Blues Blast Magazine Album Review: Jim Suhler – Panther Burn

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This CD review was originally published in the July 3, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Jim Suhler – Panther Burn | Album Review

Underworld Records

www.jimsuhler.com

www.underworldindierecords.com

14 tracks / 49:00

Dallas native Jim Suhler may not be a household name, but whether you know his name or not, you have heard his work before. His awesome guitar skills have enabled him to share the stage with the biggest names in the business, including Buddy Guy, Johnny Winter, Willie Nelson, AC/DC, Les Paul, Billy Gibbons and Joe Bonamassa. But his bread and butter for the past fifteen years has been his rhythm guitar gig with George Thorogood and the Destroyers -- he has appeared on all of their albums since 1999 and toured with the band all over the world.

Despite these demands for his time he also keeps very busy with his own band, Jim Suhler & Monkey Beat. Panther Burn is his fifth release, and it is a well-polished tour through all that the Texas blues scene has to offer. Its 14 tracks include 13 originals and one special cover tune. Suhler takes on many of the vocal and guitar chores and is joined by a bevy of talent, including Monkey Beat members Shawn Phares on organ, Carlton Powell on bass and Beau Chadwell on drums (former member Jimmy Morgan also contributes his drum work to a few tracks). Special guests include Kim Wilson of The Fabulous Thunderbirds and Asleep at the Wheel’s Ray Benson, Carolyn Wonderland and Jason Elmore.

The title track kicks off the record, and “Panther Burn” is a slow swamp rocker with an intense mood. There is a lot going here, with Tim Alexander filling in on organ and Suhler stacking up layers of guitars, to which he adds healthy servings of conventional electric and delta slide guitar breaks. This song has a very modern sound while still capturing the raw feel of the Gulf States music. The mood changes drastically for the next song, “I Declare,” which is a hard-hitting roadhouse boogie with righteous honkytonk piano alongside Wilson’s fine harp work.

There is a lot more accordion on Panther Burn than you will find on most blues albums, and in this case it is used effectively to change up genres on a few of the tracks. Alexander’s squeeze box lends a Tex-Mex feel to “Across the Brazos”, a country sound to the super-fun “Texassippi,” and Cajun flavor to “Jump up Sister.” The accordion is not just for polka and norteño music, my friends!

There also is a touch of gospel influence to be found on Panther Burn. “Amen Corner” is less than a minute of Suhler on electric guitar and Alexander on the super-fat church organ. This song serves as an introduction to “All God’s Children Get the Blues Sometime” with guest vocals from Wonderland and Benson. This is old-time gospel blues, and the sweet vocals (and Jim’s steel guitar) will put a smile on your face.

Part way through the album Jim Suhler pulls back the curtain and gives his fans a glimpse of his personal struggle with the loss of his daughter twelve years ago in a traffic accident. Even without knowing this back story “I See You” is a touching love story that is sung with conviction; it is a beautifully written and performed tribute to Brittany.

The sole cover is “Remember Mama,” which was written by the legendary Elmer Bernstein for the soundtrack of the film, To Kill a Mockingbird. This instrumental is barely two minutes long, and it is set against a sparse background of piano and organ. Suhler uses many guitar textures and tones to set up a melodic slide guitar interlude. It is a shame this song was not a little longer, as it is a really nice piece of work!

The album finishes up with “Worldwide Hoodoo” which is a red-hot blues rocker with funk-based rhythm guitar and bass. This fast-paced tune gives the listener one last chance to hear Suhler’s guitar prowess, and it is a final reminder that he has serious songwriting and production skills – this is about as tight as things can get.

Everything in the Lone Star State is bigger, and so is its music. Texas blues has influences that range from country, western swing, gospel to Tex-Mex, and Panther Burn incorporates all of these flavors and more. Jim Suhler is a consummate professional and ties all of these influences together into a cohesive unit, with the end result being his best effort to date. If you love guitar blues you owe it to yourself to give it a listen!

Mahalo!

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

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

Delta Generators – Get on the Horse | Album Review

Self Release

www.deltagenerators.com

13 tracks / 50:07

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

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

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

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

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

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

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

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

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

Mahalo!

Blues Blast Magazine Album Review: Jumpin’ Jack Strobel – Things Have Changed

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This CD review was originally published in the August 29, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Jumpin’ Jack Strobel – Things Have Changed

Blues Leaf Records

www.pianojack.com

www.bluesleaf.com

11 tracks / 46:12

Jumpin’ Jack Strobel is a veteran showman, and his vocals and piano performance skills were earned the old fashioned way – through plenty of gigging and hard work. He hails from the Empire State and in his travels he has played with gifted locals as well as big-name bluesmen, including Kid Ramos, Lynwood Slim and Gatemouth Brown.

