als (which really is four guys named Al) led by Alan Nimmo on lead guitar. This uptempo boogie is only 3 minutes long but every second is pure gold. Jed Potts & the Hillman Hunters’ “Don’t Tell Me” has a fifties delta feel to it, and Cameron Grey does a masterful job of playing his harp off of Potts’ soulful voice and smooth guitar stylings.

Angela Moore’s vocals on the Baby Isaac original tune, “What the Hell,” capture the proper amount of indignation that you would expect from the title. Gary Arnott’s harmonica is also first-rate in this song which evokes images of the 1960’s rhythm and blues divas. Hot Tin Roof provides some no-frills blues with “Maybe Baby,” which features Andy McKay Challen on vocals and acoustic guitar and Gavin Jack on electric lead guitar. These guys prove that you don’t need a lot of personnel to make intricate and interesting music.

Jock’s Juke Joint Contemporary Blues from Scotland Volume One and Volume Two are a stone cold awesome collection of all genres of blues music. And if this is not enough for you, a third volume is in the works and will be released soon. If these discs are any indication of the blues to be found in Scotland, I have got to find a way to get over there and check it out for myself!

Mahalo!

Fabrizio Poggi & Chicken Mambo – Spirit of Mercy, a Collection Album Review

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This CD review was originally published in the May 2, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Fabrizio Poggi & Chicken Mambo – Spirit of Mercy, a Collection

Ultra Sound Records

www.chickenmambo.com

www.ultrasoundrecords.it

14 tracks / 57:18

A friend of mine is writing a book about the history of the harmonica in music, and when I mentioned I was writing a review of a new CD from Fabrizio Poggi, he nodded his head and smiled. He allowed that he was a fan of Mr. Poggi, and that his skills are certainly top notch, but that his feel for the instrument and his respect for its role in music is what really sets him apart. It turns out that Fabrizio has also written books on the history of folk harmonica, which is quite a coincidence. Maybe I should introduce them…

Fabrizio Poggi has played with what seems like every notable blues performer that has been active over the past few decades. He has released fifteen albums (if I counted them right), and though he is based out of Italy, many of them were recorded in the United States. Two of his more spiritual efforts have been 2008’s Mercy and 2010’s Spirit & Freedom; his latest album, Spirit of Mercy, is a compilation of the highlights from these two albums, with a few alternate takes. This ends up being a neat combination of blues and spiritual tunes.

Not surprisingly, Fabrizio takes care of the harmonica chores, as well as many of the vocals – but keep in mind there are plenty of featured artists sharing this role. Joining him are Roberto Re on bass, Stefano Bertolotti on the skins, Bobby Sacchi on accordion and vocals, and the trio of Maurizio Fassino, Gianfranco Scala and Francesco Garolfi on guitars and vocals. You will find that these are all first-call artists, and there is not a missed cue or clunker note on this CD.

The other thing you will find is that although Poggi is a harmonica virtuoso, this is not a harmonica album: it is all about the lyrics, as is befitting of a spiritual work. This is brought home by songs such as “I Heard the Angels Singin’” which features none other than Eric Bibb (who recorded this song back in 2001) and the inimitable Garth Hudson (formerly of The Band) on the keyboards. Their great vocal harmonies, combined with Hudson’s spooky keys and Fabrizio’s harmonica gives this song a wonderful Louisiana feel. Hudson appears on two other tracks, including the brief opener, “Mercy” and “I Want Jesus to Walk with Me.”

There are plenty of other guest artists on this collection, including Tejano accordionist Flaco Jimenez on “Jesus on the Mainline.” This is a live track, and there is a lot of great stuff going on in this countrified blues song. An uncredited female vocalist tears this song apart as she harmonizes so well with Fabrizio. Flaco is given plenty of room to work and he shows exactly why he is a living legend of the squeeze box. If this song is any indication of what Poggi’s live show is like, I will have to try to see one of his live shows some time.

Another featured artist is one of my favorite singer/harmonica players, Rob Paparozzi, who appears on “Nobody’s Fault But Mine.” He trades vocals and harmonica licks with Poggi and it is great to see that Fabrizio is willing to share his stage with so many great talents.

My favorite tune is the most intimate song in the collection, “Precious Lord,” which highlights Fabrizio’s emotionally wrought vocals over a base of beautifully-picked acoustic guitar. He uses his harp well too, and this song is so well recorded that all of these elements come together perfectly. Poggi also does a mean rendition of “Amazing Grace” on his harp, with the sound of a hammer driving nails into a cross in the background. We get to see a piece of the man’s soul here.

I admire the cleverness that Fabrizio showed by taking the best parts of two good albums, and combining them into Spirit of Mercy. Though this work is a fine example of harmonica talent, the bigger story is the excellent cross section of blues and blues-based spiritual music that is found within. If you do not have any Fabrizio Poggi albums yet, listening to this one would be a great way to experience his music, and possibly to start your own collection of his catalog. Check it out!

Mahalo!

Scott Ramminger – Advice from a Father to a Son Album Review

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This CD review was originally published in the May 16, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Scott Ramminger – Advice from a Father to a Son

Arbor Lane Music

www.scottramminger.com

10 tracks / 48:12

The culture and vibe of Washington D.C. and New Orleans are worlds apart, but Scott Ramminger thrives in both environments as a vocalist and master of the saxophone. This point is proven by his new album, Advice From a Father to a Son, which was recorded in both cities with a little help from Nashville.

