Blues Blast Magazine Album Review: Cliff Stevens – Grass Won’t Grow

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This CD review was originally published in the April 13, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Cliff Stevens – Grass Won’t Grow

Self Release

www.cliffstevens.com

11 tracks / 45:12

Looking at the cover of Cliff Stevens’ second solo disc, Grass Won't Grow, you might think he looks a bit like Eric Clapton, but with a Cherryburst Les Paul instead of the signature black Stratocaster. Of course there is only one Slow Hand, but this Montreal native is actually one of the world’s foremost Clapton impersonators (www.EricClaptonTribute.com)! But besides being able to play “Layla” in his sleep, he can also crank out his own brand of righteous blues-rock, as evidenced by this new album. Other folks have faith in his abilities too, as he was able to successfully use a crowdfunding campaign to help finance this project.

Stevens is a product of the late sixties music scene where he got to see icons like Clapton and Johnny Winter, and he took further inspiration from icons such as Albert Collins, Albert King, and Otis Rush. What better role models could a young guitarist ask for? He took his job seriously, and has toured for decades around North America and Europe, flirting with jazz and earning a master’s degree in music and education along the way. His eponymous first album was released in 2009, and this mix of original and cover tunes was well received, earning him critical praise and plenty of award nominations.

Grass Won't Grow is a worthy follow-up, and it features Cliff on guitar and vocals, Eric Suavé on the keys, Alec Mc Elcheran on bass, and Sam Harrisson behind the drum kit. Stevens was the producer for this project, and it was laid down on tape (analog!) at Studio Mega-Rex in Montreal, and the result is a decidedly live sound. This 45-minute set is made up of eleven songs, all of them originals, and it turns out that his man has a lot of cool stuff to say.

The set kicks off with “Don’t You Say,” which has a funky jazz feel thanks to a sweet walking bass line, plenty of ride cymbal and hi-hat, and Stevens’ ultra smooth guitar touch. Rest assured that Cliff has his own voice, and his laidback vocals and guitar chops are not a re-hash of Clapton’s style. Next up is “Price You Pay,” a fun piece of blues that describes the relationship difficulties that a touring musician has to deal with. The guitar leads on this track have an excellent clean tone, and Suavé’s keyboards subtly set the mood without distracting the listener. Then the upbeat title track follows with country-style leads and a pop feel courtesy of backing vocals from Kim Feeney. ”Grass Won't Grow” is fun, and a neat reminder of the joy that musicians can express; the blues does not have to always be a stone-cold bummer.

As you can see, these songs are not exactly straight-up blues, but they are all still closely related to the genre and they all work well with each other. The songs are all well written and performed, but there are a few that stand out from the rest. “Running” is a radio-friendly rocker with an easy-going feel, a catchy chorus, and a heavily processed guitar break. There is also a sentimental bluesy ballad, “Crying My Heart Out,” which clicks on all levels with its Hammond B-3 and a dramatic mood that builds throughout. And if you like drama, the spooky feel of “All Through the Night” will be right up your alley. Stevens’ guitar work shows variety on this last one, as throws down some cool arpeggios and then lets it rips with and extended dirty solo that is one of the highlights of the entire disc.

Cliff Stevens has put together a solid album with Grass Won't Grow, and this cool set of modern blues-rock is catchy and well crafted. He just finished up supporting its release with his fourth European tour in the past three years, and hopefully he will add some North American dates soon. Keep an eye on his website for updates, and you can also follow him on Bandsintown.com for automatic notifications if he adds shows in your area. He is quite the showman, and you will like what he has to offer!

Blues Blast Magazine Album Review: Marty D. Spikener’s On Call Band – help! I need some GOOD BLUES!

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This CD review was originally published in the April 6, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Marty D. Spikener’s On Call Band – help! I need some GOOD BLUES!

Self Release

https://www.facebook.com/MDSOCB/

9 tracks / 38:55

Marty D. Spikener has been playing the blues for almost 40 years, and the St. Louis club scene is much richer with him perched behind his drum kit and growling out perfectly timed vocals. Marty D. Spikener’s On Call Band performs both originals and cover tunes, and their new album, help! I need some GOOD BLUES!, is a fine sampling of blues, rhythm and blues, and just a little touch of jazz.

The On Call Band includes Spikener, as well as Chuck Loeb on harmonica and vocals and Doc Evans on bass, while Ryan Waked and Solomon Haynes share the guitar work. Paul Niehaus IV cut this disc at the Blue Lotus Studio (also in St. Louis), and it sounds like it may have been recorded live. I say this because there is a cool dynamic and a noticeable energy between the artists as they run through this 40-minute set, which works out well for the music they chose for the set list.

Two-thirds of the songs on this disc are covers, and the On Call Band starts things off with a neat re-do of Don Robey’s “Ain’t That Loving You,” which was originally released by Bobby Bland in 1962. This is a straight-up electric blues tune that allows the throaty and soulful vocals to shine. Waked and Haynes each deliver clean guitar solos, and Loeb goes for a dirtier sound with his harp. Next up is the Paul Butterfield Blues Band’s “Born in Chicago,” which is faithful to the original, but here it is played at a slower tempo, giving it a Latin feel.

The other covers are a diverse collection of American tunes, including a soulful take on John Hiatt’s “Feels Like Rain,” and the Louis Armstrong-inspired vocals on James Harman’s hilarious “Tall Skinny Woman.” But the standout is “Lord Help Me to Hold Out,” which was originally recorded in 1969 by Harrison Johnson and the Los Angeles Community Choir. This acoustic gospel song has a wonderful interplay between the harmonica and the inspirational vocals, while the backline of Evans and Spikener hold everything together.

The three tunes that Marty wrote are solid, the first of which is the funky “Good Blues,” and this song offers up the opinion that the blues does not have to be a stone-cold bummer. Guest artist Bobby Schneck (Santana and Slash) provides the stunning guitar solo while the tone of Waked and Haynes’ rhythm guitars set the mood perfectly. Then there is the sobering “Guns of St. Louis,” a soulful plea for peace and sanity in the Gateway City. And the last of the originals is the light-hearted “Pill for That,” which is chock-full of slick drum fills courtesy of Mr. Spikener.

Wrapping up this disc is “Walkin’ with Grover,” a tribute to Grover Washington’s 1975 soul/jazz chart-topper, “Mister Magic.” There are no horns to be found on this instrumental, but the guitars and Loeb’s harmonica fill in nicely. The band pushes the tempo more than the original, and Evans’ walking bass line transforms this song into more of a blues tune, though there is still an obvious jazz influence. Each player gets a chance to shine on this track, making this the perfect outro for the set.

It is really cool that Marty D. Spikener’s On Call Band documented their sound so that listeners outside of the Show Me State can hear their music. help! I need some GOOD BLUES! Is a solid package, and it would be neat to here more from these fellows, so hopefully they will be heading back to the studio soon. But In the meantime, head on over to the band’s Facebook page to hear them for yourself and to find out where they are playing next!

Blues Blast Magazine Album Review: Peach and the Almost Blues Band – A Night in Copenhagen

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This CD review was originally published in the March 9, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Peach and the Almost Blues Band – A Night in Copenhagen

Magic Music

www.almostbluesband.dk

8 tracks / 36:28

A cool thing about the blues is that the form easily translates to different cultures and allows musicians from all parts of the world to get together and create killer music. Language is not much of a barrier, as the chord patterns and song structures are familiar to anyone who has played the blues for a while. Peach totally gets this, and this fixture of the Los Angeles music scene has released a cool set of blues that she laid down with some friends in Denmark, titled A Night in Copenhagen.

Peach (her last name is Reasoner) grew up in the Midwest, but found work and built her musical career on the West Coast as a jazz and blues singer and guitarist. Along the way she has toured the world and collaborated with folks that include Taj Mahal, Jim Messina, Keb' Mo' and Condoleezza Rice. Yep, it is the Condoleezza you are thinking of – she was Peach’s accompanist at the University of Denver.

A Night in Copenhagen was recorded in February 2016 straight out of the mixing board at Café Bartof. Peach handled the lead vocals and played her sparkly Tele; she was joined by locals Michael Engman Ronnow on guitar, Helge Solberg on bass, and Niclas Campagnol on the skins. Her longtime band mate, Ken Stange from Los Angeles, made the trip across the Atlantic and sat in on keys and harmonica for this gig. This disc includes eight songs from the show, and most of them are covers that perfectly fit Peach’s vocal style.