Things have Changed is the follow-up to Jack’s 2003 debut album, and he has gone in a different direction this time by compiling a collection of eleven cover tunes. They range from blues standards and big hits to stuff that I have never heard before. The one thing that these songs have in common is that they are all performed regularly in his live shows.

For this project, Strobel takes on the lead vocals as well as the piano and Hammond B3 organ responsibilities. He is joined by his usual backline of Mike Lampe on upright bass and Steve Brown on drums. Jack’s longtime friend Andy Riedel plays the guitar, and assumes the producer‘s role. Special guests Layonne Holmes, Ricky Laurie Collins and Big Joe Fitzpatrick also appear on backing vocals for a few of the tracks.

When I first listened to this CD, I was taken by the sense of confidence that Strobel and his band exude while performing. His strong voice is touched with humor and honesty, and his keyboard work is rock solid. The rest of the musicians are no slouches either, and with the fine job they did of recording and mixing this material, it is a pleasure to listen to.

The first track, “Mother Earth,” is a neat take on Memphis Slim’s 1951 original (and Slim’s most successful song, by the way). The original 12-bar format and lyrics are retained, but there are no horns or harp to be found here, and the backing vocals have more of a New Orleans tone to them. Jack’s voice is rich and deep, and his honky tonk piano is well-miked and sounds as clear as glass. One thing that has not changed about this song is the classic message that no matter what happens, we are all going to pass on from this world some day.

Strobel included a few Bob Dylan songs on this disc, but they are not the choices that one would normally expect. In particular, “Things Have Changed” is quite obscure, having been written for the 2000 film, Wonder Boys. Jack’s version is brasher, with the mood effectively set by the organ and heavy guitar. The other Dylan track is a re-do of “Don’t Think Twice” from 1963, and it has been transformed from a folk song into a slow-paced gospel-tinged ballad. Strobel did a nice job with both of these, and it is certainly nice to hear these songs being performed by someone that can sing well.

There are a few big-time blues hits sprinkled in, too: Ray Charles’ 1957 hit “Get on the Right Track Baby” and “Bad Bad Whiskey,” a 1950 top-charter from Amos Milburn. Both of these tunes maintain the 50s rock and blues feel, which is helped along by the tasteful backing vocals of Lampe, Brown and Riedel.

My favorite track on Things Have Changed is Strobel’s take on Duke Robillard’s “You Mean Everything to Me.” This song has been re-imaged into a jazz-tinged blues number, and everything comes together here perfectly. The bass has a lovely woody tone, Jack has the perfect feel for the keys, and Riedel’s guitar completes the smoky vibe.

There is not space to cover every track here, but the remaining covers come from every corner of the country: John Hiatt, Charles Brown, Lynwood Slim, Little Walter Jacobs and the lovely Gillian Welch. These songs are all equally well-done, and as a whole they fit in with the rest of the material to make a work that can stand on its own.

Things Have Changed is a collection of very good American music, and Jumpin’ Jack Strobel has proven to be a respectful caretaker of this original material as he applies his own mold to it. He has gone through a period of growth over the past few years, and I look forward to seeing if this results in the creation of more original material and new projects. I am sure he will have plenty to say!

Mahalo!

Blues Blast Magazine Album Review: Kat and Co. – I Kat the Blues

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This CD review was originally published in the September 26, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

ToneTrade Records

www.katandco.co.uk

www.tonetrade.co.uk

10 tracks / 36:11

The main reason I am drawn to the blues is the diversity of what is performed within the genre. Blues musicians come from all backgrounds and nationalities, so the basic building blocks of their music are painted with these influences. This is why we get to hear blues with hints of country, hip hop, soul, gospel, world music, or whatever. Kat & Co. is a perfect example of this, as their new album I Kat the Blues serves up a version of blues that is unique from what I have heard before, but is still unmistakably the blues.

This London-based group is a multinational crew fronted by American chanteuse Kathleen Pearson. She is joined by guitarist (and producer) Francesco Accurso and Federico Parodi on keyboards and harmonica. The rest of the band for this album is made up of Vincenzo Virgillito on bass and Nick Owsianka on drums. Kat & Co. should be commended for not taking the easy route by filling up their debut album with cover tunes. They have been busy writing, and eight of the ten tracks are originals, with two wisely chose covers.

The first track is one of these originals, and “New Spleen Blues” kicks things off on a strong note with a hard guitar tone, fat bass, and a spooky keyboard sound. Then as soon as we hear Pearson’s voice it is apparent that this is going to be a powerful and soulful blues album. She has a unique and edgy singing style that almost drops into spoken word at times. It is hard to describe, but her voice is wonderful! The lyrics are refreshingly modern as she chastises those who hide behind their phony online personas.

