Blues Blast Magazine Album Review: Beth Garner – Snake Farm

Beth Garner – Snake Farm

Self Release

www.bethgarner.com

7 tracks / 26:19

There are no hard and fast rules about how the blues should sound, and aside from a few basic structures and patterns, the limits of the genre are only set by an artist’s imagination and attitude. Beth Garner is not short on either of these attributes, and her third album, Snake Farm, is both unique and adventurous. These results are possible because of Garner’s personality and energy, as well as her prowess on lead and slide guitars.

Beth started her musical career in Austin, Texas, and ten years ago she moved to a small town to the east of Nashville. From there Garner made her way into Music City to sing and play her ferocious lead guitar at the bars on Lower Broadway, and this record is evidence of the progress she has made over the years. Snake Farm was recorded “mostly live” at Slack Key Studios in Woodbine, Tennessee (south of the Gulch), and the results are vibrant and fresh.

Beth Garner and Randy Kohns were producers for this project and joining Garner in the studio were Steve Forrest on bass, Wes Little behind the drum kit, Rory Hoffman on saxophone, keyboards, and rhythm guitar, as well as backing vocalists Angela Primm and Gale Mayes. This is a short album, coming in at a bit over 26 minutes, but Beth wrote six of the seven tracks and they all tell interesting stories. For example, the opener, “Alright by Me (Mr. Fisher),” is the tale of a woman who pines for Mr. Fisher, and the lively vocals are set to a laid back (yet funky) rhythm and blues score. Edgy guitar leads, honking baritone sax, and pretty harmonies complement Beth’s unique style.

The listener never has the opportunity to get bored with Snake Farm, as each song is completely different than the others. “Backroads Freddie” is a swamp rocker with Austin-style guitar leads, slightly distorted vocals, and muffled harmonica. Garner swaps solos with Hoffman’s keys and one thing is for sure when this is all done – Freddie is a player! There is a bit of gospel doom too, as Garner uses “Drop Down” to warn about heavy stuff that is coming down (book of Revelation style). There is less instrumentation here, as the guitar carries the simple melody with accompaniment from Hoffman’s sax and the abundant vocal harmonies from Primm and Mayes.

The mood picks up with “Used to Be,” a hot shuffle with bouncing bass, heavy slide guitar and tight harp accents. The message here is that maybe it is better to not settle for an old flame that didn't work out the first time. In a similar dysfunctional relationship theme, “Ramblin Man” is about falling for a musician that just won't be sticking around. This is a gnarly piece of funk that feels like a bass and drum jam that has a song breaking out on top of it.

Then there is the title track, “Snake Farm,” which altogether different. This song is very entertaining, and Garner does a stand-up job of delivering the lyrics in a deadpan (almost spoken-word) manner. This is swamp rock, with cool reverb-soaked guitar providing the jangly leads, and Ray Wylie Hubbard’s lyrics are priceless. I found myself wondering if this is based on the Animal World & Snake Farm Zoo in New Braunfels, TX. If so, this was a nasty place 40 years ago, and this song perfectly captures the vibe.

The seventh song is the closer, “Wish I Was,” where Beth yearns for how things were in the good old days. With its hammering beat and electric piano, it brings to mind the Read Hot Chili Peppers’ version of Stevie Wonder’s “Higher Ground.” As with the rest of the album, the sound is clear with a good mix, and the live recording vibe is genuine. I imagine they have been performing these songs live for a while, which is great preparation for the studio.

Snake Farm is a short but very satisfying album, and Beth Garner has shown that she is quite a songwriter. The lyrics are funny and clever, and her musical arrangements are not built around the chords that everybody else relies on. Her website only shows one upcoming gig (Plano, Texas in June), but hopefully more dates will be added soon, as Beth’s music is a real treat and it would be cool to see her show!

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: D.L. Duncan – D.L. Duncan

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This CD review was originally published in the November 19, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

D. L. Duncan – D. L. Duncan | Album Review

15 South Records

www.dlduncan.com

10 tracks / 40:28

You may know D.L. Duncan as Dave Duncan, but no matter what you call him he is truly a fine bluesman, with a beautifully soulful voice and an amazing touch on the guitar. Dave has been on the music scene for more than 35 years, and he has made his mark as a gold-record songwriter for other artists (Curtis Salgado, Lorrie Morgan, and Buddy Jewell), but he also writes songs for his own projects. On his albums he has also been pulling in some first class talent to help him in the studio and the results have been solid, to say the least.