First up in the set is “Tonight I’ll Be Stayin Here With You,” a Bob Dylan tune from 1969. Things get off to a soulful start with Stange’s sweet harp work, and it is not long before Peach joins in. Her voice has all the right things going on - it is strong and has a weathered character that sets it apart, but that is not all. Her phrasing and timing are both spot on, and she comes off like the true pro that she is. This gives Peach the ability to take this song from a Nobel laureate and make it her own. The same can be said about the second song on the album, B.B. King’s oft-covered 1978 hit, “Never Make Your Move Too Soon.” This song comes off as a roadhouse tune with Peach howling the vocals over Solberg’s thumping bass, Campagnol’s hard-hitting snare, and Stange’s barroom piano.

This is pretty much how the album proceeds, as the band is not afraid to take on songs that were made famous by others, but they consistently prove that they have the talent to pull them off. Junior Wells’ 1960 song, “Little by Little” is a tough shuffle with lovely organ from Stange and a walking bassline from Solberg. The lyrics translate well to having a woman sing them and Peach delivers them with sass! There is also Harvey Scales and the Seven Sounds’ “Love-It is,” which most folks will associate with the J. Geils Band. The guitars shine on this rocker, and the band kicks in with backing vocals on the super-catchy chorus, which really helps to bring this tune together.

The covers are all great, but one of the standout tunes on the disc is an original that was written by Peach, “Tell Me You Love Me.” Maybe it is because this song is a ballad, but the change of mood is striking as Peach’s emotional lyrics rise to the top over multiple layers of keys and the heavy high-hat and snare of Niclas Campagnol. This song could make the listener wish that the band had snuck a few more originals into the mix.

This is a short set, and a little over a half hour in the band takes on the finale, Frankie Miller’s “Ain’t Got no Money,” a song that was also done by Cher and Bob Seger. This uptempo romp is barroom blues at its best, and after a slick break on the piano from Stange, the band brings things to a close on a high note

A Night in Copenhagen is a neat recording of a fun show by Peach and the Almost Blues Band. Her jazzy blues interpretations of classic songs work very well, and the band was definitely hitting on all cylinders that chilly winter night in Denmark. Give it a listen for yourself – there is plenty here for blues fans to like!

Blues Blast Magazine Album Review: Dave Orban and the Mojo Gypsies – I Heard You Twice the First Time

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This CD review was originally published in the March 23, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Dave Orban and the Mojo Gypsies – I Heard You Twice the First Time

Self Release

www.mojogypsies.com

14 tracks / 66:45

Many folks dream of becoming a musician some day, but Dave Orban actually went out and did it – twice! Inspired by the British invasion of the 1960s he joined the throngs of kids who purchased instruments and figured out how to sound like their heroes, though Dave took it a step further and learned about the blues that inspired many of these groups. As time went on, he made the “sensible” decision to do the whole school and day job thing, and for 17 years Orban dropped out of the music scene completely.

Then one day an old friend got ahold of Dave and asked him to come to a jam. With his borrowed guitar Orban realized that he had forgotten everything he had ever learned, but this experience ignited a fire in him that made him realize how much he missed the music. Skipping forward a few more decades, we find that he got his groove back and that his current lineup of the Mojo Gypsies has released an album of 14 of Dave’s very respectable original tunes. I Heard You Twice the First Time is a solid set of guitar-driven modern blues that draws on music from all over the United States, and it is definitely worth a listen.

On this disc, Dave Orban lays down the vocal and guitar tracks, and he is joined by the Mojo Gypsies, all of who are from the same New Jersey / Pennsylvania area. These fellows include Jeff Michael (aka Flourtown Fats) on bass, Mark A. Shewchuk on the skins, and Mike Scott on the tenor sax. Besides writing all of the songs Dave acted as the producer for the project, and the album was cut by Bobby Dreher and mixed by Brett Kull; these guys did a marvelous job of getting a clear and well-balanced sound.

The band kicks their set off with “Got That Woman on My Mind” which begins with a raunchy guitar intro and then rolls down into a luscious Chicago-style mix. Right from the start the Mojo Gypsies click, with a slow walking bass line from Michael, three or four layers of Dave’s guitars (in stereo), and bright and crisp drums from Shewchuk.

This is a big album (66 minutes!), so there is not enough room here for a blow-by-blow on every track, but there is a little bit of everything on I Heard You Twice the First Time. This includes straight-up guitar blues (“Baby, Take Your Time” and “Big-Boned Baby”), sweet Louisiana beats (“Ain’t No Lie” and “Dallas”), a touch of jazz (“The Told You So Blues” and “Trouble-Makin’ Woman”), and even a little rockabilly (“What’s Wrong”). The band carries all of these with no trouble at all, held down Shewchuk’s drums and augmented by Scott’s horn arrangements.

There are guest harmonica players on a few of the tracks too, and their presence provides a little extra spice for the sauce. Dave Holtzman (Little Red Rooster Blues Band and AC Steel) joins in for “I’m Sayin’ ‘Yes’ to Everything” and his haunting tone works magic alongside Orban’s jangly slide guitar for this Delta-tinged burner. And “Marky B” Berkowitz brings his harp to “Someone Else’s Woman,” a conventional acoustic blues song with a decidedly vintage vibe.

The Mojo Gypsies end their set with “Lookin’ for a Woman,” a righteous chunk of 70’s vintage funky blues. The bass and guitar tones are to die for on this track, and Shewchuk works the snare with a heavy backbeat. Topping all of this off, Mike Scott lays down a breathy solo break that nestles perfectly into the groove. This is nothing but the right stuff, and it is a perfect way to bring things to a close.

Dave Orban and the Mojo Gypsies did a fine job with I Heard You Twice the First Time, and as I said earlier, it is worth a listen. But you will want to listen to it more than once, as the songs are well written and provide a personal feel that is hard to find in the cover songs that fill many of the new blues albums.

And be sure to head over to the Mojo Gypsies website to peruse their gig schedule – if you are anywhere near Philly you just have to see their live show!

Blues Blast Magazine Album Review: Adam Karch – Moving Forward

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This CD review was originally published in the March 2, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Adam Karch – Moving Forward

Disques Bros Records

www.adamkarchmusic.com

www.bros.ca

12 tracks / 44:37

Adam Karch produces knockout roots music and acoustic blues from his hometown of Montreal, and his latest album, Moving Forward, is his best work yet. Karch got an early start on his music career, first taking a leading role in bands as a teen and then releasing his first album when he was still in his early 20s. Through endless touring he moved further from his rock beginnings and developed his own acoustic fingerstyle sound; the handful of albums he has released over his career reflects this growth. Evidence of this is his 2014 release, Blueprints, which is an amazingly effective reworking of classic songs into an acoustic blues context.

Moving Forward represents a further movement along the same arc, and most of its twelve tracks are originals that were written last winter, when Adam was in a time of transition. The resulting music has a personal sound and thoughtful lyrics, and there are also a handful of cover tunes are just too cool. Karch provided the vocals and guitars for this album (as well as acting as co-producer), and he was joined in the studio by a few of his friends from Quebec: Marc André Drouin on bass and Bernard Deslauriers behind the drum kit.

Adam has a strong synergy with Marc and Bernard, and the listener will discover this as the trio comes together for the opener, “Seaside Venues.” This is slick acoustic rocker that allows to Karch to shine both with his fancy picking and his voice, which is strong and equal parts smooth and gritty. There are only a few of songs on the disc that include this trio, but in each case the backline of Drouin and Deslauriers really delivers the goods. This includes the blues rock of “Lil’ Black Dress,” the pop / soft rock of “The Contract,” and the laid back feel of two California country songs, “On a Cold Grey Sky and “Those Steady Lights.” By the way, Kim Richardson provides sweet vocal harmonies on that last one, which is a welcome addition to an already strong song.

The majority of the tracks on Moving Forward are solo acoustic numbers, and on some of these Karch’s friends sit in to help make the mood. Dimitri Lebel-Alexandre lends his pedal steel to the country blues of “Louis Collins,” and his tastefully restrained playing is quite a complement to Adam’s tricky picking. Also, Guy Bélanger brings his harp to a cover of Keb’ Mo’s “City Boy,” which wisely retains a similar pace and feel as the original, but with considerably less instrumentation. The listener will agree that this arrangement is a beautiful and simple accompaniment to the heartfelt lyrics. Towards the end of the song, Bélanger first makes himself heard with a lovely solo, and his wailing harp helps Adam bring this one home. This is definitely one of the standout tracks on the album.