The group is joined by Mud Morganfield on “Payin’ My Dues,” and he has a great chemistry with Pearson as they trade vocals. The lyrics are a clever back and forth in the classic “he said, she said” style with the inevitable ending of the shiftless musician getting kicked to the curb by his lady. The saucy vibe of this song makes it one of the standout tracks on the disc.

“The Scene” features a few guest vocalists, too, with the tremendous Lil’ Jimmy Reed and Chad Strenz teaming up with Kathleen. This song takes a new twist on an old story, describing the bar life from three points of view: the lady (Pearson), the gent (Reed), and the bartender (Strenz).

“Story of Two Pounds” is a fun piece that tricks the listener into thinking it is a country song and then launches into full-on boogie-woogie mode. Parodi does a bang-up job on the piano as Pearson and the boys go back and forth on the vocals that suggest that maybe we should not read too much into the panhandler’s motives – maybe he just needs a couple of bucks to get by.

All of the tracks on I Kat the Blues are solid, but I have to call out “Make it Rain” as my favorite of the bunch. It starts slowly with electric piano and sweet harp work from Parodi, and then builds with electric guitars and bass until it turns into a full-blown gospel song. Pearson draws from deep down to belt out the lyrics and she is joined by Anna Ross, Yasmin Kadi and Aaron Pereira on the background vocals. This song is the high water mark where their musicianship and songwriting are both at their best.

The two cover tunes are also nice pieces of work. “Tired of Tryin’” is a smoking roadhouse version of Johnny Winters’ original, and Mark Knopfler’s “Your Own Sweet Way” brings this album to a close with tasty lead guitar work and very smart drum fills. After dropping a few pretty vocal harmonies, Pearson drops out of the song early and Parodi finishes things up on the organ.

I Kat the Blues is a surprisingly mature first effort from Kat & Co. and I appreciate their approach to the blues that provides a new and interesting sound. If you are a fan of blues or soul music you will find something in here that will please your senses. I hope you get a chance to give it a listen!

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!

Eric French & Mr. Hyde -- Old City Blues Album Review

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This CD review was originally published in the April 25, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Eric French & Mr. Hyde – Old City Blues

Self Release Through French Maid Music

www.ericfrench.com

8 tracks / 34:50

Maybe it is the long and cold winters, but New Englanders are unusually tough individuals. Providence/Boston denizen Eric French personifies this, having beaten leukemia and made his own way out into the world as a musician. This skilled singer, songwriter and guitarist even holed his band up in a snow-bound Vermont cabin in the dead of winter to record the new Eric French & Mr. Hyde album.

Old City Blues is Eric’s second release, and this self-produced collection is a more mature and refined work than his debut double album, Eric French & Mr. Hyde. Old City Blues is unique in that he released the songs in three batches over the past year, only recently issuing a disc that includes all eight tracks. French wrote seven of the songs, and chose an amazingly reworked Tom Petty cover to round things out. Joining him on this album are Walter Skorupski on bass, Corey Schreppel on the skins, and Tim Butterworth on the piano and organ.

Eric is not terribly old, yet he has been playing the guitar for the past 20 years and it does not sound like he has been lollygagging either. His playing is confident, and he is secure enough that he can focus on playing with feeling while fitting into the song rather than acting like a star and aiming to impress with pyrotechnic guitar runs. You will hear this right from the beginning as he starts the album off with “Baby Where Ya Been,” a slickly-written rhythm and blues tune.

The traditional blues elements are there for “Poison in Mah Pie,” such as the song structure and the age-old story of a lady trying to off her old man. But Eric brings it straight into 2013 by choosing a modern sound and very clever present-day lyrics. Butterworth’s organ work adds a funky note to this one, as well as the jazzy instrumental, “Spread it Around.” I appreciate it when a talented band like this chooses to not add words to one of their tracks so that all of the individual parts have a chance to shine. This one has a mellow start then builds momentum until it erupts into a full-blown blues jam.

“Evenin’s With the Blues” is an uptempo piece with a plentiful helping of tasteful acoustic and bottleneck slide guitar. He has a fabulous voice, and despite his Yankee heritage French has a bit of a southern accent when he sings. This is the perfect tone for him to take on songs like “Gonna Get” and “Middle of Love” which both have really great lyrics.

Then there is his cover of “Free Fallin’,” which happens to be my least favorite Tom Petty song. The band kept the original lyrics and started from scratch with the music, and it turn out that the music was the part I did not like about the original. This version is a rocking mashup that sounds like collaboration between AC/DC and the Allman Brothers. That turns out to be a good thing -- Eric has only recorded one cover tune, and he knocked it out of the park.