His new album, D.L. Duncan, is no exception. On bass there is David Hood, a famed producer (Willie Nelson and Cher) who has played with Traffic, Boz Scaggs, and The Waterboys. The other half of the rhythm section is Vince Santoro on the drums (Rosanne Cash, Charlie Louvin, and the Nitty Gritty Dirt Band). It would be a dream to have Grammy-winner Delbert McClinton on the harp and Sonny Landreth on the slide guitar for your album, and D.L. made this dream come true. And the icing on the cake is the inclusion of Kevin McKendree on the keys and the amazing McCrary sisters on backing vocals. Duncan was the producer and wrote eight of the ten songs on this disc, plus he took care of the vocals and guitars. There is no question that all the right pieces were in place to make this a wonderful record, and blues fans will not be disappointed.

The band kicks off the set with “I Ain’t the Sharpest Marble,” an easy-going blues song with a touch of boogie and heaps of humorous lyrics. D.L. mostly hangs back on the guitar with just a few pointed leads, but he lays down a nice solo midway through. McKendree delivers a fine performance on the piano, bringing the whole thing together into a neat package. The production values are first-rate here, with good mixing and nothing out of place (courtesy of multiple Grammy-winner Tony Daigle), and this work ethic blessedly carries over to the other nine tracks on the disc.

There is not a bad song to be found on the album, but there are a few standouts. One of these is Jerry Lynn Williams’ “Sending Me Angels,” which has been covered by luminaries such as Coco Montoya and Peter Frampton. This countrified soul song is done Duncan’s way, with some tasteful acoustic and resonator guitar playing, a killer beat, and a chorus that is just a bit sweeter because the McCrary sisters pitch in.

Another favorite from D.L. Duncan is an uptempo rhythm and blues tune, “Orange Beach Blues.” This song is orchestrated perfectly, with a wonderful synergy between the McCrary’s harmonies and McKendree’s Hammond. The backline of Hood and Santoro once again lay down a righteous rhythm and Duncan’s guitar work is smooth and soulful (including an Allman-esque close), which plays perfectly with his growly vocals.

All good things have to come to an end, and this time it is with “All I Have to Offer You is Love,” a sweet country blues ballad written by Craig Wiseman that was previously done very well by both Tanya Tucker and Dusty Springfield. The listener will find this song is built with a nice helping of Hammond B3, plenty of Landreth’s slide guitar and some cool pedal steel from David Pinkston. Duncan’s heartfelt lyrics are poignant, and this was a savvy choice to close the album out with.

D.L. Duncan’s new self-titled CD is a well-written, well-played, and well-produced, making it his best record to date and a must-buy for fans of blues and Americana music. He gets around the country quite a bit, so check out his website for the latest tour dates so you can see and hear his act in person. It will definitely be worth your time!

Blues Blast Magazine Album Review: Ted Drozdowski's Scissormen: Love and Life

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This CD review was originally published in the October 8, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Ted Drozdowski’s Scissormen – Love & Life | Album Review

Self Release through Dolly Sez Woof Records

www.scissormen.com

11 tracks / 51:02

Ted Drozdowski, leader of the Scissormen, is one hell of a writer. He has written for glossy publications such as Rolling Stone and Travel + Leisure, but more importantly to blues fans he also does a first-rate job of penning excellent songs. The new Ted Drozdowski’s Scissormen album, Love & Life, is a testament to this fact.

This is the Scissormen’s sixth album, and it has eleven tracks with ten Drozdowski originals. Matt Snow joined him on this project behind the drum kit, with Marshall Dunn on bass and a few of their friends as guest artists. Ted was the producer and took care of the vocals, guitars, and diddley bow in the recording studio, which was actually a mountaintop tent in Pasquo, Tennessee. But this was not just any tent: this was Omega Lab Studios, home of the Mando Blues Show on Radio Free Nashville. The record was a crowd-funded project, and their faithful fans (including Reeves Gabrels) put up the cash to make sure this record became a reality.