There are a few other covers on Moving forward, including a re-do of one of Adam’s own songs, “Did You Get the Latest News,” which was originally released on his 2002 debut album, Crossroad Diaries. Then there are a few others that will definitely grab your attention when you look at the track list. Karch takes a successful run at Bob Seger’s 1981 hit, “Night Moves,” with a healthy serving of fancy fingerpicking and a steady beat. Then there is an acoustic country version of Warren Zevon’s “Werewolves of London” that features a fun break before the chorus is reprised one last time. In both of these popular tunes, Adam does a very respectable job with the vocals, which is no small feat as these songs were both originally recorded by vocalists with very distinctive styles.

Is there anything missing here? Well, if you were thinking you would like to hear a solo acoustic instrumental then you are in luck as “Somewhere in El Paso” is a clean showcase of Karch’s guitar work, and this song is a fine tutorial for young players who need to learn a thing or two about the use of dynamics and repeated forms.

After listening to the whole disc, there is no doubt that Adam Karch can cut a mean record, but he is also a solid live performer. On his website you will find gig dates for the first half of 2017, and if you are going to be in Quebec you will be happy as there are plenty of shows coming up. On his site you can also listen to samples of each of the dozen tracks on Moving Forward, and you will dig them if you are into roots music and acoustic country and blues. Listen for yourself and see what you think!

Blues Blast Magazine Album Review: Paul Reddick – Ride the One

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This CD review was originally published in the January 26, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Paul Reddick – Ride the One

Stony Plain Records

www.paulreddick.ca

www.stonyplainrecords.com

11 tracks / 45:05

Paul Reddick is one of the pillars of the Canadian blues community, and he is working to ensure that the genre continues to grow in his country, going so far as to create the Cobalt Prize to honor songwriters who further this art form. He is also an accomplished poet, songwriter, vocalist and harpman, and he has been leading the charge for Canadian blues since 1990 when he formed the Sidemen. He recently released his first album for Stony Plain Records, and Ride the One is a wonderful effort that is a departure from what he has done before.

Reddick wrote all eleven of the tracks for Ride the One, which was recorded at Union Sound Company in Toronto, Ontario. Paul provided the vocals and harmonica parts, and he was joined by Anna Ruddick on bass, Greg Cockerill and Colin Cripps on guitar, and jack-of-all-trades Derek Downham on drums, piano, and the talkbox. Special guest Steve Marriner from Monkeyjunk helped out with guitar and Fender Rhodes; this is a form a payback as Monkeyjunk is one of the bands that benefited from the groundwork that Reddick helped to lay down.

If you are familiar with Reddick’s previous albums, Ride the One will not be what you expect as it has many more layers of sound and a decidedly intense feel. This is modern blues with an edge to it, and it takes a few listens to get the whole picture of what Paul is trying to accomplish, but he definitely succeeds. The opening track, “Shadows,” is a perfect example of this as it hits the listener solidly with Downham and Ruddick laying down a fervent beat. Over this there is a thunderous chorus of guitars and Paul carrying the melody with his howling vocals and growly harp, both of which are served up with a bit of distortion. There is a lot going on here.

The intensity does not let up for the next song, “Celebrate,” but it does have a more melodic feel with cool stereo guitar effects and a melodic bass line from Anna Ruddick. Then the listener gets a breather with “Mourning Dove,” which has a heavy swamp rock beat, sparser instrumentation, and a plethora of killer guitar tones. This is one the standout tracks on the album, as it does such a fabulous job of setting the mood.

There are also some more accessible tunes on Ride the One, and “Gotta Find A…” delivers more conventional vocals that are accompanied by organic-sounding instrumentation. The backing vocals and harmonies are a welcome addition to this track, moving it into an almost radio-friendly format. Another catchy tune is “Watersmooth” which has lyrics that are delivered in short phrases over a slick blues-rock beat. Downham adds a little piano into the choruses as a counterpoint to the guitar solo, which is a nice contrast to the inherent weight of this track.

From there, the listener will encounter modern electric blues (“Diamonds”), Midwestern rock and roll (“Living in Another World”), and moody rhythm and blues (“Love and Never Know”). Before you know it, things come to a close with “Moon and Star” which is a poem that is presented with muffled vocals (and a touch of echo) alongside Reddick’s harmonica. This bare-bones formula works, and it is a cool acoustic coda to an otherwise heavy and complicated album.

Ride the One is a strong effort from Paul Reddick, and it is a satisfying 45-minute set of hard-hitting blues-rock that is played by a very tight crew. It has been four years since Paul last released an album, but he took his time to get everything right, and he certainly has not lost a step. Check it out for yourself to hear some awesome modern blues out of Canada, and head over to Reddick’s website to see if he is gigging anywhere near you – it will definitely be worth your time!

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 2018 BBMA Award Nominees

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Here is the info on the 2018 Blues Blast Music Awards Nominees and the awards show:

From Blues Blast Magazine - www.BluesBlastMagazine.com

Contact Information: Bob Kieser (309) 267-4425 or info@bluesblastmagazine.com

In early April, a group of Blues music industry professionals including music critics, journalists, festival promoters, music venue managers, producers, musicians and other Blues music industry professionals nominated the best in Blues music in twelve categories. The complete list of nominees is listed below and is also available at our website at: www.bluesblastmagazine.com/2018-blues-blast-music-awards-nominees/

Fan voting to determine the winners begins July 1, 2018 and continues until August 31, 2018 on our website at BluesBlastMagazine.com. Voting is free and open to anyone who is a Blues Blast Magazine subscriber. Blues Blast Magazine subscriptions are always FREE and you are automatically signed up as part of the voting process on our website.

The Blues Blast Music Awards are presented by Blues Blast Magazine, the largest FREE weekly internet Blues magazine with over 36,000 Blues fan subscribers located in all 50 states and in more than 90 countries.

The 2018 Blues Blast Awards ceremonies will be held on September 29th, at Tebala Event Center in Rockford, Illinois. Tickets and complete information on lodging and directions are available at The Blues Blast Music Awards website at www.TheBBMAs.com.

The 2018 Blues Blast Music Award nominees
Contemporary Blues Album

• Victor Wainwright & The Train - Self Titled
• Selwyn Birchwood - Pick Your Poison
• Chris Cain - Self titled
• Danielle Nicole - Cry No More
• Bernard Allison - Let It Go
• Jason Ricci & The Bad Kind - Approved By Snakes

Traditional Blues Album

• The Nick Moss Band featuring Dennis Gruenling - The High Cost of Low Living
• Kim Wilson - Blues And Boogie Vol 1
• Rick Estrin & The Nightcats - Groovin' In Greaseland
• Oscar Wilson - One Room Blues
• The Cash Box Kings - Royal Mint
• Mud Morganfield - They Call Me Mud

Soul Blues Album

• Wee Willie Walker & The Anthony Paule Soul Orchestra - After A While
• Johnny Rawls - Waiting For The Train
• Bettye LaVette - Things Have Changed
• Benny Turner - My Brother’s Blues
• Markey Blues & Ric Latina Project - Raised In Muddy Water
• Ivy Ford - Time To Shine

Rock Blues Album

• Walter Trout - We're All In This Together
• Albert Castiglia - Up All Night
• Tinsley Ellis - Winning Hand
• Tommy Castro & The Painkillers - Stompin' Ground
• Ghost Town Blues Band - Backstage Pass
• Savoy Brown - Witchy Feelin'

Acoustic Blues Album

• Curtis Salgado and Alan Hager - Rough Cut
• Doug MacLeod - Break The Chain
• Mitch Woods - Friends Along The Way
• Daniel Eriksen - Narrative Boogie
• Sonny Landreth - Recorded Live In Lafayette
• Sunny Lowdown - Down Loaded

Live Blues Recording

• Sonny Landreth - Recorded Live In Lafayette
• John Mayall - Three For The Road
• Ghost Town Blues Band - Backstage Pass
• Muddy Waters - Live At Rockpalast
• Nick Schnebelen - Live In Kansas City
• Casey Hensley - Live Featuring Laura Chavez

Historical Or Vintage Recording

• Muddy Waters - Live At Rockpalast
• Luther Allison Box Set
• Johnny Nicholas - Too Many Bad Habits
• Paul Delay – Live at Notodden '97
• Reverend Raven & The CSAB - My Life – Twentieth Anniversary

New Artist Debut Album

• Patrick Recob - Perpetual Luau
• Ben Levin - Ben's Blues
• Heather Newman - Burn Me Alive
• Casey Hensley - Live Featuring Laura Chavez
• Orphan Jon - Abandoned No More
• Ilya Portnov - Strong Brew

Blues Band

• The Nick Moss Band featuring Dennis Gruenling
• Rick Estrin & The Nightcats
• The Cash Box Kings
• Ghost Town Blues Band
• Welch Ledbetter Connection
• Reverend Raven & The Chain Smokin' Altar Boys featuring Westside Andy

Male Blues Artist

• Victor Wainwright
• Chris Cain
• Walter Trout
• Oscar Wilson
• Kid Ramos
• Benny Turner

Female Blues Artist

• Danielle Nicole
• Shaun Murphy
• Samantha Fish
• Bettye LaVette
• Beth Hart
• Karen Lovely

Sean Costello Rising Star Award

• Ben Levin
• Joyann Parker
• Orphan Jon
• Ivy Ford
• Heather Newman

Mahalo!