Scott spent his youth in Hunstville, Alabama but has since transplanted to the nation’s capital. No matter where he lives, he seems to carry New Orleans in his soul, and his jazz / blues sound has a decidedly Louisiana bent to it. Crawstickers, his first album (and a fantastic title) is very well regarded so I had high expectations for this follow-up effort. I did not come away disappointed.

Advice From a Father to a Son is an ambitious work, with ten original tracks written by Ramminger and not a Muddy Waters cover in sight. Though it was recorded in two cities with different personnel, the set list is organized so it is easy to follow (even for me). The first seven tracks were recorded in NOLA with a core band of Shane Theriot on guitar, George Porter Jr. on bass, Johnny Vidacovich on drums and the marvelous David Torkanowsky on keys. The last three tracks were cut in D.C. with Barry Hart on drums, Jay Turner on bass, Dave Chappell (no, not that one) on guitar and Tommy Lepson on the organ. Pitching in with lovely vocals on many of the tracks are Nashville’s McCrary sisters, Regina, Ann and Alfreda. These talented women tie the two parts of the album together and serve to give it more of a sense of continuity.

His New Orleans band is the most that anyone could hope to play with. Torkanowsky is possibly the best piano man in the Crescent City, and the other three men are just as talented. They slide effortlessly through multiple genres, including blues, rock and roll, funk, and even a little Latin flair. They start Advice From a Father to a Son with “I Really Love Your Smile,” an ode to Ramminger’s wife, Claire. The piano intro sets the listener up for a good time right out of the gate. Vidacovich has mastered the art of playing the drums without overplaying, and he and Turner are right in the pocket the whole time. The home-spun lyrics are playful and the rhymes are clever, making the whole song come together.

From this rousing bar room romp they change directions with Theriot’s funky and syncopated guitar action in “Funkier Than Him.” This is also the first chance to hear the McCrary sisters, who are a treasure of American music. They sang with Johnny Cash and Bob Dylan, you know…

On “This Town’s Seen the Last of Me,” Nashville’s Etta Britt sings a fun rock duet with Scott, and he plays a pretty mean sax too. This is a fabulous party tune, for sure. Britt also sings with him on the title track, and “Advice From a Father to a Son” turns about to be more playful than the title implies. It certainly is full of helpful hints, which any of us would do well to heed. “Don’t be that grumpy guy in your workplace, who always seems to wear a frown.” Indeed.

The standout tracks from Ramminger’s New Orleans sessions are “The Other Man’s Shoes” with a heavy dose of Regina McCrary’s dead sexy voice, and “I’ve Got a Funny Feeling.” The lyrics are the stars here: whether showing empathy for one’s fellow man or that sinking feeling that your partner is stepping out on you, they really hit close to the heart. His growly New Orleans voice fits well with these musically simpler ballads, too.

The Washington D.C. sessions end up with a different sound, which is not a surprise as it has a different backing band. It is a tough act to follow the New Orleans dream team, but these guys do a good job. These three tracks each have a unique sound, starting with “More Than One Flavor,” which has a more urban sound and features Vince McCool on the trumpet. His horn mixes nicely with Ramminger’s sax, and Lepson does a fine job on the organ.

His keys also lend “Must be True” a cool gospel feel, though the lyrics are certainly more temporal than eternal. And the album ends with “Sometime You Race the Devil,” a bit of reggae-infused blues. McCool comes back for this one, joined by Jim McFalls on the trombone and this song ends up being a really fun way to finish things up.

Advice From a Father to a Son is very good, and it is evident that Scott Ramminger has been putting in a lot of quality time at the studio. I respect that he did not feel the need to dominate his songs with saxophone, but instead added bits of it here and there as needed. I am curious to see where he goes next, and if we are going to get more of a Washington D.C.-influenced album, or if he will stick closer to his Louisiana roots. Either way, it will surely be something good!

Mahalo!

Album Review: Professor Porkchop and the Dishes – U R My Everything

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This CD review was originally published in the June 6, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Professor Porkchop and the Dishes – U R My Everything

Self Release

www.myspace.com/professorporkchop

11 tracks / 40:38

There are countless reasons to go to Louisiana: the cuisine, its culture, a strong variety of college and professional sports, plenty of hunting and fishing opportunities, and (of course) the music. The state’s history of blues, zydeco and swamp music is priceless, and its native sons are heroes that its populace can be proud of. Professor Porkchop and the Dishes’ new album, U R My Everything is a prime example of this and its slick performances and clever lyrics should not be missed.

Professor Porkchop is Chris McCaa’s pseudonym, and he is the leader, singer and pianist/organist for this Shreveport, Louisiana-based group. The rest of the crew for this album includes Jason Coffield on guitar and saxophone, Danyelle Bryant and Brady Blade on the skins, Rick Wallis and Shawn Stroope on bass and George Hancock on flute, baritone saxophone and percussion. There is a lot of role-swapping going on here, and there is no way I will be able to keep it straight.

U R My Everything was produced by McCaa and Stroope, and includes eight original tracks and three cover tunes. It is hard to assign this album to any one genre, because even though it has a solid blues bass, it is flavored with funk, soul, jazz, ragtime and a healthy dose of bayou spices. McCaa’s voice has been compared to Randy Newman and John Hiatt, and rightly so, but it is still more his own than anybody else’s. Throughout the changing moods of this album he is able to deftly adapt to different styles but never lose his unique sound, thus giving the band’s sophomore release a sense of continuity.