This is not a cookie cutter 12-bar blues album, but is most certainly the blues and there are strong Delta elements to prove it. Ted is a creative soul with a vision that he was able to fulfill by making this a rich tribute to blues legends that laid the groundwork before him. This took the form of righteous overdubs and a heavy sound that venture at times into the land of the psychedelic. And do not let the tent recording studio thing fool you into thinking this is a rough cut -- Love and Life is a well-made album that should be listened to with a good set of headphones.

The set kicks off with a song that is more musically complicated than what Scissormen fans have come to expect. “Beggin’ Jesus” features the Hammond B3 of Grammy-nominated Paul Brown, many layers of distorted guitars, and hard-hitting bass and drums. The story here is as old as Adam and Eve, as Ted ponders sin, salvation, and the duality of mankind.

Ted is not afraid to get personal and “Black Lung Fever” was written in memory of Drozdowski’s grandfathers, both of whom died after spending their lives in the coalmines. This song has a fairly normal Delta blues feel to it, but it is spiced up with a modern bass tone, scorching riffs and a hearty helping of Brown’s Hammond. There is a palpable sense of a hardscrabble existence throughout: “My mama had no shoes / till the day she went to school / and her clothes were hand-me-downs / that’s how miner’s families do.”

A favorite moment from Love and Life is a special appearance from the storied soul singer Mighty Sam McClain on “Let’s Go to Memphis.” This track is a marked contrast from the rest of the album, as it eschews modern styles and takes a straight-up 1960s rhythm and blues path. This is the kind of song that is right in McClain’s wheelhouse and his pleasantly aged voice on this romantic tune (about a great blues city) provides a nice break in the middle of the action. Sam passed on in June, and he will be sorely missed in the music community.

There is a sole cover in the set, the Scissormen’s take on the Muddy Waters’ hit, “I Can’t be Satisfied.” But this is pretty far from the source material with only a howling diddley bow and percussion as accompaniment to Drozdowski’s eerie vocals. This totally works on every level and is nearly as revolutionary in this format as the original was when it was released in 1948.

There are a handful of songs that were created in honor of some true musical heroes. “Watermelon Kid” uses a cool drumbeat and searing guitars as the backgrounds as it relates the genius of Watermelon Slim. Marshall Dunn lays down an awesome bass line with killer tone while Ted experiments with stereo effects for “R.L. Burnside (Sleight Return).” And finally, the album draws to a close with “Unwanted Man,” which was written for another of Drozdowski’s inspirations, Weepin’ Willie Robinson.

It may take more than one listen to fully grasp most of what is going on in Love and Life. It is worth the effort, as this is the best effort so far from Ted Drozdowski’s Scissormen. Their energy and innovation carry over to the stage too and fortunately this trio tours both domestically and internationally on a regular basis. So, head over to their web site to check out their gig schedule, and try to get out of the house to see their live show if you get the chance!

Mahalo!

Blues Blast Magazine Album Review: Lazer Lloyd

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This CD review was originally published in the May 30, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Lazer Lloyd – Lazer Lloyd | Album Review

Lots of Love Records

www.lazerlloyd.com

12 tracks / 56:01

There are not exactly a ton of blues albums coming out of Israel, but fortunately for us one of the most talented artists around, Lazer Lloyd, is the country’s blues statesman. His new eponymous album is a departure from the tasty acoustic folk blues that he perfected on Lost on the Highway, and this blend of electric blues and rock is a winner!

Lazer Lloyd has taken quite a journey to get to this point in life. He was born in New York (his birth name is Eliezer Blumen), and he started playing the guitar when he was 15. After attending Skidmore College he drew the notice of producer Gary Tallent (from the E Street Band) and was ready to continue his music career in Nashville when another opportunity presented itself. After playing a gig with the late Ray Shlomo Carlebach (The Singing Rabbi), he decided to visit Israel and he figured out that was where his calling was. For the past 20 years he has been using that as his home base, and been busy gigging, recording, touring, and raising a family.

Lazer Lloyd is a powerful collection of twelve songs, with all but one being written by Lloyd. He is the frontman, harp guy, and guitarist, and he is joined by a seriously dangerous backline that features Moshe Davidson on bass, Elimelech Grundman on drums, and Kfir Tsairi on the keys. He co-produced the album with Yocheved Seidman and all of the tracks were cut at a studio in Tel Aviv.