Blues Blast Magazine Album Review: Terrie Odabi – My Blue Soul

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This CD review was originally published in the October 13, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Terrie Odabi – My Blue Soul

Self Release

www.reverbnation.com/terrieodabi

13 tracks / 64:50

With its rich cultural history of jazz, rock, and the blues, the San Francisco Bay area launched many artists’ careers and has been a source of so much fantastic music over the years. None other than the late Etta James got her start in the Bay Area, and Oakland’s Terrie Odabi is doing a marvelous job of following in her footsteps. Terrie’s vocal skill and passion translate well to the studio, and her sophomore album, My Blue Soul, has everything going for it.

Terrie worked in the music business for years before releasing her 2014 debut album, Evolution of the Blues. Based on the pure awesomeness of this disc and her amazing performance abiity, Odabi earned the right to be the Bay Area representative at International Blues Competition for 2014 and 2015, and both times she made it to the semi-finals. This lady is the real deal, and has earned all of the respect she gets.

My Blue Soul is a labor of love from Terrie, as she wrote eleven of the thirteen tracks, and she poured her soul into recording the vocals. She made all the right moves to make sure this would be a good album, and the first step was bringing in Kid Anderson as the producer and engineer. Anderson knows how to construct a quality blues album, and it surely made his job easier to have Odabi and a crew of more than a dozen top-shelf Bay Area musicians to work with.

The music is excellent, but Terrie’s lyrics are what really make the songs special. They are honest and relevant, drawing on personal and community experiences. The first track, “Gentrification Blues,” is a pointed social statement about folks who move into a neighborhood and then think they have the right to change the existing cultural norms. This fervent message is set to a hopping mixture of blues, funk, gospel, and rock with smoking organ and guitar from Anderson and thumping bass and drums from Kirk Crumpler and Derrick Martin.

“Born to Die” is a 1970s-issue jangly rock and roll revue with a “Foxy Lady” beat and the finely tuned horn section of Nancy Wright, Manny Angel, and Faris Jarrah - these cats are tight! The message here is that no matter what one’s station in life is, the end result is always the same so we should live accordingly. This track is backed up by the jazzy blues of “Life is so Good,” an autobiographical torch song from a woman whose life is good, so that she can’t believe that she’s singing the blues. This song features Terry Hiatt on lead guitar and cool muted trumpet from Angel.

There are a few songs about the difficulties of relationships, but the most uplifting is “When You Love Me,” a song that Odabi wrote to thank her love for his support during the production of this album. This is a barebones blues track with sexy vocals and the sparse instrumental accompaniment of just a pair of guitars manned by Anderson and AJ Crawdaddy. This is the perfect opportunity for listeners to hear Terrie’s voice, and her personality, inflection, and range are truly amazing.

The cover tunes are both neat songs that have special meaning to Terrie. She loves Big Mama Thornton, so “Ball and Chain” is a logical addition to the mix. This piece of straight-up blues is powerfully sung with sweet guitar leads from Kid and tasteful piano from Ken Cook. The other re-do is the traditional, “Wade in the Water,” reinterpreted as a gloriously soulful rhythm and blues tune. This spiritual is has a powerful place in US history, and the lovely backing vocals of Courtney Knott, Lisa Leuschner Anderson, and Niecey Robinson make this modern take complete.

My Blue Soul is an excellent sophomore effort from Terrie Odabi, and it is a testament to what this woman means for the future of blues. This disc is full of poignant songs that are recorded well and appeal to both traditional and modern blues audiences, making it one of the best releases of 2016. and it will be awesome to see what she comes up with next!

Blues Blast Magazine Album Review: Big Jon Atkinson and Bob Corritore – Party at Big Jon’s

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This CD review was originally published in the August 25, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Big Jon Atkinson and Bob Corritore – Party at Big Jon’s

Delta Groove Music

www.bigjonandthenationals.com

www.bobcorritore.com

www.deltagroovemusic.com

16 tracks / 61:25

House parties with live entertainment usually end up with a loud bands that give a valiant effort at recreating favorite hits from classic rock bands such as Led Zeppelin, The Doors, Lynyrd Skynyrd, and the Allman Brothers. Often there is more enthusiasm than talent, and sometimes it is a relief when the band takes a break. Party at Big Jon’s, the new album from Big Jon Atkinson and Bob Corritore is nothing like this, and it is an hour-long set of vintage blues sounds that are served up with enormous talent.

As he was born in the late 1980s Big Jon Atkinson is a relative newcomer on the blues landscape, but he has somehow escaped his generation’s fascination with the shiny allure of videogames and social media, instead focusing his energy on the genre that he loves. Big Jon’s 2014 debut album, Boogie With You Baby, is an amazing piece of work and it was an avenue for his music to reach beyond the fans that were lucky enough to see his live shows. For a fellow that has not even hit 30 yet, Atkinson has earned the respect of fellow bluesmen and his voice has an aged timbre that is beyond his years (in good ways). You would be hard put to find a modern blues singer that has his talent or his unmistakable feel for the music. He is pretty good on the guitar, too!

His partner on this project, Bob Corritore, should need no introduction, as he is one of the premier harp men in the business today. Bob learned from and played with Chicago blues masters, and he brought this knowledge and skill with him to the Sonoran Desert in the early 1980s. Corritore opened the famed Rhythm Room in Phoenix in 1991, and if you are ever in this part of Arizona this is the premier joint to hear quality live music. This man also spreads the good news of the blues gospel though his website and his radio show, and he collaborates, produces, and promotes other blues artists. Bob Corritore is a righteous dude, to be sure.

Party at Big Jon’s was produced by Atkinson and Corritore, and it was recorded last year at Jon’s Big Tone Studio in his hometown of San Diego, California. The tracks were laid down using vintage equipment and techniques, giving the whole project a satisfyingly raw electric blues sound. They got top-shelf help in the studio from guitarist Danny Michel and bassist Troy Sandow, as well as a trio of fine drummers: Malachi Johnson, Brian Fahey, and Marty Dodson. Some very special guests also joined in, as you will soon see. The content is divided between classic blues tunes and originals that were written by this duo and their friends.

The hour-long set is bookended by two songs that Atkinson wrote and sang, and they both have the feel of yesteryear with Jon’s slightly muffled vocals and thumpy double bass from Sandow. “Goin’ Back to Tennessee” kicks things off with a conventional blues lyrical style accompanied by instrumentation that provides space for the guitar leads and Corritore’s tasteful harp work. Bob does not need to wow the listener with crazy harmonica antics, as his phrasing and musicality are spot on for this and every other track on the album. The closer, “My Feelings Won't Be Hurt” places more emphasis on the vocals, and Big Jon has the ability to howl them out without losing his edge and sounding too rough. It is hard to believe that he has developed this much talent and restraint at such a young age.

Big Jon only provides the vocals for half of the songs on this disc, and there is prime talent that takes care of the rest. A fellow San Diego denizen, Tomcat Courtney, performs his original “Mojo in My Bread” and there is no sign that this octogenarian is slowing down; his delivery of the clever lyrics is beautiful. Sticking with the mojo theme, Alabama Mike tears up Lightning Hopkins’ “Mojo Hand,” and almost outdoes B.B. King on “Somebody Done Changed the Lock on My Door.”