The last song on Old City Blues is the title track, and is the longest one, coming in at 7 ½ minutes. This slow-rolling pure blues tune is another instrumental. Skorupski’s bass and Schreppel’s drum are totally in the pocket and provide a great foundation for French and Butterworth to go to town and play some incredibly soulful solos. What a cool way to finish things up!

All in all, this album is a neat piece of work, and it left me wanting more. If you like it and want to see Eric French in person, he has been performing both solo acoustic and full band shows around New England; judging by his work on Old City Blues I think it would be a great idea to track him down and see what he is doing.

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!

Charles Walker Band Resouled! CD Review

This CD review was originally published in the September 13, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Charles Walker Band – Resouled!

Self Release

www.walkerband.com

9 tracks / 56:09

Charles Walker is a man of many talents, and highlights of his skills include not only songwriting, but also expertise on the keyboards and saxophone, and he shows a real flair for improvisation on both instruments. Over the years he has recorded six CDs and has led the Milwaukee-based Charles Walker Band since 2004. Their impressive gig schedule has resulted in the production of Resouled!, their latest release. At its root this is blues and blues-based music, but as Charles says, “This CD reflects the band’s eight year evolution, blurring the styles of soul. I stopped worrying about the blues and focused on groove.” He is not joking, and in addition to the blues you will hear funk and jazz influences throughout this album.

Resouled! was recorded during two shows at the Hideaway Saloon in Louisville, Kentucky; it includes nine tracks, which are mostly originals with just one cover tune: Muddy Waters’ “Rock Me Baby.” The personnel for this effort include Porsche Carmon with the lead vocals (and congas), Charles Walker on keyboards and sax, Brad Karas on bass guitar, Demetris Vance on drums and special guest Dan Kennedy on the guitar. Besides his bass duties, Karas also took care of the sound and was in charge of mixing and mastering for this CD.

And this is truly a live CD, so it is raw and vibrant, and not nearly as slick as a studio-produced release. You will hear some 60-cycle hum here and there and a little of the banter from Porsche and Charles, as well as responses from the audience. I found that with the way this album was mixed I lose a lot of the bass and dynamics when I listen to it in my car (even though it has a very good audio system), but it sounds great through my home system or headphones. I guess I had to lose most of my background noise so all of the nuances could be heard.

The first track on Resouled! is “Used and Defiant,” which is also the song they used to kick off their set, and this funk tune really gets things moving in a hurry. As the vintage-sounding keys play over Karas’ popping bass and Vance’s rock-solid drumming, Carmon welcomes the Louisville audience and immediately lets them hear a sample of her vocal range and strong voice before turning things over to Walker for some impressive tenor saxophone improvisation. The band is very tight throughout, and they do marvelous job holding together the syncopated bridges after the solo.

There is a neat 1970s vibe on the next track, “Exquisite Soul,” thanks to the electric piano sound that Walker choses for his keys. This original song has a neat (but too short) guitar solo from Kennedy along with a very catchy melody and fun/sexy lyrics. And the sexy theme carries over to the next track, “Funky Sexy” which hearkens back to Diana Ross’ “Love Hangover,” the ultimate passion song. Of course Walker’s version takes its own direction, but this song is still sexy as anything…

“Rock Me Baby” lets Kennedy cut loose on the guitar and we get to hear a bit more of what Carmon can do with that fabulous voice of hers. Not to mention how cool it is to hear a woman sing this Muddy Waters classic, as this gives this song a whole new meaning to me. Walker gets in a good solo in on this one too, and Vance improves on the original backline with a little more aggressive drumming than usually is heard on this cover.

This project wraps up with a bang as the band hammers out “Crawlin Home,” a raucous saxophone-infused instrumental. This piece is a clinic on what a blues horn should sound like, and Charles has some fabulous interplay with the Kennedy. And you will find that this mixes well with the tasteful walking bass part and tons of crash cymbals. But this finale left me with one question: who is playing that thunderous Hammond while Walker is tending to the horn?

Resouled! is a great showcase of the Charles Walker Band’s live show, and it really emphasizes their enthusiasm and love for the music. Looking at their schedule, it appears that they mostly tour the Midwest, but they are making it a little further out west around New Year’s, so if they do get out your way it would be super cool to catch one of their shows. I am going to keep an eye on their schedule and hope they make it out to Southern California sometime soon.

Mahalo!

Bromberg Plays Hendrix CD Review

Howdy!

Perhaps you are scrolling through your iTunes, and you are not seeing any new or interesting. Boy do I have a suggestion for you: Bromberg Plays Hendrix. It might just blow your mind.