Though Mr. Lloyd has a wonderfully strong voice and good harmonica chops, his most notable talent is his uncanny guitar feel and tone. He is a bit of a gear hound and is always searching for the perfect sound, but electronics are only the icing on the cake. Without his fingers channeling the mojo from his soul, it would not be possible to produce the killer tone that he achieves.

This disc is a journey through blues and rock, and all of the songs should please blues fans and guitar aficionados alike. If you like traditional blues, “Time to Love” is as close as you are going to get, though Lloyd does throw a few jazz chords into the mix. There is also a little country rock in “Rockin’ in the Holy Land,” which features some slick harmonica work from the man, as well as a little insight into how he ended up in Israel.

But this album is most populated by catchy blues-rock, including the opener “Burning Thunder,” the extra greasy “Out of Time,” and the poppy “Love Yourself.” The latter is ripe for airplay, and could certainly be a great opportunity for Lloyd to get some radio time in the states.

This is all good, but where Lazer Lloyd really shines is with “Set My Soul Free,” an awesome 1970s style psychedelic blues-rock song that is chock full of licks that would make Robin Trower jealous. This song has everything: smooth guitar virtuosity, fat bass from Davidson, and amazing drums courtesy of Grundman. In fact, the drums have a tremendous presence, and at times it sounds like a drum solo that just happens to have a song happening on top of it.

Then there are a couple of softer songs to round things out. Notably, there is an acoustic cover of “Dock of the Bay” that transforms it from Otis Redding’s easygoing melancholy tune into a stone cold bummer. The other is Lloyd’s testimony, “Whole Heart,” a soft blues-rock ballad that closes out the set with a touch of Hammond organ from Tsairi.

Though all of the songs are very good musically, his lyrics might be even more powerful. They are not terribly fancy, but they are heartfelt and most seem autobiographical. They are a portfolio of sadness, hope, love, and faith. There is a spiritual feel to much of it, but this is not a preachy or religious album – instead, the words come across as personal and heartfelt.

With his new disc, Lazer Lloyd shows once again that he has strong writing skills, a mature voice, and guitar skills that are hard to match. Each of the dozen tracks has a different feel and they are sequenced perfectly so that this is project is a complete picture. It would be a shame to cherrypick a few songs off this album, as they are all winners. So, do yourself a favor and buy the whole disc, not just a few tracks from your favorite online seller. Also, if you go to his website you will see that he is touring Israel and the United States extensively through the end of the year (including my home town!), so make of note when he is coming to your area so you can catch his live act. It will certainly be a worthy use of your time!

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

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

EllerSoul Records

www.mikehenderson.com

www.ellersoulrecords.com

11 tracks / 51:32

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

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

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

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

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

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

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

Brothers Brown – Dusty Road | Album Review (Release Date: March 28)

Brothers Brown – Dusty Road

335 Records

www.335records.com

12 tracks / 46:49

When people talk about musical supergroups, it often conjures images of shredding guitar heroes and metal band members who are trying to figure out what to do with their lives now that the 1980s are over. This is not what we got with the Brothers Brown, a group of four supremely talented musicians who got together and recorded Dusty Road, an album of very tight and original American music.

It is better to get to the confusing part right away – the band is led by two guys names Paul Brown. The first Paul Brown is a Grammy winning Los Angeles-based producer, guitarist, singer, and songwriter. And Brother Paul Brown is a Grammy nominated Nashville-based producer, keyboardist, and songwriter. The backline is also from Nashville, and they are David Santos on bass (Billy Joel, Elton John, etc.) and Pete Young behind the drum kit (Loretta Lynn, Burrito Brother, and more). All four members get production and writing credit for the dozen tracks on their debut album, Dusty Road, which is scheduled for release on March 28, 2016.

Brothers Brown’s Facebook page says this is a blues band, but when they kick off their set with “Cup of Tea,” you will hear that it is not possible to shoehorn their sound into a single genre. With trick rhythms on the drums, classic organs sounds, jazzy piano, countrified lead vocals, and R&B backing vocals, there is a lot going on here. But there are a few things that are easy to define: these guys can write a slick song, and they are really good musicians. Things do not let up from here, as every other song on this disc as just as good.