Chicago bluesman Willie Buck also sings one the originals that he wrote (“You Want Me to Trust You”), and takes a run at Slim Harpo’s “I’m a King Bee.” His voice is as smooth as silk on these tunes, and it is a cool counterpoint to Corritore’s grittier harmonica parts. Another Windy City fellow, Dave Riley, does his original “Mississippi Plow”(he was born in the Magnolia State, you know) and Charles Johnson’s “At the Meeting,” a slow gospel blues song that is one of the standout tracks on the disc.

Big Jon Atkinson and Bob Corritore did a wonderful job with Party at Big Jon’s. There is a consistent feel to the songs from track to track, despite the mix of older covers and new material, and the different frontmen that participated. The vintage sound is contagious, and this is one of the best traditional blues albums of the year; it will certainly be a contender for next year’s awards season. Check it out for yourself, and enjoy some excellent blues in one of its most enduring forms!

Blues Blast Magazine Album Review: Michael Barclay - Tracks

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This CD review was originally published in the July 21, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Michael Barclay – Tracks

Chatterbox Records

http://www.sonic.net/~michaelb/

15 tracks / 50:38

Multi-instrumentalist and singer Michael Barclay has an extensive history with all kinds of music, having worked as a sideman with artists as diverse as rock pioneer Chuck Berry (back in the 1960s!), jazzman Randy Crawford, and the B-3 master himself, Merl Saunders. Hailing from Northern California, Michael has been steadily churning out self-produced albums that cover a lot of ground, including last year’s very good blue-rock collection, King of Hearts.

Tracks is Barclay’s fifth solo release, and the new album is subtitled “A Blues, Funk, and World Music Ride for the Discerning Traveler.” That does a great job summing up what is going on here, as Michael does not confine himself to any one genre, and he generates many different moods and emotions. He did a lot of the heavy lifting on this disc, as he wrote thirteen of the tracks, provided the vocals, and laid down a good portion of the guitar, bass, organ, piano, trumpet, and synthesizer parts. He was joined by Roger Volz on saxophone for a number of the tracks, and a few other guest musicians filled in as needed.

Michael leads off this album with “California Burnin’” and this gives the listener an insider’s view of living in brushfire country, one of the perils of the Golden State. This story is set to a 1980s style blues-rock soundtrack complete with very well done clean lead guitar work from Barclay and solid drums from guest artist Tommy Miles. Moving to more a more traditional blues subject is “Is it Him or is it Me,” which is about a man who needs to know where he really stands with his lady. This song uses 1980s synthesizer and vocal sounds that give the feel of the low-key rock that Clapton was doing 30 years ago.

There are a few tracks where the lyrics take a backseat to the music and the words are just used to help cement the message of the song. One example of this is “I’m So Weary” which has the same two lines, “I’m so weary / boy oh don't you know,” set to a smooth Afro Cuban beat. This song uses hand percussion and light-hearted guitar lines from Kendrick Freeman and Andrew Ohren to achieve more of an island sound. Another is “Lucky Streak,” a slow-paced funky rocker with simple instrumentation (bass, guitar, and drums) and a 1980s vibe.

Two cover tunes are also included on Tracks, and they are not the usual ones that everybody else seems to redo. There is a dark version of “I’m a Man” from the Spencer Davis Group (remember Steve Winwood?) that is heavy enough that it changes the mood from a proud declaration into a brooding melancholy. Then there is an upbeat instrumental, “Hoodoo Snake Doctor Blues,” that Johnny Shines originally recorded in 1970. Barclay does a fine job with the organ and guitar here, and his soloing has a very natural feel and pace.

As most of the songs are relatively short, Michael found room for four other instrumentals on this disc and these cover a variety of sounds and moods. “Mike’s Blues” has a funky 1970s blues sound with a slick sax lead, and solos that are traded off from Volz’s sax to Barclay’s guitar to Lowell “Banana” Levinger’s organ. Other guest musicians were brought in for this track, including Bill Boggio on guitar, Terry Baker on drums, and Kent Fosgreen on bass. Michael also experiments with the Jamaica sound on “Reggae Man,” a modern tune that uses keyboards to good effect, including a neat steel drum sample. Then there is “Tracks,” a laid-back jazzy blues song that has a smooth guitar lead and a pulsing bass line. And lastly, Michael closes the album out with “F-bomb” a short solo acoustic guitar track that ties everything together as it reminds the listener of what the blues is all about and where it came from.

This about covers it for Tracks, and Michael Barclay definitely accomplished his goal of providing entertainment for individuals who like variety in their musical collection. Give it a listen for yourself, and please remember to support local independent musicians, as there is a lot of good stuff to be found out there!

The Claudettes – Dance Scandal at the Gymnasium! | Album Review

The Claudettes – Dance Scandal at the Gymnasium!

Yellow Dog Records

www.theclaudettes.com

www.yellowdogrecords.com

12 tracks / 35:51

The Claudettes are a completely different group than the two-piece house band that used to help advertise drink specials from the stage for its namesake, Miss Claudette. Since I first heard them on Infernal Piano Plot…Hatched!, they have transformed from a piano and drums duo to a quartet, and this expanded roster has given the group a lot of headroom to explore new themes and sounds.

Johnny Iguana (not his real name) is a founding member of the group, wrote all of the songs, plays a truly mean piano, and adds backing vocals into the mix. He was joined in the studio by Matthew Torre on drums, and Zach Verdoorn on guitar, bass and backing vocals. These are all fine musicians, but they hit the jackpot when Berit Ulseth joined the The Claudettes as their singer two years ago. Her vocals are a wonderful blend of jazz and blues and I cannot really come up with another singer to compare her to; her sound is truly her own.

The band’s new CD, Dance Scandal at the Gymnasium!, was cut mostly live at Soil of the South in Valdosta, Georgia by Mark Neil, who made the instrumentalists play the songs over and over again until they got them just right. So, there is not a lot of studio trickery and overdubs going on here, just refined talent. The group laid down twelve relatively short tracks, each of which tells an intriguing story without getting bogged down by egotistical soloing or other nonsense.

The Claudettes are hard to pin down to any one genre, which is a hard one to swallow for those who are hardcore fans of any one type of music. There is a definitely a blues influence, but there is also a heavy jazz theme, and to lesser degrees you will hear rock, boogie-woogie, punk, and god know what else. All of these elements add up to a wonderful slice of Americana, and the results are very listenable.

Their set kicks off with “Don't Stay With Me,” which presents one side of the story of unequally yoked lovers who are in a relationship that is nearing its end. This frustration is presented in the music by Verdoorn’s smoothly distorted guitar while Torres’ heavy drums create a sense of tension that does not let up until Ulseth utters the final line, “You're just as sweet as can be, but please, don't stay with me.” This mood does not lighten for the next track, “November,” which is about someone who is barely keeping it all together as they age. Johnny does a nice job of holding down the bottom end here, and I hear something new with his playing every time I listen to this song.

The sound gets a little more playful with “Give it All Up for Good,” in which Berith sings about how people addicted to social media are becoming apathetic and are disconnecting from each other. This is an easy tune to get stuck in your head, thanks to the thumpy bass part, Iguana’s hammering piano, and the catchy breaks with group harmonies. In a similar vein, “Naked on the Internet” discusses how nothing ever really goes away once it is online. This song is a bit of a departure from the others as Berith shares the lead vocals with one of the fellows (I don’t know who…), and the listener is treated to brief solos from Johnny, Zach, and Matthew, which is saying a lot as this song is not much more than two minutes long.

There is not enough room to write about all twelve of the songs on the album, but they are all thoughtfully written with lyrics that cover both the troubles with relationships and the increasingly terrible social situation in our world. I must point out though, that there is a lovely instrumental on the playlist too, and that would be the title track. “Dance Scandal at the Gymnasium” shows what the rest of the band is doing while the listener is distracted on the other tracks by the clever lyrics and sultry vocals. And what they are doing is laying down a sick jam, as these guys can really play: Iguana has a killer dexterity and a righteous touch on the keys, Verdoorn is ultimately versatile and has wicked bass and guitar tones, and Torre is a frickin’ drumming machine. Damn.

Dance Scandal at the Gymnasium! is a fine album, but the Claudettes put on an excellent live show too and the band’s energy and musicianship are first rate. They bought a new van and are touring endlessly around the United States, and they even have some European dates coming up. Head over to their website to hear some samples and to see where they are going to be playing next – I have seen their new line-up at the Viper Room and they are amazing - trust me, you want to see them in person!