McCaa has a great voice, but he also has keen keyboard and writing skills. His comfort in his abilities is evident as he chose to start U R My Everything off with four original songs. The title track begins with a mellow vibe flavored with electric piano, but solidifies quickly as the chorus adds in organ and heavier guitar chords. But this is not a one man show, as the backline is solid and the guitars are spot on. When “Blame it on the Moon” gets going, you can see where the Randy Newman comparisons come in. Chris’ voice is similar, and indeed he has a deft touch on the piano. When you add in the sadly clever lyrics and creative rhymes, we get to see that he really has the whole package.

The band did not forget their Sportsman’s Paradise heritage, as they crafted a fabulous homage to the Crescent City in “Move to New Orleans.” Any locals that have moved away will be made jealous during this tour of all the great spots in town. Then they move on to Shreveport for the next track, “Sprague Street Rag” which is a short instrumental with full-blown ragtime piano accompanied by only a pair of spoons. Chris McCaa certainly has fine chops!

George Hancock brings plenty to the table too, as his jazz flute work in “Puerto Rican Hotel” is both tasteful and skilled. Throughout this selection he is in perfect sync with McCaa’s electric piano and the rhythm section. I was surprised to find a second instrumental tune on the album, but this Afro-Cuban fusion piece really works well into the mix of other styles.

Professor Porkchop and the Dishes included a sprinkling of cool cover tunes too. Their take on “Knock Me a Kiss” is the best version I have heard since B.B. King’s, mostly due to McCaa’s fine vocal phrasing. They also took a crack at Ray Charles’ “Roll With My Baby,” and the rolling bass line and sweet saxophone make for more of a modern feel (in a good way). And “Early in the Morning,” a Louis Jordan hit from 1947, has its upbeat tempo held in place by a nifty snare riff with a slick overlay of the tinkling ivories.

The album comes to a close with the hardest tune of the bunch, “I’m Gone.” This Southern blues rocker has growly vocals and a neat stereo effect of the rhythm and lead guitars; it is almost like this is a five-minute guitar solo with a song happening underneath it. The guitar tone is gloriously distorted, and the bass is fat and totally in the pocket with the drums. And, in keeping with the rest of their original songs, the lyrics are top-notch and worth paying attention to.

U R My Everything provides a most laid-back vibe, and it is great music for just sitting back with a tumbler of your favorite beverage and listening with a fine sound system or a good set of headphones. Professor Porkchop and the Dishes have outdone themselves and delivered a solid piece of work throughout. Check it out if you get the chance!

Mahalo!

The Mojo Roots – What Kind of Fool Album Review

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This CD review was originally published in the May 9, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

The Mojo Roots – What Kind of Fool

Self Release

www.themojoroots.com

11 tracks / 48:48

I made it a point to catch some blues shows when I was in Missouri last month, and I have to say that every time I go to a bar there to check out a band I never come away disappointed. Somehow over the past few years I have missed The Mojo Roots, but after listening to their new CD, What Kind of Fool, I will have to make a better effort to find one of their gigs the next time I am in the area.

The Mojo Roots are based out of the Show Me State, and the band is made up of Jordan Thomas on vocals, harmonica and guitar, Trevor Judkins on lead and slide guitar, Jim Rush on bass, and Andy Naugle on drums. Thomas also produced this album, and this sophomore effort includes six original cuts and five cover songs from the likes of Albert King, Otis Redding and John Mayall & the Bluesbreakers.

The first thing that struck me when listening to What Kind of Fool is how well-constructed and easy it is to listen to. This is apparent from the get-go with the original title track which is a nice bridge between traditional blues and a more contemporary sound. Thomas’ voice is smooth, and the plot is the usual tale of a man whose lady is stepping out on him. The guitars are artfully layered with a righteous dose of slide and it is perfectly mixed and recorded. This song is a slick as they come, and was the perfect choice to get things started. I wish we had a radio station in Los Angeles that would play stuff like this!

From there they transition into a modernized take on Albert King’s “I Got the Blues” which is highlighted by a sublime patchwork of rhythm and lead guitars. With half of the play time and no horns or keys this song ends up with a different character than the original. Despite its more bare-bones personality, The Mojo Roots were able to make this is one as smooth as silk. Another well-done cover is the 1965 Otis Redding A-side, “I’ve Been Loving You Too Long.” This truly beautiful song is a classic and Thomas’ voice is certainly up to the task. John D’Agostino contributes some tasteful organ work that makes the mood on this track complete.

Their original songs have clever lyrics and are well-constructed. “That Kind of Girl” did not go where I expected from the title, but instead ended up as a celebration of a woman that is totally out of reach. “Deaf, Dumb and Blind” is the heartbreaking tale of a woman who desperately pins her hopes on a man that will never treat her right. The quality of these songs makes me wish they could have included a heavier mix of original tunes on What Kind of Fool.

The boys finished up this project with a Chicago-tinted cover of Little Johnny Jones’ “Hoy Hoy Hoy.” This fast-paced romp features Thomas’ harmonica, and he coaxes a marvelous tone out of his harp. The band performs like seasoned veterans that they are; Rush keeps things moving throughout with a relentlessly walking bass line, while Naugle (the human metronome) beats his snare and crash cymbal to death. What a fun way to bring the curtain down on the show!