There seems to be an equal partnership in this group. The Browns get frontman duty (of course) but we also get to hear how well Santos sings on the country-rocker, “The River,” and Young gets his turn behind the mic on the bluesy ballad, “Drink You off My Mind.” When trying to find a group to compare these guys to, I am at a little bit of a loss, but am going to go with Steely Dan. Why? Not because they sound like them, but because there is a bit of jazz in their sound, their lyrics are clever and cover a wide range of subjects, and they seem to have tried really hard to achieve perfection.

After hearing how tight the band is and how well this album is put together, it is hard to believe that each member recorded their own parts in their own studios, and shared their files for the final product. These guys sound like they have been playing together for years, which is a testimony to their talent and professionalism.

So, the Brothers Brown’s Dusty Road is a very good album, but where does the band go from here? As with many other supergroups, these guys already have active careers, and I have not heard of plans for shows or a tour. So, check out the album when it comes out on March 28, and like their Facebook page so you can keep up with what is going on with the band. Let’s hope they keep this gig going for a bit longer!

Blues Blast Magazine Album Review: Steve Dawson – Rattlesnake Cage

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This CD review was originally published in the July 17, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Steve Dawson – Rattlesnake Cage | Album Review

Black Hen Music

www.stevedawson.ca

www.blackhenmusic.com

11 tracks / 41:31

Canada has produced scores of righteous musical acts over the years, and it certainly helps that artists can get help from their government through various agencies and that MAPL helps ensure that Canadian music is more widely accessible to the public. It is not a perfect system, but it certainly can help artists get a toehold in the local market, and use it as a springboard to further international success.

One product of this Canadian scene is Steve Dawson, a musician, songwriter, producer, and owner of Black Hen records. During his relatively brief career he has won seven Juno Awards and has produced some very solid work as a sideman and a solo artist, plus he is doing the Lord’s work by helping other artists get their careers started. Steve recently moved to Nashville, which will surely help get his music more attention here in the states.

Rattlesnake Cage is Dawson’s sixth solo release (if I counted right), and this one is unique in that it is an all-acoustic instrumental disc. All 11 songs were written by Steve, and he handles all of the guitar chores, including 6 and 12-string acoustics and a National Tricone. That is all -- no vocals, no overdubs, no effects, and no backing musicians. He used a Neumann M49 microphone that had been hanging in a Detroit church for 50 years to record this album. This is the holy grail of tube microphones, and they are known for having a lovely top end and lots of weight in the lows. He made the most of this hallowed mic, and it captured the essence of his performance perfectly that it sounds like he is playing in your living room.

Right from the first track, “Blind Thomas at the Crime Scene” it is apparent that this album is special. This tune is almost like a country song with a blues melody laid over the top of it. It is easy to forget that there is only one musician here and that there are no overdubs to enhance his super-clean finger picking. He keeps dead perfect time despite the intricacy of what he is doing, and he leaves no doubt that he has the skills to pull off this one-man show.

It is natural to compare Dawson to modern day guitar virtuosos such as Leo Kottke, John Fahey and Gary Davis, which is a huge compliment, but Steve has a style of his own. After one serious listen of this album it is easy to come back later and recognize his playing because this unique amalgamation of blues, jazz, country, and folk is his alone. A neat example of this is “The Medicine Show Comes to Avalon,” a light-hearted ragtime piece that sounds deceptively simple, but his thoughtful writing and exemplary performance skills make it sound less complicated than it really is.

Steve keeps things interesting throughout, and each subsequent song shows that he is not a one trick pony. The title track has a greater dynamic range than the earlier songs as he alternates digging hard into the strings with some slick slide stylings. From there he slows into the ballad-like “Lighthouse Avenue” which is simultaneously gritty and melodic. Then there is “J.R. Lockley’s Dilemna” which is the most bluesy of the bunch, complete with luscious slide steel guitar. Each song is like a new chapter in a book that just cannot be set down.

An all-acoustic guitar album could get tedious, but Dawson prevented this by changing things up with each track and the final song of the set, “The Altar at Center Raven,” arrives too quickly. This 12-string romp is fun and its uptempo melody will leave you with a smile on your face.