Blues Blast Magazine Album Review: Anthony Charles and the Blues Dolphins – Blues from the Kino Border

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This CD review was originally published in the July 21, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Anthony Charles and the Blues Dolphins – Blues from the Kino Border

Self Release

http://anthonycharlesandthebluesdolphins.com/

10 tracks / 52:09

Anthony Charles was born in New York City where he received formal training as a musician and he has been playing out in some way or another since the 1960s. His musical path in life led to one of the more obscure expressions of the art form when he worked as a jingle singer for commercials, but the blues had a strong hold on this man. A few years back he decided to learn blues harmonica, and after two years of work in the studio we now have the first album from Anthony Charles and the Blues Dolphins, Blues on the Kino Border. It turns out he is a fine blues singer and songwriter, and is pretty good on the harp, too!

Now based out of Columbia, South Carolina, Anthony got a group of fine musicians together to cut eight original songs and a couple of cool covers for this album. The main personnel for this project include Rick Ramsey on bass, James Casey on drums, Shrimp City Slim on piano, and John Hartness on guitar. A few guest artists pitched in as well, including guitar work from Warren Scott, who passed away during production; this album is dedicated to his memory.

The songs on Blues from the Kino Border mostly follow traditional blues structures, but many of the lyrics come from situations and issues of today. The first song in the set, “Highwater Stomp,” is a shuffle about the effects of hurricanes Sandy and Isaac in 2012. You will hear that Charles has a strong tenor voice, and a nice touch on the guitar. The backline is stout as Ramsey’s bass parts really pops, and Casey is a human metronome on the drums. On this song, guest artists Brittany Turnipseed and Ashley Kent also provide sweet backing vocals as needed.

After the opener, the band picks the tempo up for another shuffle, “Bad Neighbor Blues.” On this track Shrimp City Slim provides a cool background of barroom piano and pulls off a rough and ready solo before Anthony takes the next break on his harp. This is a subject that most everybody can relate to, and the same can be said about the relationship woes that are described in “Kennel Cough Blues” and “Password Blues.” Charles uses vivid imagery and witty exaggeration to bring the lyrics home on these fun tunes.

But it is not all fun and games here, and things get real with “Kino Border Blues.” This song honors the Jesuit priest Peter McNeely who has worked for the humane treatment of migrants in the Nogales area. Anthony howls the lyrics with gusto, and there is a slick Latin feel to this song courtesy of Casey’s steady work on the toms, as well as healthy doses of violin and mandolin from James Graddick. There is also a glimpse at the fragility of our bodies and the need to take better care of ourselves in the slow-rolling “Heart Stoppin’ Blues.” But, most sobering of all is “Transubstantiation Blues,” which takes a hard look at the troubling institutionalized violence that plagues the United States.

There is also a pair of cover songs that the band included to honor musicians that have inspired them. Bessie Smith’s “Jailhouse Blues” is a harmonica-heavy tune that captures the spirit of the original, and the guitar parts of The Reverend Marv Ward and Warren Scott are spot on. There is also “Something in the Milk Ain’t Clean,” a song that was originally done by one of their favorite local artists, Drink Small. This tune closes out the album, and it is wonderfully performed with multiple guitar tracks and fabulous piano from Shrimp City Slim.

Blues from the Kino Border is a solid first effort from Anthony Charles and the Blues Dolphins. This record checks all of the boxes, with thoughtful lyrics, good songs, and strong musicianship. Give it a listen for yourself, and be sure to like their Facebook page so you can keep up on their gig schedule. If you find yourself in South Carolina it would be worth your time to check out one of their shows!

Blues Blast Magazine Album Review: Walter Trout – ALIVE in Amsterdam

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This CD review was originally published in the July 7, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Walter Trout – ALIVE in Amsterdam

Mascot Label Group

www.waltertrout.com

www.mascotlabelgroup.com

2 CDs / 16 tracks / 105 Minutes

Walter Trout has a lot going in his favor – a new lease on life, a tour supporting his excellent Battle Scars album, and a newly released concert album, ALIVE in Amsterdam. The latter is the best live blues album I have reviewed over the past few years, and this project says a lot about Walter and where he is in his life right now.

Trout is a blues guitar hero and singer who has appeared on over 40 albums in his career, including working as a sideman with luminaries of the genre and a five-year stint with John Mayall’s Bluesbreakers. Things looked bad for him in 2013 when his liver was failing, but after a transplant in 2014 he came back as strong as ever. ALIVE in Amsterdam documents this comeback better than any magazine article or documentary could. Many musicians will lay down a live album to help fluff up their catalog or to give their fans something new to buy, but Walter used this opportunity to show all of us that he still loves his craft and that he is just as good as he ever was.

This show was recorded on November 28, 2015 at the Royal Theatre Carré in Amsterdam, and Trout was joined by the well-traveled Johnny Griparic on bass, as well as longtime band members Michael Leasure on drums and Sammy Avila on the Hammond B3 organ. You will also get to hear Walter’s son, Jon Trout on guitar and Andrew Elt on vocals and guitar. This is a tight crew who lay down an excellent groove that allows Trout to do what he does best. As always, there is no set list but there is nothing thrown at these professionals that they are not able to handle.

Walter’s wife (and manager) Marie kicks things off with a quick introduction, and the crowd gives the band a warm welcome before Trout gives them a strong dose of guitar pyrotechnics to lead into ”Help Me.” This heavy 12-bar blues track features plenty of Walter’s guitar and his unwavering vocals, along with a fine organ break from Avila. After this they run through a high-energy take of Luther Allison’s “I’m Back” followed up with a sweet tribute to the late B.B. King, “Say Goodbye To The Blues,” complete with some heartfelt personal remembrances. This song has been huge for him in the Netherlands, and the audience really showed their approval.

Then the band strings together a half-dozen songs from Battle Scars, including “Almost Gone,” “Omaha,” “Tomorrow Seems So Far Away,” “Playin’ Hideaway,” “Haunted By the Night,” and “Fly Away.” If you are not familiar with this material, it might be a good idea to give it a listen. These songs were written during Walter’s recovery, and they are breathtakingly personal and honest. Usually when fans come out to see an artist they want to hear all the old hits, but the crowd at this show was really tuned in and was very appreciative of this new material. What a magical evening!

One of the high points of the album is when an audience member calls out for “Marie’s Mood” and Walter responds, “OK, we’ll do that for you, we’re easy!” Trout is at his most melodic here, and his touch on the fretboard is sublime. Another cool moment is when Jon rocks out with his father for “Rock Me Baby” which really shines with two guitarists up front. As with the rest of this two-hour show, these tunes are well recorded with a slightly bass and drum heavy mix that emphasizes how gnarly this set is.

ALIVE in Amsterdam is a wonderful live album from Walter Trout and his band, and if you are a fan of his music, or hard guitar-driven blues-rock in general, it should be on your list of albums to purchase as soon as possible. It is available either as a two-disc set or as a collection of three heavy vinyl albums, and it will surely get more than one listen if you pick up your own copy. They are currently touring Europe, but will swing back through the United States in August before heading back overseas, so click through his website to see if he is playing near you. It will definitely be worth your time!

Blues Blast Magazine Album Review: The Jackson Whites – Hard Luck Stories

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This CD review was originally published in the June 16, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The Jackson Whites – Hard Luck Stories

Jersey Delta Records

www.thejacksonwhitesband.com

www.jerseydeltarecords.com

12 tracks / 59:11

When folks talk about Delta music they are usually referring to the Mississippi River Delta, so it is a change of pace to receive an album of new music from the New Jersey Delta. Maybe (like me) you did not know that there is a rich music scene to be found there, but fine musicians such as harmonica ace Rob Paparozzi, Al Chez (David Letterman Orchestra), Pat DiNizio (The Smithereens), Glen Burtnik (ELO and Styx), and Jack Daley (Lenny Kravitz) all hail from the Delta.

Hard Luck Stories is the debut CD from The Jackson Whites, a loose collaborative of musicians from the New Jersey Delta. Over the course of five years, more than 25 musicians (most of them locals) recorded the dozen tracks on this album. This project was produced by two native sons, Benny Harrison and Bob Zaleski, and was fronted by Robert Van Kull, who wrote all of the songs. Their music is pure Americana, meaning that there are many diverse influences to be found here: blues, folk, country, rock, mountain music, and maybe even Irish drinking songs for good measure. Blending all of these together with smart and witty lyrics results in a powerful piece of work.