Brian Bromberg is a veteran jazz and fusion bass player, and is certainly one of the more adventurous ones out there. He is not afraid to do something different, so you get projects like Bromberg Plays Hendrix. This is not just a guy playing bass solos on each song. For fifty minutes he performs all of the guitar and bass parts with his bass guitars, with plenty of liberties taken, none of which make the source material any easier to play.

So, he uses his prodigious talent to mimic the Hendrix’s guitars and vocals, using electric, acoustic and piccolo basses, along with what must be a mountain of effects (including a wah pedal). Of course he plays the bass parts too, and stays perfectly in sync with the powerfully gnarly drummer, Vinnie Colaiuta, who does a great job of holding things together. I am not sure who gets vocal credit, but any of the words are secondary to what Bromberg and Colaiuta are doing up front.

Brian has chose ten songs that any true Hendrix fan will approve of: “Fire,” “Manic Depression,” “Freedom,” “The Wind Cries Mary,” “All Along the Watchtower,” “Foxy Lady,” “Hey Joe,” “Crosstown Traffic,” “Spanish Castle Magic,” and “Purple Haze.” Whew!

And Hendrix fans will find that Bromberg interprets the music in his own way, but is still respectful of the source material. It is amazing how well he performs the guitar parts, though I do find the whole experience to be rather intense. I usually can only listen to one or two songs before I feel the need to move along and do something else so my brain can take a rest.

So, if you are a die-hard Hendrix fan or a complete bass geek, Bromberg Plays Hendrix will be right up your alley. I do recommend trying before you buy, as this album will not be everybody’s cup of tea. And Brian is not done yet -- just wait until I review Bromberg Plays the Beatles!

Mahalo!

Bare Bones Boogie Band Blue CD Review

Buenos dias, amigos!

This CD review was originally published in the August 30, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Bare Bones Boogie Band – “Blue CD”

www.barebonesboogieband.com

10 tracks / 48:46

I have the good fortune to listen to blues CDs from all over the world, and this week I had the pleasure of hearing the latest release from London’s Bare Bones Boogie Band. And true to their name, this foursome plays a stripped-down no-nonsense power blues that is held together by their prodigious talent. Vocalist Helen Turner has worked with guitarist (and fellow Scot) Iain Black since 1990, and Trev Turley from Birmingham joined them on bass in 2003. The Bare Bones Boogie Band came together as a whole in 2008 when Andy Jones, a drummer from Manchester, came into the fold. In 2010 they gave us their well-reviewed eponymous debut CD and supported it with endless touring.

This is a review of their second CD, which is also self-titled, but it is being called the “Blue CD” because the logo is blue, differentiating it from their first release that had a red logo. In their catalog they refer to it as “BBBBCD2.” The Blue CD sounds a bit better, doesn’t it? This album includes ten tracks: eight of which were written by Black, one from Andy Jones, and a touching cover of Robert Johnson's "Love In Vain.” You will find that all of the touring they did has been put to good use, as all four members of the band are in top form for this project.

“Fallin’ for Foolin’” is the first track on the Blue CD, and the listener will find that although these four folks came from different parts of the UK, there is no Scottish or English accent or tone to the music, it is just the blues. This is a long and slow song for an opener (almost seven minutes), but it is cleverly-written and well-produced with up front guitar, drums and bass and of course Helen Turner’s vocals. Everybody has a chance to show what they can do on this track, and Helen really stands out: her vocal style is brilliant and shows that she has learned a lot about her craft over the past few decades.

The next two tracks “Midnight O2” and “Sittin’ Here Sewin’” evoke a 1970s blues/rock mood with round and lively bass lines and fat guitar over the tight drumming of Jones. But there is plenty of variety to be found on this album as it segues into a lovely ballad, “Mean Old Man,” which is not a conventional love story. This song shows tremendous restraint on the part of all that were involved, and there is just enough of a contribution from everybody to assemble a really good song, which is a sign of how this band has matured.

One of my favorite tracks on this release is “Wings” which is a fabulous showcase of Helen Turner’s vocal range and the soul she puts into the music. These same qualities carry over to “Love in Vain” which was written by Robert Johnson, but made famous for us mainstream folks by the Rolling Stones. Her sweet voice helps the Bare Bones Boogie Band make this version their own. It appears that there is no shortage of soulful blues ballads on this album, which is a good thing in my book.

After a couple of more blues rock tunes (“A Little Bit More” and “Travellin’ Light”), the band chose to close out the album with the end of the album with “My Man Loves my Van.” This is a fun beer joint 8-bar blues song that shows that the band does not feel like they have to take themselves too seriously. This is a fabulous quality in any band, if you ask me.

The Bare Bones Boogie Band have avoided the sophomore jinx with their Blue CD, and I have to say that I think this work outshines their debut album in every way (by the way, I really like the Red CD). The whole production sounds more full and rich, and each of the artists have grown and improved on their performances since we last heard from them. This is helped along by the fact that the songwriting is much more consistent throughout this release. This is a great CD, and I highly recommend that you check it out when you get a chance.

