Blues Blast Magazine Album Review: Vanessa Collier – Meeting My Shadow

Good day!

This CD review was originally published in the June 15, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Vanessa Collier – Meeting My Shadow

Ruf Records

www.vanessacollier.com

www.rufrecords.de

11 tracks / 44:23

Vanessa Collier is a fresh face on the American blues scene, and in addition to her soulful vocals she brings a mighty sax to the table. I am not the only one that thinks so, as Vanessa was nominated for the best horn instrumentalist at the 2017 BMAs, putting her in the same club as Al Basile, Nancy Wright Sax Gordon, and Terry Hanck. Also, her latest release, Meeting My Shadow, is making the rounds and it is a solid collection of original blues that serves to make the genre a bit more interesting.

Ms. Collier is based out of Philadelphia, and her background is as impressive as her music. Vanessa is a graduate of Boston’s prestigious Berklee College of Music, and she brought her vocals and sax to tours with Joe Louis Walker’s band. Also, Collier’s 2014 debut album, Heart Soul & Saxophone, was highly praised on Dan Aykroyd’s blues radio show, and she was honored as the Best of 2014 Blues Breaker Artist on House of Blues Radio. It would seem that her schedule is pretty full, but Vanessa also finds time to run her own teaching studio, volunteer at schools, judge solo and ensemble festivals, and offer clinics all over the country.

Meeting My Shadow is Collier’s sophomore album, which was recorded in six days at Music + Arts Studio in Memphis, Tennessee; it was produced by Vanessa, Kevin Houston, and Thomas Ruf (of Ruf Records fame). She was joined in the studio by Daniel McKee on bass, Ty Jackson on drums, Charles Hodges on keys, Marc Franklin on trumpet and flugelhorn, and the blues giant, Laura Chavez, on guitar. This is a stellar line-up, and on this project, they demonstrate a palpable synergy that is infectious.

Eight of the eleven tracks are originals that were written by Vanessa, including the opener, “Poisoned the Well.” This song shows what a well-rounded musician Collier is, and she provides the vocals, flute, Rhodes piano, Wurlitzer, and clavinet. This funky blues rocker features smoky vocals with jazz influences in the phrasing, and a really neat orchestration that includes haunting flute parts. It must have been hard for her to set the sax aside at the beginning of the set, but hey - when was the last time you heard flute in a blues song? This is backed up by a little more funk with “Dig a Little Deeper” with its sassy vocals and 1970s vibe. We finally get to hear the sax here and Vanessa’s tone is amazing, as is her interplay with the clean horn style of Mr. Franklin.

The rest of the originals cover a wide range of the blues-based genres, and it is all tasteful and well written. “When it Don’t Come Easy” has a cool electric delta blues vibe thanks to Chavez, and one of the best phrases ever: “I’ve been sanding down my splintered heart.” The band also goes old school with the vintage rock and roll of “Whiskey and Women,” which includes hearty vocals from Vanessa and the healthy backline of Jackson and McKee. And the closer, “Devil’s on the Downslide,” has a sweet gospel feel that features Collier on the Wurlitzer organ.

There are also a handful of covers on Meeting My Shadow, including Rosetta Tharpe’s “Up Above My Head, I Hear Music in the Air,” which has a gospel call and response with ladies, killer piano, a hyper snare drum, a sweet chicken-pickin’ guitar solo, and a killer sax solo. There is also the unexpected inclusion of U2 and B.B King’s “When Love Comes to Town” from 1988’s Rattle and Hum. This version is slower than the original, which gives it a different feel, but it still rocks. Vanessa has an interesting character to her voice here and this complexity is compelling, which is helpful as this song is not presented as a duet this time. Also, Laura Chavez tears off an amazingly raunchy guitar solo that fits in perfectly. It is hard to outdo the original, but this version comes really close.

Vanessa Collier and her crew did a wonderful job with Meeting My Shadow, and the result is an entertaining 45-minute set of original blues with a fresh sound. Regardless of what you think the blues should sound like, there is plenty to like here so you should take the time and give it a listen. Also, Collier has plenty of bookings coming up, with many North American tour dates from Florida to Maine to Canada, and everywhere west, as well as some shows in Europe. So, be sure to hit up her website for dates near you as Vanessa is an important part of the future of blue, and it would cool to support her journey.

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: Chris Yakopcic – The Next Place I Leave

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

Chris Yakopcic – The Next Place I Leave

Self Release through Yako Records

www.chrisyakopcicmusic.com

11 tracks / 40:54

Chris Yakopcic hails from Dayton, Ohio and has honed his unique brand of original acoustic fingerstyle blues though gigs and festivals around his home state and Pennsylvania. His hard work has earned him a couple of trips to the International Blues Challenge in Memphis, including a shot at the finals in 2015. But he is more than just a talented performer, and you will find excellent production and songwriting on his sophomore album, The Next Place I Leave.

This disc was recorded and mixed by co-producer Gary King in Dayton, and mastered at the famed Ardent Studios in Memphis. This was a good call, as the tracks are all flawlessly presented. This album has a big and clear sound that was accomplished with minimal personnel, as there is only Yakopcic on guitars and vocals, Leo Smith on bass, and Brian Hoeflich behind the drum kit. Stripping away the usual horns, harmonica, and keyboards results in a fresh vibe, almost like an acoustic power blues trio!

This disc has seven original tracks, plus four covers of tunes from the masters, and they all works very well together. The originals show that Chris has keen storytelling ability as he recounts some of his influences and life history, as well as his deep love for the guitar. And his application of the Nashville songwriting process results in blues-based tunes that are accessible and fun to listen to.