“Water,” the first track, has an upbeat melody that contrasts well with Van Kull’s earthy vocal style. There are elements of folk, bluegrass, Louisiana roots thanks to layers of guitars and peppy accordion as played by Kraig Greff. The lyrics are sharp and locally inspired, and in the chorus you will hear a style that is repeated throughout the disc as there are group vocals and harmonies that tie the song together (in this case from Harrison and Leslie Wagner). This segues into “Hard Luck Story,” a light rocker with organ from Harrison and a mandolin break from Jeff Hemmerlin that lends a Tom Petty/Springsteen vibe to the song. Burtnik lays down the bass line for this one, and pitches in on the backing vocals. One of the best lines from the album can heard here: “I’m a hard luck story, I wrote it page by page, I built it bar by bar like an iron cage.”

Ron Paparozzi appears on “Rhythm,” a neat bit of hard rock with distorted guitars and cool harmonica accents. I have to agree with Van Kull that “Rhythm is the hardest word to spell,” but instead of spelling it out the Jackson Whites make it happen with a great backline and solid drumming. You will not usually hear harmonica on songs like this, but Rob does a great job of working it in. He also appears on “Pagan Blues,” a song that provides a heavy dose of today’s reality. The laconic drawl that the lyrics are delivered in also give a bit of a folk or country feel to this blues-rock tune.

The standout track from Hard Luck Stories is “My Laotian Bride” which has a loping folk vibe that starts out with the fiddle introduction from Tim Carbone. This is not the most complicated music in the world, but it is a catchy tune and the narrative is breathtakingly honest and vivid. It details a young woman’s assimilation into American culture, to the point where “she’s as Jersey as a tool booth, never tells the whole truth…” Amen.

The second half of the album is as solid as the first, with some fabulous horns from Brian Benninghove, Al Chez, and Nick Finzer on the super-funky “Yesternight.” To finish the set, the band chose “The Road in the Waxing Moon,” a countrified acoustic song with lovely vocal harmonies, and a bit more pedal steel from Jim Ryan and fiddle from Carbone. This is a cool way to bring a really different album to a close.

Listening to Hard Luck Stories as a whole, it is hard to believe that it took over half a decade to record it as everything sounds like it was cut at the same time. All of the songs have a similar feel and they flow seamlessly from one to another to form a single entity. The lyrics can be gritty and raw at times, but the stories are full of truth and are drawn directly from soul of the Garden State. Head to Jersey Delta Records website to learn some history, and to check out The Jackson Whites for yourself.

Blues Blast Magazine Album Review: Time Gap – Flashback

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This CD review was originally published in the June 23, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Time Gap – Flashback

Self Release

www.facebook.com/timegap1

7 tracks / 28:28

The members of Pennsylvania’s Time Gap have something special going on. Their debut EP, Flashback, is seven tracks of original blues music that are infused with bits of jazz to provide a cool twist. The other cool twist is that after hearing their work, it is hard to believe that all four of the band’s members are still in high school. Their efforts have not gone unnoticed, as they recently represented the City of Brotherly Love in the Youth Showcase at the International Blues Challenge, so they are definitely on the blues scene radar now!

Time Gap is led by guitarist Radka Kasparcova, along with vocalist Sophie Griffiths, Miles Burger on bass, and Noah Bryant behind the drum kit. These folks are influenced by The Allman Brothers, BB King, and Buddy Guy, and often perform songs from these artists at their shows, but this disc is all about their original music. As there are only seven songs on this half hour album, following is a rundown for each of them.

The first song in their set is “So Many People,” an up-tempo blues song with jazz inspired vocals and guitar. Griffiths has a sweet alto voice with good inflection as she obsesses over a man and sees his face everywhere she goes. Burger has a great tone and thump to his double bass, and holds down a solid beat with Bryant. The mood changes with the next tune, “Rain on My Parade,” which is a frenzied boogie with Kasparcova taking a strong lead on her guitar. This song would be a great calling card for any of the members as they each get a chance to show off their talents.

Then, with “New and True,” the band gets to take a bit of a breather with a jazzy ballad that tells the story of a woman who has to know where she stands. For this mellow tune, Griffiths maintains an edge to her voice, which provides contrast that keeps the mood from getting overly sweet – this is the blues, you know. Radka does extended work with her heavily processed guitar tone, and (as with the rest of the disc) she plays with wonderful touch. She also provides layers of acoustic and Hawaiian guitar for “Two Way Street,” which is a really cool combination. This song has a neat change of pace midway through, which is something this band is not afraid to try on a few of the tracks.

“Did you break my heart or did you spare me?” is the question that is asked in “Thursday,” a slick funk track that is very catchy and listenable. This song features a tastefully restrained guitar solo plus a few righteous bass and drum breaks from Burger and Bryant that bring it together well. There is also 12-bar blues to be found, and “As Time Rolls On” changes up this proven formula with a Latin beat and an extended instrumental interlude halfway through. Then, before you know it, the set wraps up with another ballad, “Simple.” Griffiths cements her role as a chanteuse as she pines for that which she has not and the group uses drastic dynamic and mood changes with this song to effectively create drama and to bring the story home.

Time Gap’s Flashback EP is a solid debut of all original material, and it is impressive that this quartet did not stuff any superfluous covers into the mix. Groups like this are the future of blues music and will act as a bridge to entice younger listeners into the genre. Hopefully they are working on more material for a follow-up, and in the meantime check out their Facebook page to check out their schedule of gigs around the Philadelphia area.

Blues Blast Magazine Album Review: Shaun Murphy – It Won’t Stop Raining

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This CD review was originally published in the May 5, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Shaun Murphy – It Won’t Stop Raining

Vision Wall Records

www.shaunmurphyband.com

www.last.fm/label/Vision+Wall+Records

11 tracks / 45:39

Shaun Murphy has an impressive career and body of work that few other modern blues artists can match. Growing up in Detroit, she was recruited by Bob Seger for his band in the 1970s, and has been touring with him for nearly 40 years. Along the way she was with Little Feat for 15 years, as well having the opportunity to work with Eric Clapton in the studio and on tour back in the 1990s. Shaun has a huge list of A-list artists that she has worked with and she is an awesome rock singer, but her solo blues work is equally impressive. This is no surprise, as her influences include Big Mama Thornton, Koko Taylor, and Etta James.

Murphy has recorded seven discs so far, including the very well received Ask for the Moon, which earned her two Blues Blast Music Awards and three Grammy nominations. Shaun’s latest album, It Won’t Stop Raining, is a real corker with 11 blues tracks that are pretty well evenly divided between originals and covers. She recorded this project with her touring band, including Kenne Cramer and Shawn Starski on guitar, Larry Van Loon and John Wallum on keys, John Marcus on bass, and Tom DelRossi behind the drum kit. These pros hold a tight groove, and aced every track at Colemine Studios in Nashville, Tennessee.

The voyage gets underway with “Spreadin’ the News,” and this shuffle is a perfect preview of what to expect from this disc. This is almost like a vocal audition for Murphy: she gets to show off her impressive range and her ability to sing powerfully, both smoothly and with an edge. The band also passes their audition, as the backline of Marcus and DelRossi nail down the beat and the keys and guitars wail with furious abandon. This leads straight into a cool twist (or maybe a cruel twist) on the jilted lover theme, a cover of Denise LaSalle’s 1995 tune, “Your Husband is Cheatin’ on Us.” As you will hear, most of the songs on this album are about relationships, both good and bad. That is what the blues are all about…

The title track is all about the mood, and “It Won’t Stop Raining,” is a haunting R&B ballad with pretty guitar arpeggios and a few layers of keyboards. The band uses key and dynamic changes to create a sense of tension that keeps things interesting until the end. Likewise, “Need You Love So Bad” allows Shaun to dig deep with its gospel-infuse vocals, but this time with the guitars getting a few of the leads. This is the oldest track on It Won’t Stop Raining, originally released by Little Willie John in 1956.

Murphy included a pair of covers from E.G. Kight’s excellent 2011 album, Lip Service. “Happy with the One I Got Now” is a slow-grinding tune with the guitars and bass far forward in the mix, and Shaun does a wonderful job of phrasing the verses so that the drama builds naturally. And “That’s How a Woman Loves” is a lovely piece of rhythm and blues that lets Murphy take the center stage. She really shines on these heartfelt ballads, and her vocals are stunning, to say the least.