Mahalo!

San Francisco Music Club Love & Freedom Album Review

Hello!

This CD review was originally published in the August 9, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

San Francisco Music Club – Love & Freedom

www.sanfranciscomusicclub.com

12 tracks / 65:51

The San Francisco Music Club is not just a clever band name; it really is like a club, with membership limited to only the most talented musicians. The club presidents are the veteran Bay Area guitarists/vocalists Jimmy Dillon and Lorin Rowan, formerly of The Edge (check their older material out out, if you get a chance). They are joined by Eric McCann on bass, Matt Willis on drums, horn players Michael Peloquin, Jeff Lewis, and Mike Rinta, as well as Sakai on vocals. It is like a super-group made up of people you have never heard of before.

Love and Freedom is their self-produced debut release, and it is an ambitious and impressive piece of work that includes eleven original tracks, with Dillon and/or Rowan having a hand in all of them. The one cover tune has been reworked so extensively it might as well be an original too. Over these twelve tracks they managed to incorporate most every funky genre that is available in western music, including rock, funk, ska, reggae, Latin, Afro-Cuban and maybe even a touch of the blues. They did it all with excellent production values while maintaining a positive vibe, and I think this collection of songs will be sure to put a smile on your face.

The first track is “Crazy Lovesick Blues” which shows how well Rowan and Dillon’s vocals work together. It sounds like there are five layers of guitars over the Afro-Cuban beat, but they are all tastefully done. Up next is “4 Winds” which would fit in well in a Jimmy Buffet album, with a laid-back countrified island beat overlaid with horns and a little acoustic guitar. Well, it might be a little too-well written for a Jimmy Buffet album.

“Istanbul” takes a difference direction with smooth vocals and heavy guitars. This one brings in more keyboards, and there are a lot of funky (in a good way) harmonies on this tune. This song shows that these guys are not just good musicians, but they know their way around the studio too. This leads to an ode to Louisiana with “Ponchatrain,” which adds a harmonica, horns and a Zydeco taste to the poppy Caribbean beat which the San Francisco Music Club does best. Sakai adds her vocals to this song and her voice is beautiful, especially when she is harmonizing with the guys.

Not surprisingly, “Revolutionary Man – Bob Marley Tribute” has a reggae beat, and after this song I can start to see the Marley influence in the rest of their music. The title of “Te Quiero” also gives a hint of its roots, but calling this Latin music just scratches its surface, as its Latin instrumentation is a foundation for a seriously jazzy tune. This is some really smooth stuff, my friends.

The San Francisco Music Club chose to include a cover of one of my all-time favorite songs, “You’ve Lost That Lovin Feelin’” and has outdone my previous favorite cover version of this song that was done by The Firm. I got into an argument with a friend of mine as to whether this is a ska song or a reggae song, but I am writing the review so I am going to call this one a slow tempo ska tune. Either way, it is a winner and I love it when bands reinterpret classics like this into new genres.

This CD ends with an acoustic reprise of “Love Can Be,” which I prefer to the pop/reggae/rock version that appears at number three in the batting order. This one is just lovely as it starts off with a harp and Jimmy and Lorin’s voices, later on weaving in some nicely-picked acoustic guitars and assorted strings. This song has such a positive message and a sweet sound that it is a perfect way to wrap up this project, which I thoroughly enjoyed listening to from beginning to end.

There is a little something for everybody on this San Francisco Music Club release, so if you are looking for an album where every song sounds the same, this is probably not your best choice. But, if you can appreciate twelve tracks that showcase fine songwriting and musicianship and leave you feeling better than you did before you listened to them, Love and Freedom might be just the ticket.

Mahalo!

Johnny Neel Every Kinda' Blues CD Review

Good day!

This CD review was originally published in the August 2, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Johnny Neel – Every Kinda' Blues

www.johnnyneel.com

11 tracks / 59:14

Johnny Neel’s latest album title promises “Every Kinda’ Blues…but what you’re used to.” That is a pretty tall order, but he gives his all to make good on it. It helps that he has a lot of experience with writing and performing. Originally from Delaware, he moved to Nashville in the mid-1980s, where his prowess on keys and harmonica earned him first-call studio musician status. He has recorded and toured with high-profile acts, such as the Allman Brothers and Gov’t Mule, and has written material for them as well as Travis Tritt, John Mayall, Dickey Betts, The Oak Ridge Boys and John Schneider. Yes, that John Schneider.