If you think that there is nothing new or exciting in the more conventional blues genres, What Kind of Fool will change your mind and give you hope for the future. This band is fresh and delivers the goods with eleven first-rate tracks, and they obviously went all out to give us their finest effort. Any up-and-coming artists should pick up a copy of this album so they can see how high the bar has become, and to get some pointers on what can be done with a modern blues album.

As I said earlier, I am jonesing to catch The Mojo Roots’ live show, and apparently there are a few other folks who agree, as the band was a semi-finalist at the 2013 International Blues Challenge in Memphis, Tennessee. Give What Kind of Fool a listen, and if you are in the Missouri area and like what you heard, check them out for yourselves. You might run into me there…

Mahalo!

Murali Coryell Live CD and DVD Review

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This review was originally published in the April 4, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Murali Coryell – Live

Shake-It-Sugar Records

www.muralicoryell.com

Disc 1 (CD): 11 tracks / 1:12:40

Disc 2 (DVD): 10 tracks / 51:28

When I opened up Murali Coryells’ Live CD set last week, I did not know that I was in for a few surprises. For starters, I have not heard of anybody else with the Coryell surname, with the exception of the astounding fusion guitarist, Larry Coryell. Well, it turns out that Murali is his son. The second surprise was what that this two disc set includes both a CD with 72 minutes of music AND a live performance DVD from another show – what a bonus!

As I said, Murali Coryell was born into a musical family, and he grew up in the Northeast surrounded by great musicians such as Carlos Santana and Miles Davis. He started on the drums, but switched to blues guitar after being exposed to B.B. King’s Live at the Regal, which should be in any blues fan’s collection. Mostly self-taught, he has played both as a sideman and with his own bands since the late 1980s. Over the years he has released at least seven of his own albums (by my count), as well as a neat collaboration with his father and his brother, Julian.

The first disc in his Live collection is the CD, Live at Club Helsinki, which was recorded on July 30, 2012 at the fabulous club in Hudson, New York. Murali takes care of the guitars and vocals, with Dorian Randolph on drums, Vince Leggiere on bass, Bill Foster on guitar, and Stacey Waterous on the sax. Cameron Melville (the owner of Club Helsinki) sits in on a few tracks on the B-3 organ, too. This disc is mostly original songs, with a couple neat covers, including Marvin Gaye’s “What’s Going On.”

After a quick intro, the set kicks off with “In the Room with Jimi,” which is a neat way to find out what Murali is all about. He has a smoky voice that doesn’t sound the least bit like Connecticut, and his guitar skills are formidable. As he cut loose with powerful riffs over Randolph’s machine gun drums, it is apparent that he is not a carbon copy of his dad, but rather has become his own man.

Despite the Hendrix-inspired first track, Coryell is not a flashy player and there is a nice mixture of genres on this disc. The solidly-written original songs are firmly rooted in the traditions of the blues. For example, “I Can’t Give You Up” is an upbeat tune in the 70’s R&B tradition that borrows a refrain from Traffic’s “Feelin’ Alright” that turns into a sing-along with the audience. From there they segue into “I Could’ve Had You,” and this Smokey Robinson-style ballad manages to put into words the feelings that any man with a lost love has felt.

The sleeping giant of Live at Club Helsinki is Freddie King’s “Love Her with a Feeling” a 10-minute slow-grinding blues jam. The band is totally in the pocket on this one with Randolph and Leggiere holding down the bottom line under an onslaught of guitars, horns, distortion and 60-cycle hum. Listening to Waterous soar on the sax and Coryell howl on the guitar, I am reminded of why I got into music in the first place.

The music is great throughout, and I like the banter that Murali throws out to introduce songs, but find the way the CD was edited to be a bit off. The fade-ins and cutoffs of some of the tracks are very abrupt, and this is quite a distraction when trying to get into the live performance vibe. Despite this small criticism, it is a very good disc, and it is certainly worth making the time to listen to it.

The second disc is the DVD, Live at Roots & Blues, which was taped on August 14, 2010 at the festival in Salmon Arm, British Columbia. This one features a more bare bones set-up, with Coryell on vocals and guitar, Randolph on drums, Henry Oden on the bass and Dave Fleschner sitting in on the keys. All of the songs in this set are originals with the exception of his finale of Sam Cooke’s “Bring it on Home to me.”

This late afternoon / early evening set is captured by at least five cameras, and everybody gets some screen time. This performance has plenty of guitar and popping bass and maybe not quite enough drums for me, but overall it is still super listenable, and it is certainly enjoyable to watch. The band is tight, and it was a good move getting Fleishner to join in as he adds a whole new element to their sound.

The set list is a bit different than the Club Helsinki show, but the level of professionalism is the same. Their festival show starts out with “Sugar Lips,” which was a good choice as it is a really strong song and provides the viewer with the opportunity to compare it to the version on the other disc, and find out that Murali Coryell’s live show is consistently good. As I have already gassed on too long here I will not give a track-by-track account, but will simply say that this was a fun show and I would love to get the chance to see Murali perform in person some day.

After playing both discs I was struck with how unique Murali Coryell’s guitar tone and voice are. I can play any track and know just by the sound that it is him, which is a great compliment. Live is over two hours of great music for the money, and both the CD and DVD are worth the money. By becoming familiar with these discs, you will gain an appreciation of his formidable live performance skills, so you should give them a try!

Mahalo!