There are also a couple of covers that were written by Caligator’s Corky Newman. One is a hard-hitting rocker, and “Running Out Of Time” features howling vocals from Shaun, a pair of awesome guitar solos, and plenty of punchy drums from DelRossi. The other is the closer, and “Fool for You” is built on a funk base with tasteful guitars and organ accompanying Murphy as she gets the last word, “cause everybody knows I’m a fool for you.”

There are no surprises with Shaun Murphy’s It Won’t Stop Raining, as her fans expect her to provide a first-rate performance, and she does not disappoint (as always). If you are looking for blues that is sung with powerful passion, you need look no further – this is the real deal, and you should pick up a copy of your own!

Blues Blast Magazine Album Review: Too Slim and the Taildraggers – Blood Moon

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This CD review was originally published in the April 28, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Too Slim and the Taildraggers – Blood Moon

Underworld Records

www.tooslim.org

www.underworldindierecords.com

10 tracks / 44:37

If you have not heard of Too Slim and the Taildraggers it is not their fault, as they have done a great job of getting their music out to the masses over the past 30 years. Their efforts have included countless shows, 13 studio albums, 5 live albums, and 2 compilations, so there is plenty of their music out there for you to choose from.

Originally based in the Pacific Northwest, this trio now works out of Nashville, with Tim “Too Slim” Langford on guitar, Robert Kearns on bass, and Jeff Fowlkes on drums (Kearns and Fowlkes also contribute backing vocals). This group has a distinctively hard blues-rock vibe, and though there are some pretty obvious influences in play here, the sound they end up with is all their own.

By now these guys have figured out how to put together a solid record, and Blood Moon is a slick piece of work. All ten tracks are originals that were written by the band, and a few of the tunes fall into the album rock 7-minute range. This project is mixed and mastered well thanks to Michael Saint-Leon who took care of the recording at The Switchyard in Nashville, so all of the basic stuff is taken care of.

The band’s 45-minute set starts strong with “Evil Mind” which sets the tone for the rest of the CD. Though there are only three members in the group they do a great job of filling the stage with a sweet bass ostinato over heavy drums, and background vocal harmonies on the chorus. Langford is a searing guitar hero, and he tears off a couple of epic solo breaks. After this ends there is a neat bit of 1970s-inspired psychedelic AOR blues-rock, and Too Slim does a fine job of channeling his inner Robin Trower with the slow grinding “Blood Moon.” This blues jam has all the right components, including distinctive doubled guitar and bass and a healthy dose of heavy ride cymbal.

“Twisted Rails” brings a lot to the table. It is heavy funk with a touch of psychedelia and strategically placed harmonizing. The lead vocals dig a little deeper and are more aggravated, and Langford brings his wah pedal into play as he lays down more killer guitar leads. This is all good, but the real story is Fowlkes’ drum kit, as at times the final product is more like a drum solo that has a song written over it. After five minutes of this, the tune changes into a more traditional blue rocker for the final few minutes, which is a pretty cool change-up.

But there is more than British invasion blues rock and 1970s sounds going on here, as the Taildraggers also nail down a respectable country rocker with the highly contagious “Get Your Goin’ Out On.” Then there is the bluesy power rock ballad, “Gypsy,” with its heavy backbeat, and the hard-rocking “Good Guys Win” with its insane bass parts from Kearns. Then there is the final track, an instrumental reprise, and “Twisted Rails (Slight Return)” proves to be an interesting coda to an impressive collection of tunes.

These songs are all solid, but there are a few standouts on this disc. The first is “My Body” with its layers of acoustic and processed electric guitars. It has a softer feel with melodic Gary Moore-esque leads that contrast nicely with the raspy vocals. The other is “Letter,” which defies attempts to stick it into any one genre. It is a hard-driving tune with a raunchy intro over a 12-bar blues base and vintage rock do-wop backing vocals. Intermittent surf rock themes give it a fun vibe, which may seem weird on paper but it works marvelously through the speakers.

It should also be mentioned that the band has included liner notes complete with lyrics for the songs, which is almost unheard of these days. This is a nice touch that a lot of bands no longer bother to deal with, and the Taildraggers’ efforts are appreciated.

Too Slim and the Taildraggers’ Blood Moon is a hard set with blues, rock, and country influences, and the songs are well integrated into a single entity. It is some of their best studio work yet, and their live show is equally enthralling. Be sure to check out their website, as they have a lot of gigs coming up throughout the spring and summer, as this trio has to be seen to be believed!

Blues Blast Magazine Album Review: Daniel De Vita – Southside Blues

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This CD review was originally published in the April 21, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Daniel De Vita – Southside Blues

Self Release

15 tracks / 47:13

Argentinian bluesman Daniel De Vita has a firm grasp of Chicago blues history and draws inspiration from the late Chess Records, the label that pumped out hits from 1950 through 1975. You will get the drift after you see the artwork he chose for his debut CD, Southside Blues, which features a disc that looks like an old Chess 45 record label, and the campy “MONO/STEREO Compatible” tag emblazoned on the album cover. And then when you listen to the record you will find 15 classic blues tunes within, all of them recorded with the same technology as they used in the 1950s at Chess.

With this kind of build-up Daniel had better deliver the goods and he certainly takes care of business here; he is a pretty darned good singer and guitarist even though he has only been in the blues scene for ten years. This 27-year-old from Buenos Aires has a voice beyond his years, and for extra help in the studio he recruited Mariano D'Andrea on bass, Gabriel Cabiaglia on drums, and ace Nicolas Smoljan on harp.

Things get rolling with “You Got Me Where You Want Me” by John Brim, the first of many Chess artists that are featured on this disc. De Vita got the 50s sound he was looking for, as there is a definite low-fidelity to the proceedings, and everything is a bit muted (it is in stereo, though). The band sticks fairly close to the original arrangement with D’Andrea’s woody-sounding double bass kicking it off along with lightly honking harmonica from Smoljan. Daniel’s voice is a thin and aged tenor with a decidedly American accent, and the group totally nails the vintage vibe. The group also takes on Brim’s “Be Careful What You Do,” which has a little more of a modern electric blues sound to the guitar, though the authentically disjointed style of the solo is definitely a throwback to a different time.

Little Walter made the cut for Southside Blues, too, and he is well represented by “One of These Mornings,” a rolling 12-bar blues song with a tasteful guitar solo, and but no harp solo, which is a bit surprising for a Little Walter song. The other Little Walter tune was written “Baby Face” Leroy Foster, and “Red Headed Woman” gives Smoljan a little more room to step out on his harmonica.

You will also find a pair of songs from the famed Chicago pianist, Sunnyland Slim: “Farewell Little Girl” and “Be Mine Alone.” The latter is a rocking good time, with the electric guitar more forward in the mix, and a groovy harp solo that is so distorted at times that it is hard to tell if it is a harmonica or a muted trumpet. It does seem odd to hear this song with no piano, though. This song is the closer, and it is surely a fun way to end the set.

Interspersed among the eleven electric blues tunes are four rootsy acoustic tracks. One of these is Willie Dixon’s “Good Advice,” which brings in guitar and backing vocal harmonies courtesy of Gabriel Gratzer. This tune is catchy with a cool jangly guitar outro, and at only three minutes it is just not long enough! Also from Willie Dixon is “Violent Love” with Mauro Diana on guitar and vocals. There is a real distant quality to the way the vocals are recorded on this one, giving it an old-time radio feel.

Daniel also has a run at Robert Johnson’s “Walkin’ Blues” with only his resonator guitar and guest artist Damian M. Duflos providing the harp and vocals. The standout of these bare-bones tracks is “Poor Black Mattie” by R.L. Burnside, because it is a great song and Daniel also does a stand-up job of making the complicated guitar parts work while not taking the tune out of its original context.

With its unique recording style, Daniel De Vita’s Southside Blues is a niche recording, but it is very appealing. Fans of old Chicago blues should be pleased with what they hear on this disc, as besides the aforementioned artists it also includes cuts that were originally done by Muddy Waters and Little Johnny Jones. A big question is, “What is next for Daniel De Vita?” Hopefully the answer is that he is writing some original music to record, as he has the blues running through his blood, and his youth and work ethic can provide a new voice and sound for a timeless music genre.