Besides constantly writing, recording and performing for other artists, Johnny still makes time to work on his own material. Every Kinda’ Blues is his latest album, with nine studio tracks and two songs that were recorded live in Italy. He has writing credit for all eleven tracks, and it is nice to see that he gives credit to co-writers on all of them. Mr. Neel co-produced this CD with bassist Dennis Gulley, who also took on the engineering responsibilities, of which there were plenty as there was quite a cast of characters involved. Contributing musicians included seven guitar players, four drummers and six backing vocalists, which is a lot to keep track of.

The title track comes up first, and I could hear right away that these guys know their way around the studio, as “Every Kinda’ Blues” is a really slick song. This blues rock offering has layers of distorted guitars, Hammond B3, imaginative harmonica parts and oodles of backing vocals – and these parts are mixed perfectly so the listener can take it all in. Johnny Neel’s voice is still throaty and powerful after all these years, and his experienced tone lends credence to his assertion that he has paid “every kinda’ dues.”

And he keeps changing things up with every track on the album, never staying in any one place too long. “Right Out The Old Window” adds horn sounds, honky-tonk piano and gospel backing vocals. I cannot decide if it sounds more like country or Chicago blues. Next comes “Won’t Lay Me Down”, which starts as a blues song that morphs into a full-fledged Robin Trower-esque 1970s acid blues rock anthem with organ and some fabulous guitar work. This is the first of the two live tracks, and I wouldn’t have known it was live if not for the applause at the end and the mention in the liner notes -- that is how well it was recorded. His live show must be to die for.

Chicago blues come next with the hard-driving “I’m Gonna Love You.” This song has a clever twist on the tired promise to “love you until the day I die,” and the thumping bass up front in the mix shows that the player was also the producer. From there he moves on to Nashville with “Sunday Morning Rain” which is a slow country rock song with electric piano, organ and slide guitar. This is one of my favorite tracks on the album, which is not too surprising as I love the Allman Brothers. I think I even hear a little Memphis in the 1950s piano rock of “Johnny Needs a Shot,” and I can tell you that Jerry Lee Lewis has to be one of his influences.

“How to Play The Blues” seems to start as a smooth blues ballad, but ends up as a full-fledged gospel song with terrific backing vocals and Leslie-warbling organ. I am not usually a big fan of gospel, but this one does not get preachy, and it sounds thunderous through my headphones. The delta blues is not left out of the mix, as “Mighty Mississippi” gives a taste of distorted harmonica combined with some super-thick guitar parts. There really is a little bit of everything here.

Every Kinda’ Blues closes out with “My Kinda’ People” which is a beautiful ballad, featuring only Johnny’s voice and his piano. This is a neat story of love and friendship told in a way that I thought only Randy Newman could. He managed to change his sound on every track, and this song proved to be a tasteful way to end the album. And, while I cannot say that he gave me every kind of blues but the one I expected, Johnny Neel did give me every kind of blues that I wanted.

Mahalo!

Chris Smither Hundred Dollar Valentine CD Review

Hello!

This CD review was originally published in the July 26, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Chris Smither – Hundred Dollar Valentine

www.smither.com

11 tracks / 38:56

Chris Smither describes his sound as “cosmic blues”, and though I may not be on the same spaceship as him I really like his sound and his message. And he has had plenty of time to work out his sound and figure out who he is, having released his debut album in 1970, when I was just a lad. He has recently finished his 12th studio album, Hundred Dollar Valentine, which is his first that is comprised solely of original material. You will find that it is not all new, as he has revisited a few of his older tracks and approached them from a different direction.

Smither moved to New Orleans as a youngster, which accounts for the delta blues influence in his sound, but he has long been a fixture of the northeast, where he has garnered a loyal following. He does not have a regular band, so they brought in some fine folks to work with him on Hundred Dollar Valentine. This includes Billy Conway on drums, Chris Delmhost on cello, Jimmy Fitting on harmonica, Ian Kennedy on violin and the golden-voiced Anita Suhanin on vocals. Producer David Goodrich kicks in some slide guitar, diddley bo, and xylophone, while Chris provides the vocals and the lion’s share of the guitar work.

Goodrich has worked with Smither a few times before, and has done a fabulous job of keeping things from getting out of hand, and the album sounds natural and uncluttered. As I said earlier there is a delta blues sound, but there is also a folk element to this album. These combine together with his unique voice to give Smither his own sound that is hard to fit into any one box. Maybe that is what the cosmic blues are.

The album starts off with the title track, “Hundred Dollar Valentine,” and true to its name it is an ode to a love that describes how nothing is right when they are separated. The lyrics are a poetic and clever use of words, and are a bit more melancholy than the upbeat score would imply. The overall sound is not over processed, with a perfectly raw drum sound and a dynamic harmonica tone. Anita’s backing vocals work well with Smither’s voice.