Dirty Red and the SoulShakers – SoulShakin Album Review

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This CD review was originally published in the March 28, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Dirty Red & The SoulShakers – SoulShakin

Self Release

www.dirtyredandthesoulshakers.com

9 tracks / 36:32

Recently I have been hearing a lot more blues music coming out of the lower midwest, and I finally got a CD from a band out of Oklahoma City, Dirty Red & the SoulShakers. They have recently self-released their first album, SoulShakin, and it is a real peach!

This group includes most of the band that blues legend Miss Blues has been using since 2007. Last year these guys decided to give the IBC Blues Challenge a go, so they started doing their own thing too. Their leader is Eric “Dirty Red” McDaniel on vocals and harmonica, with Michael Bell on drums, Reece Floyd on bass, Robb Hibbard on guitar, and Joe Intrieri on keys. The SoulShakers have played countless gigs, both with each other and for other projects, so they are super-tight and have no problem finding a groove and sticking with it.

SoulShakin includes nine tracks, all of them originals written by McDaniel, with Mr. Hibbard having co-writing credit on two of them. This album brings on the blues, both lyrically and musically, and is colored with influences of soul, R&B, funk and honky-tonk. It is a clean sounding project that is well-mixed, so credit should go to producers McDaniel and Hibbard as they picked a good team to record, mix and master this work. This is apparent from the very first track, “Cornbread,” which is a funky blues rock song with a neat organ part that provides a cool background. By the way, with the amount of sexual innuendo worked into the lyrics, it is apparent why they call him “Dirty Red” Mc Daniel.

Besides his pen, McDaniel also knows how to use the harp and I find his voice to be pleasantly worn and raspy – broken in, I guess you could say. He puts all of his skills to use on the hard-driving “Shotgun,” which could be yet another euphemism (“My shotgun makes me a man…”). Besides his harmonica solo, Hibbard and Intrieri are also worked into the spotlight; I came away impressed because these guys certainly have some chops. After the frenzied pace of this tune, the slow-boiling “Queen of New Orleans” comes as a welcome break. Bell breaks out the brushes, and his drums and Floyd’s smooth bass sync to create a cool Crescent City vibe as Dirty Red sings the lowdown blues.

The highlight of the SoulShakin for me was the guest appearance by Miss Blues on “Goin Back to Texas.” This walking tempo song is classic guitar-driven blues with heavy doses of organ and harmonica. Hibbard uses an electric guitar tone that is to die for and when Intrieri starts into the organ and McDaniel hits his harp this trio has great interplay. Miss Blues nails her part and her voice certainly nominates her for the queen of the Oklahoma blues; as a former Okie she gets my vote, although it is a shame she is singing about the Lone Star State.

“Hammer” breaks away from the more classical blues sounds and ventures out into the realm of Southern rock. This feeling is helped along by the heavy drums and harder-edged guitar. This is a smooth ride and there is quite a contrast as it segues into “Demons Swallowed Her Soul,” which is all about the voice and the harmonica. With the rest of the instrumentation kept to a minimum, Mc Daniel is able to show off a little, and his voice and harmonica skills are certainly up to the task. At barely two minutes, this is the shortest track on the album.

The SoulShakers put together another ballad for this album, and “Hard Liquor” is a winner. The lyrics are not the expected George Thorogood glorification of alcohol abuse, but are rather clever and touch on the root cause of the drinking. The background music, in particular the organ tone, is just lovely and when combined with the words this becomes a standout track. After this the mood quickly changes for the finale, “Sweet Potato Pie,” which is as hard as it gets. This is the bare bones with no drums as Mc Daniel howls the lyrics and blows a terrific harmonica while Hibbard tears loose on his guitar. What a sweet way to finish up.

Dirty Red & the SoulShakers have done the Lord’s work in putting together their debut album. SoulShakin captures the spirit of the Oklahoma blues scene, and not surprisingly the band is already working on a sophomore effort that should be released later this year. They are out gigging around the state and are still playing with Miss Blue, so be sure to check them out if you are in the neighborhood!

Mahalo!

Bonnie Bishop Free Album Review

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This CD review was originally published in the November 8, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Bonnie Bishop – Free

Self released through Be Squared Records

7 tracks / 28:26

If you Google Bonnie Bishop you will find out that she is a country rock singer and songwriter out of Nashville, so you will be in for quite a surprise when you listen to her new CD, Free. This is not country music, but it certainly does rock in a soulful and bluesy way.

Bonnie earned her stripes in the Texas club scene and cut four albums before heading to Nashville to make a run at being a songwriter. She has developed into quite a good songwriter, and recently had one of her songs recorded by Bonnie Raitt (one of her inspirations, by the way). Her latest CD Free is really more of an EP, with seven tracks and a total play time of less than thirty minutes, but they are all original tunes and she had a hand in writing all of them. She is joined on this recording by Jimmy Wallace on keys, Steve Mackey on bass, Fred Eltringham on drums. The electric and acoustic guitars were played by Rob McNelley and Sam Hawksley. This tight group of musicians illustrates why so many artists choose to record in Nashville, where the talent pool is so very deep.

“Keep Using Me” is the first track, and we get a strong dose of Jimmy Wallace on honky-tonk piano and B3 and some tasteful bass work from Mackey on the bass, but the real star is Bishop’s voice. I have seen other writers compare her to Janis Joplin and Bonnie Raitt, and though I do not think she sounds like them I do think that she has the same energy and presence as these iconic singers. I do not know exactly how to categorize this song, but the backing vocals and the story of a woman done wrong tip it over into the realm of soul for me.