It should be mentioned that Steve did a nice job of mixing and mastering all of the tracks so that the level is consistent and the sound is as clear as a bell throughout. His hard work in the studio and post-production set the stage so that there was nothing to distract from his guitars and his talented hands.

Rattlesnake Cage is a breathtaking album of original roots and blues music from Steve Dawson, and it is a must-have for lovers of the acoustic guitar. Steve is touring around Canada for the rest of the year, and unfortunately there are no plans for him to travel south of the border (so far). Hopefully he can use the momentum from this CD to gain new fans from the United States, and we will get to see him perform here soon!

Mahalo!

Fo’ Reel – Heavy Water | Album Review

Aloha!

Fo’ Reel – Heavy Water

Self Release

www.foreelband.com

11 tracks / 53:06

Fo’ Reel bills themselves as a “New Orleans All Star Blues Funk” band, and though it sounds like hyperbole, there might just be something to their boast. Just looking over the list of personnel for their new album, “Heavy Water,” proves that they have a lot of powerful musicians in the line-up.

For starters, C.P. Love, the legendary Crescent City soul singer is their frontman, and a couple of Grammy winners are on the bill too: Jonny Neel behind the keyboards (Allman Brother, Gov’t Mule, and Dicky Betts) and Jon Smith on tenor sax. David Hyde takes on the bass chores, and the drums were played by Daryl Burgess or Allyn Robinson, depending on which city the recording session was in that day (New Orleans or Nashville). This ensemble is rounded out by Ward Smith on baritone saxophone, Barney Floyd on trumpet, and songwriter Rick Lawson, who provided the lead vocals on four of the tracks.

But do not forget guitarist and executive producer Mark Domizio, who is their leader and the brainchild that turned this group of journeyman musicians into a cohesive whole. David played with Dr. John’s band for 40 years, and has been a first-call guitarist on the New Orleans scene for just as long. Now that this disc is cut, he will be taking some of these guys on the road to spread their brand of blues to the hungry masses.

For a “New Orleans All Star Blues Funk” band, their selection of music is not what you would think it would be – what they play is not exactly the New Orleans Blues. Though there is an undercurrent of the NOLA vibe, their music has a smooth and soulful modern blues sound that is not loaded up with accordion, washboards, or raw production values. It is a fresh blues-based sound that incorporates elements of jazz, soul, funk, rhythm and blues, Latin beats, and even a little Texas swing. This album is as slick as hell with high-quality and seamless production, and the band cranks out eight original songs and three clever covers in just under an hour.

Heavy Water kicks off with “Breaking up Somebody’s Home,” the first of the three cover tunes. This Albert King standard differs from other versions that came before as it is more soul-based, with some incredible Hammond work from Neel, and killer horn arrangements from Smith. Love’s vocals are strong and suitably harsh and emotional for the theme of this song.

Love also takes the lead vocals on the other two covers: “Shake N Bake” and ”Just as I Am,” both of which were recorded by the late Luther Allison. The former is a slow-rolling funk masterpiece, and the latter borders on gospel. The common ground between the two is the rock-solid backline, Domizio’s stellar lead breaks, and the incredible keys of Neel.

Rick Lawson’s smooth voice brings more of a 1970s funk style to “Shake N Bake” which is an explosion of raw horns, retro synthesizer sound, and hammering snare and hi-hat. But otherwise, his vocals are used for slow-rolling blues tunes, including “Leave Your Love Alone,” “Blues,” and “Outside Love.” These latter two also feature some sublime slide work from Domizio.

As cool as all of this is, there are a few instrumentals that will really knock your socks off too. “Gate” is a jazzed-up Texas swing tribute to Clarence “Gatemouth” Brown, with some trick fingering on the guitar and razor sharp horns, including a fabulous tenor sax solo from Smith. They chose to end the set with “Tater,” a jazzy horn fest with a funky beat.

Fo’ Reel’s Heavy Water is a very good album with first-rate writing, arranging, performance and production. If you like contemporary blues or soul, this disc is a must-buy, but also consider their live show if you are looking for a fun evening of righteous music. For details of how to purchase the CD or to see their gig schedule check out their website at www.foreelband.com

Mahalo!