“On the Edge” comes next, and the tone of the music becomes more somber at the same time as it becomes more polished with smooth violin and cello that merge well with Mr. Smither’s fine picking. The words to the song provide a few surprises, as it ends up in a totally different place than it starts – it is not the usual love song I expected it to be. This is the blues, and Chris has a great voice for it: raw, strong, emotional and experienced. By the way this is the only track on the album that has any co-writing credit, and it goes to David Goodrich.

From there, the songs use fertile lyrical material, such as disillusionment and disappointment (“What it Might Have Been”), love and loneliness (“I Feel the Same”), getting older (“Place in Line”), and death (“Feeling b y Degrees”). A bright spot in the midst of these blues is “What They Say,” a jaunty tune featuring Chris’ daughter Robin Smither on the violin. She is a fine fiddler, for sure.

“Every Mother’s Son” is the final regular track on Hundred Dollar Valentine, and pretty music cannot hide that the lyrics provide plenty of food for thought. It dares to speak of today’s all too common theme of young men who see no solutions to their problems other than violence. That “this could happen to every mother’s son” is a parent’s nightmare, and might make you hug your kids a little tighter and longer the next time you see them.

The album finishes off with a hidden track that is not terribly well hidden – it is credited on the liner notes as “Rosalie,” which is an “after-hours ‘B’ Room field recording.” This song is the closest thing you will find on this album to his live show, a weary-voiced man and his six-string guitar. It makes me want to seek out one of his shows the next time I am in New England.

Hundred Dollar Valentine is not what one would expect from a modern blues album (not a Howlin’ Wolf cover in sight), and that is one of the things that is so great about it. Though it is not conventional, Chris Smither’s original work has gotten closer to the roots of the blues than most, and his songs’ unique tonal character and smart lyrics combine with superb production and true emotion make this album an enjoyable listening experience.

Mahalo!

Technical Pro DVB80 Professional CD / DVD / Karaoke Player Review

Greetings!

In the digital world, audio equipment keeps progressing so quickly that formats drop by the wayside pretty frequently. If you had told me 10 years ago that I would never use any of my CDs anymore I would have thought you were a nutjob. Well, it has happened, and nowadays my entire music library is on my computer, and shared with my phone, iPad and iPods.

Despite these advances, I still need to bring a CD player to my shows as people always seem to bring along a CD that they want to play a track from, or if somebody requests karaoke (shudder). I am still stuck in the dinosaur days of CD+G for my karaoke library, BTW.

Well, my Numark dual disk player recently pooped the bed and I was loathe to spend much on a replacement, and decided to try the Technical Pro DVB80. It met my format requirements, came with rack mount tabs (1U) and was dirt cheap.

The DVB80 will play back a dizzying array of formats, including DVD, DVD-R, DVD-RW, VCD, CD-R, CD-RW, MP3, Kodak CD and CD+G. So you can watch movies, play music, view photos, or do karaoke with onscreen playback. By the way, this is a region-free DVD player (PAL/ NTSC), so it will play discs from other countries too. It is not Blueray compatible, though, but what do you expect for 90 bucks? As an added bonus you will find an SD card slot and a USB port on the front, so you can use these as music or photo sources too.

On the back you will find two microphone inputs (1/4-inch TRS) that can be used for karaoke or if the DJ is too cheap to buy a mixer. There are two RCA audio outs and a 5.1 RCA set-up that goes along with a Dolby AC-3 decoder so you can use your surround sound system. Oodles of video output jacks are also available, including YCbCr/YUV, RF DIN, Coax, CVBS, VGA, digital signal fiber optic.

All of these features are crammed into a normal-sized package and the DVB80 player measures (19" w/brackets) x 2.5" x 10" and comes in at around 6 pounds. It is capable of running on 110 or 220V systems, so it will work in pretty much any civilized country as long as you have the correct power cable (this player uses a removable IEC cord). A full-function remote control is included, which makes cuing up tracks a lot easier.

Prior to getting this player I had no experience with Technical Pro’s products, but they have not disappointed me. The players works well and cues up tracks nicely. There is no added noise to the audio output, and the picture quality is as good as non-Blueray players get. Overall it is a nice piece of equipment, and I hope it holds up better than my Numark player did.

My only gripe is that I do not think this player was originally designed to be a rack-mounted unit. The tabs are flimsy, and the metal that makes up the chassis is thin, so the whole thing sags quite a bit when it is bolted into place. I put shims between mine and rack units above and below it so it cannot flop around.

I think the Technical Pro DVB80 is a good deal, with a list price of $159.00 and a smoking hot street price of $88.95. This includes the remote, rack mount tabs and a 1-year warranty. It is a lot of player for the money!

Mahalo!