Next up is another song that is hard to fit into any one genre, “Shrinking Violet.” This one is equal parts funk and country rock. The distorted slide guitars on this one are brilliant, and Eltringham really keeps this one moving with his driving drums. There is continuity of the lyrics that carries over from the first song to this one, and you will find that Bonnie Bishop is not afraid to approach personal subjects and that she has quite a lyrical way of stringing words together.

The title track is a beautifully arranged ballad that slowly builds with piano, strings and a background choir. As “Free” starts out, we get to hear Bonnie’s voice with a lot of the background stripped way, and it is breathtakingly emotional. If a household-name artist had recorded this song, you would hear it every 10 minutes on pop radio, and tomorrow’s stars would be covering it on some reality television talent show. That is how good it is.

Halfway through Free the mood lightens up for “Bad Seed,” the only real country tune on the CD. This one uses the country music time-honored tradition of telling a story as a song, interspersed with a nifty chorus here and there. This is a super catchy tune, and with Bishop’s rip-roaring vocals it should also be very radio-friendly.

“World Like This” is a hopeful ballad that gets a dose of Hammond and choir to make this a fresh gospel tune. By slowing things down the listener a chance to hear the message of the lyrics, and to consider the context of love in today’s society. “The Best Songs Come from Broken Hearts” builds on this, starting slowly and gaining momentum with her voice sounds time-worn that adds an extra shot of honesty to this song. Free finishes up on an inspirational note with “Right Where You Are,” which is a lively tone with hammering drums and a rocking bass line. This song is soul, gospel and rock, and with the way it was recorded it almost comes off as a live track.

If she was looking for work as a songwriter, Free is the best resume that Bonnie Bishop could submit. The lyrics are personal and poignant, and the music is rich and catchy; it does not hurt that she has a great voice, a terrific band and good studio production. I am glad that she produced a shorter release with consistently good content rather than adding obligatory cover tunes or songs that were not ready for prime time. Free is a winner and you should give it a listen.

Mahalo!

Peter Novelli Louisiana Roots and Blues CD Review

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This CD review was originally published in the November 1, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Peter Novelli – Louisiana Roots & Blues

Self Release

13 tracks / 62:26

I must have listened to Peter Novelli’s Louisiana Roots & Blues CD a dozen times, and I hear something new each time I run through it. This is his self-released sophomore album, and it is a corker! There are thirteen solid tracks, and over an hour of quality music that is inspired by the Sportsman’s Paradise state. Though I think I hear a little Lone Star state in there too…

Peter Novelli is a class act, and a first rate guitarist and singer. He has been playing guitar since he was a kid, and was inspired by a diverse cadre of guitarists, such as B.B. King, Mike Bloomfield, Eric Clapton and Gatemouth Brown. That is a murderer’s row of 6-string talent! He is joined on this release by Chris Chew on bass, Darryl White on drums, Joe Krown on Hammond B3 and piano, and Elaine and Lisa Foster on backing vocals.

Louisiana Roots & Blues lives up to its name but you will also find some zydeco, a little swamp-style boogie and plenty of blues rock. Peter has also taken lyrical inspiration from his adopted hometown of New Orleans, and there are plenty of Crescent City references. The laid back Louisiana vibe also carries over to the tempo and you will have a hard time finding a fast track on this CD. This is cool with me because I like music that can help me wind down after a long day at work, and this one goes great with a La-Z-Boy chair, a tumbler of scotch and some strategically dimmed lights.

The album starts with “Shadow Man,” which from the first notes has some of the thickest electric guitar tone you will ever hear. After a minute or so, Peter’s vocals come in over the driving bass line, the B3 and a heavy snare. He has the ability to affect different voices to meet the needs of whatever song he is singing, and for this one he chooses a menacing growl. His first solo in the album is tasteful and restrained, fitting in perfectly with this slow blues rocker.

The next song up is “Dyin’ by the Numbers” which is sung from a coroner’s point of view as he laments the waste of life from violence, and we get to hear the Foster ladies echo his sentiments. A few guests appear on Louisiana Roots & Blues, and they are unerringly placed exactly where they need to be. On this track we are treated to the lap slide guitar of Chris Thomas King, who also appears on the next song, “Elysian Breakdown.” King provides some killer tones and melodies for the mix, and his interplay with Novelli makes for an entertaining listening experience.

If I had to choose a favorite track on this CD it would probably be “Eyes Talk” which has a lot of great elements to it, including Joe Krown’s honky-tonk piano, Novelli’s Randy Newman-esque voice, and the lovely harmonies of Elaine and Lisa Foster. This is a classic southern-fried whiskey joint blues tune. A close second would be his cover of John Hiatt’s “Lovin’ a Hurricane” which starts out with that unmistakable stacked guitar riff and delivers the goods that are expected when one re-records a beloved classic. Well done!

The most fun track is “Zydeco Lady” which has bouncy syncopated guitars and traditional Louisiana percussion and beats. The listener is treated to the accordion of Chubby Carrier who can transmit a natural tone from what had to be one of the more difficult instruments I have ever tried to play. Peter plays around a bit with Carrier as the song fades away, and they certainly work well together.

Peter gives us two instrumentals to end the CD, and they are do-overs of “Treme 3 A.M.” and “Dyin’ by the Numbers.” Without vocals these two tracks allow the listener hear how clean and smooth Mr. Novelli’s guitar style really is, not to mention Shamarr Allen’s horn. I have already added these tracks to the mix for my next party, as I think they really set a positive mood.

Louisiana Roots & Blues is packed from front to back with cleverly-written, well-performed and slickly-produced songs. You should really think about picking up a copy of the CD, and for sure get out and check out his live show. He seems to be always gigging in and around Louisiana!

Mahalo!

Johnny Boots All or Nothing CD Review

Aloha!

This CD review was originally published in the October 18, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Johnny Boots – All or Nothing

Self Release

www.johnnyboots.com

13 tracks / 57:09

Johnny “Boots” Giannicchi is the real deal: a fabulous blues- rock guitarist and singer who has gigged and worked hard to get where he is today. Besides these roles, this Connecticut gentleman is also the band leader and producer of his latest release, All or Nothing. This CD is a blues-rock juggernaut that includes nine original tracks and four well-chosen covers. There is a definite Stevie Ray Vaughan vibe to this work, with occasional forays in the directions of delta blues and country.

Johnny is joined on this release by Peter Bennett on bass and Darro “Sparkie” Sandler on drums. This power trio is augmented on occasion by the tremendous Hook Herrera on the harmonica and co-producer Paul Opalach, who sits in with various instruments on many of the tracks. All of these folks are more than capable musicians, and any changes in personnel are not obvious as there is good continuity throughout.

“Stone Cold” is the lead-off track for All or Nothing and right away the listener can hear that Johnny Boots has a masterful grasp of blues and rock guitar. This is an uptempo 12-bar blues song that uses some great kitchen metaphors to describe the inevitable swings of a grown-up relationship. Johnny’s voice proves to be strong with just the right sound for this genre. It was a wise choice to position this song up front on the CD.

One of my favorite tracks on the album is the title track, “All or Nothing,” which has a lot of 1970s psychedelic blues rock in it. Lots of soaring guitars and ride cymbal on this one take me back to my youth. I am picturing a smoky concert arena with oodles of red stage lights when this one is playing through my headphones.

They managed to sneak a ballad into the mix and “Actions Speaks Louder than Words” is a great song with heartfelt lyrics. This track is a perfect opportunity chance for Johnny to slow down and show off his voice. His guitar work is sublime on this track, and shows that he knows enough to not have to play every note just because he can.

Stacy Williams provides vocals for “It Takes a Big Girl to Cry,” which is a duet that comes straight out of the 1950s. Ms. William’s voice meshes perfectly with Johnny’s, and this slower tune is a nice change of pace. Opalach brings the bass guitar and keyboard parts, and Boots gives the listener some tasteful picking on his electric guitar.

Johnny Boots does not limit his songwriting to temporal subjects, and feels comfortable expressing his eternal views in “Hosanna.” I had not expected to find a Christian rock anthem on this album, and this one is a neatly-crafted song, with many layers of acoustic and electric guitar. There are some nice backing vocal harmonies, as well.

The cover tunes run the gamut of blues, and include Robert Johnson’s “Crossroads,” Son House’s “Death Letter Blues” and “John the Revelator,” and Elmore James’ “Shake Your Moneymaker.” “Crossroads” is the funkiest version I have ever heard, and Hook gets to tear loose with his harp. Things don’t go too far astray, and the spirit of the original is still there. Both of the Son House songs start in a more traditional delta blue style, but electrify quickly. House’s lyrics surely stand the test of time, and would make these tunes work no matter what you do to them. “Shake your Moneymaker” is one of the faster versions around and is chock full of crazily distorted guitar, in a good way.

The album ends on a fun (and patriotic) note with “Rodeo Girl” which features Paul Opalach on bass guitar, baritone guitar, keyboards and percussion. He is a jack of all trades, apparently. This song has a countrified sound to it, and the sound of the guitars and the layout of the story give this one a Tom Petty and the Heartbreakers feel.

All or Nothing is a slickly-produced CD with plentiful guitar chops and thirteen very listenable tracks that provide almost an hour of musical entertainment. It is a great follow-up to Johnny Boots’ previous release, Everybody’s Got to Eat, and any fan of blues or rock will find something to like on this one. I recommend that you give it a listen; you will certainly get your money’s worth!

Mahalo!

Lewis Hamilton and the Boogie Brothers – Empty Roads CD Review

Aloha!

This CD review was originally published in the October 4, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Lewis Hamilton and the Boogie Brothers – Empty Roads

Self Release

www.lewishamiltonmusic.com

10 tracks / 51:01

As a fan of blues rock guitar, listening to Empty Roads, the new Lewis Hamilton and the Boogie Brothers CD, is a real pleasure for me. This is the follow-up to their debut release, Gambling Machine, which was a tremendous effort and made me wonder what to expect from these guys next. Well, what they did next was follow the usual road to success in the music business: plenty of hard work and practice with endless gigs and then back to the studio. Their sophomore effort builds on everything they learned from their first album and moves the band along to the next level, as this is a very good album that provides plenty of variety.

Lewis Hamilton and the Boogie Brothers was formed in Scotland in 2010, and there is not a lot of personnel to become familiar with. The band consists of Lewis Hamilton on guitar and vocals, his father Nick Hamilton on bass, and Ian (Santa) Wallace on the drums. That is it: no horns, keyboards, harmonica, or backing choir. It is just a classic blues rock trio with a British feel, sort of like Rory Gallagher with Gerry McAvoy and Ted McKenna. Lewis takes total control of the musical content and is responsible for writing, recording, producing, mixing and mastering all of their songs.

First up on Empty Roads is “Walking Out Your Door,” which gives the listener a good feel for what to expect from the rest of the album. This is a rocking 12-bar blues song with strong guitar, a smooth bass line and a heavy kick drum and snare. Lewis’ voice has that raspy whiskey voice that everybody is looking for, but he still manages to sound youthful and energetic. This is a slickly-written track with nicely interspersed guitar solos and verses.

There is some neat slide guitar to jump start the next track, “Empty Roads,” which moves a little more towards the country music side of things but still maintains its blues roots (albeit with a harder edge). There is plenty of neat guitar work on this and Hamilton gets some healthy distortion out of his axe. This segues into “Drinking Game,” which proves that every true bluesman needs to have a signature drinking song with simple lyrics. This track is a bit slower and is a straight up blues song with thick layers of guitars and a solid backline.

“Tear Me to the Bone” shows that Lewis Hamilton and the Boogie Brothers has a funky side. Like all of the other tracks on the album, it is built around the guitar parts, and this one has fun lyrics with the familiar theme of a man done wrong by his woman. It is cool to finally hear some background vocals on this track, by the way. After this Lewis changes to a completely different gear, and gives us “Like a Burning Tree,” which is a slow delta blues track with just him and his slide guitar.

I am not going to give a blow-by-blow account of every song on the album, but there is a little something for everybody in here. Lewis arranged the CD so that it ends up with two neat instrumentals. “Granny Cool” is an awesome electric guitar jam that lets Santa show off his drum chops, and the elder Hamilton finally gets a chance to pop and slap on his bass. “The Stream” is something completely different, providing a tasteful and elegant acoustic outro for the album.

Empty Roads is ten solid tracks of first-class music that will make most any blues or rock fan happy. Lewis Hamilton and the Boogie Brothers have outdone themselves with this release, and have set the bar for even better things to come. Check it out!

Mahalo!

Chemako Album Review

Good day!

This CD review was originally published in the September 20, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Chemako – Chemako

Ultra Sound Records

www.chemako.com

www.ultrasoundrecords.it

11 tracks / 47:18

When I think of Italy it conjures up images of a rich history, beautiful architecture, fine food and wine, and the most desirable sports cars on the planet. But until recently I had never considered the country’s blues scene, which is also quite good. I have been listening to Chemako’s eponymous CD and have come away very impressed. This four-piece band has been working together in one form or another since 1993, and it is a shame that they did not get into the studio sooner. The core personnel of the band for this project are bassist Roberto Re, guitarist Gianfranco "French" Scala, drummer Stefano Bertolotti, and vocalist Marcello Milanese. There are at least a dozen featured guest artists, with many of them supplying vocal, harmonica or guitar support. For the Chemako CD they put together ten original songs, mostly from Scala and Gianni Rava, and a cover of George Harrison’s “All Things Must Pass.” In case you were wondering, the songs are all sung in English, and I could hear no traces of an Italian accent.

As far as describing their sound, I hate to pigeon-hole anybody and the guys in Chemako defy easy categorization anyway. Their songs vary between delta blues and more modern countrified blues, and all of it has a laid back vibe. This variation in styles is seen right from the first track, “Red Diamond Train,” which starts out with just some banjo picking and Milanese’s husky voice, and gets modern in a hurry as more layers are added. These layers include some very pretty and well-harmonized background vocals and plenty of neat slide and picked guitar. Scala and Rava also throw us some great lyrics here, including my favourite lines of the whole CD, “You know I liked long legged girls/cuties with big Bambi eyes/I just love to break their hearts/with lots of my disgusting lies.” I wish I had written that.

At this point it would be good to note that Chemako has not fallen into the same traps that many bands do when they are singing songs that are not in their original language. The lyrics all make sense on this album, and the vocals are phrased naturally with all of the breaks and emphasis placed correctly. They have done a very good job of making this sound like an American blues album. Going through all of the tracks, I am stuck with observation that they are all very good, which is refreshing in a world of CDs that maybe only have one or two good tracks, if you are lucky. Though all of the songs are more towards the easygoing side of things, the band managed to provide a variety in the music thanks to the all of the guest musicians that appears on the album.

“Maintenance Free” comes up next on Chemako, and this is the first of three songs that feature Angelica Depaoli on lead vocals. This song, as well as “Save the Moon” and “All Things Must Pass” shows that she has a strong voice with an impressive range. Angelica interacts well with the guitars and piano, and her voice is very pretty to listen to. The slow tempo of the songs she is featured on really plays to her strengths, showing that the producer (Scala) knew what he was doing when he put this project together. “Lost My Way” and “Falling Star” both have a distinct Dire Straits country rock feel to them. This is mostly due to the tasteful guitar work of Maurizio Fassino and Maurizio Glielmo. Also, both of these songs were sung by Marcello Milanese, and his one-of-a-kind raspy drawl makes the country mood feel genuine.

I like the placement of “Momma’s Words” as the final track, as it is cool to end an album on an uplifting note. Martell Walton takes care of the vocals on this song, and Gianni Rava takes a break from his song writing duties on this song and picks up his saxophone to honk out a few notes. After the song ends there is a hidden one-minute instrumental (guitar and accordion) jam to bring this work to a close.

Chemako is a really neat CD, and it would be well worth your time to track down a copy to add to your playlist. Hopefully they will not make us wait another twenty years before they record again!

Mahalo!