The title track is the first song in the set, and “The Next Place I Leave” features really clean fingerpicking over the driving beat provided by Smith and Hoeflich. The sound is modern, and Yakopcic’s lyrics are as slick as his fretwork as he recounts the thoughts of a man with a restless spirit. This segues into Robert Johnson’s “Preachin’ Blues” which start off with a nice bit of slide guitar, and after the introduction the band comes in, turning this into a modern song with a country blues feel. Chris retains the original melody and lyrics, but his arrangement transforms this tune into a piece that fits well into the rest of the album.

In this same vein, Yakopcic reworks Leonard Cohen’s laconic synth pop tune, “Tower of Song” into an upbeat mountain song, and Mississippi Fred McDowell’s “Write Me a Few Lines” (a jangly delta piece) into a slide-infused popping boogie. Probably the coolest of the handful of cover tunes is a countrified version of Robert Johnson’s “Phonograph Blues” which has somewhat risqué lyrics and sharply picked acoustic guitar with fabulous dynamics and a slick solo break.

These songs are a neat way for Chris to let us know what his inspirations are, and it is to his credit that he did not try to perform them exactly as they were originally written, though he has the talent to do so. But the true highlights of The Next Place I Leave are his original compositions, as many of them are autobiographical and personal. For example, “Smallman Street” is an easygoing rocker (with distorted electric guitars) that recounts one inspirational experience that drew Yakopcic towards the blues guitar. Then on “Sounds of the Highway” he uses his steel guitar to build a shuffle that describes his love of life on the road. And finally, Chris closes out the album with his thoughts on living a more simple life with his guitar, and “My Last Three Strings” is a gentle blues song with a beautiful solo break.

Fans of acoustic blues, roots music, and finely picked guitars will find plenty to like with Chris Yakopcic’s The Next Place I Leave. It is 40 minutes of well written and well played music that really clicks. If you head over to his website you will find a few samples of his work to listen to, and be sure to view his schedule of upcoming gigs, because if you are anywhere near the Buckeye State, it would be worth your while to check out one of his shows!

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!

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!

Jeff Jensen – The River City Sessions | Album Review

Jeff Jensen – The River City Sessions

Swingsuit Records

ww.jeffjensenband.com

www.swingsuitrecords.com

12 tracks / 67:00

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

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

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

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

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

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

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

Mississippi Bigfoot – Population Unknown | Album Review

Mississippi Bigfoot – Population Unknown

Silver Tongue Records

www.mississippibigfoot.com

9 tracks / 46:00

Mississippi Bigfoot formed in 2015, but they have not wasted any time getting moving and have already released their debut album, Population Unknown, and it is a kick! Their sound is a refreshing blend of swamp blues, rock, rockabilly, and funk that has to be heard to be believed.

The band includes Christine Vierra on lead vocals and ukulele, Johnny Holiday on lead guitar, Ashley Bishop on guitar, Cade Moore on bass, and Doug McMinn on drums and harmonica. This quintet formed the band after a show in Clarksdale, Mississippi, but most of these folks hail from the Memphis, Tennessee area. This disc is a sweet piece of work that was recorded at the famed Ardent Studios in Memphis; it includes eight originals that were written by the band and one really awesome cover.

They kick off this set with “Burn That Woman Down” a heavy does of swampy blues rock that highlights Vierra’s ultra-strong vocal abilities and plenty of smooth slide guitar work. The guys pitch in on backing vocals (“Whoa-o-o-o!”) as McMinn keeps the beat with a heavy snare. Things switch up right away with “Mighty River” which has cool uke chords from Christina and hard rocking layers of guitars from Bishop and Holiday, as well as a slick solo break. Then they throw out “Wag the Dog” a fast-driving rocker which features some righteous cigar box guitar from Bishop and harp from McMinn. This is how the whole album goes – every track is different than the rest!

A perfect example of this is “No Flesh in Outer Space” which is a funk tune that is held in place by the stellar backline of Cade and McMinn. Vierra digs deep on the vocals, and there are multiple levels of heavily processed guitars from the two guitarists. This track, with its complex sound and fun lyrics, ends up being one of my favorites in the set.

They also grabbed a really cool Albert King song for the lone cover, and “The Hunter” ends up being totally different than King’s or any of the other versions I have heard of this tune (by the way, Ike and Tina Turner’s blues version is terrific, too). Mississippi Bigfoot took this one into the Texas boogie realm, which has some rough and ready harmonica from McMinn and great solos trading back and forth between Holiday and Bishop.

”Tree Knockin’” finishes things off with a little roadhouse blues, and we get to hear a little bit about the band’s namesake. Listen closely, or you might miss something…

In a world of bands that play Muddy Waters covers and throw a Hammond on every other track, Mississippi Bigfoot stands out and Population Unknown is a fantastic way for new fans to get to know them. They are on to something here, and they have plenty of festivals and shows booked in the United States and Europe this spring. Head over to their website and see if they will be playing somewhere near you as I think their show will be quite the experience!

Graceland Mansion Tour Review, Memphis, Tennessee

Hello!

I recently had the opportunity to tour Elvis Presley’s Memphis, Tennessee home, Graceland. Even if you are not a fan of The King, this is a must-see item that should be in everybody’s bucket list.

Graceland was built in 1939 by Ruth and Dr. Thomas Moore. Elvis gave his folks a $100,000 budget to find him a house outside of town, and they chose this 14-acre estate. He proceeded to expand and modify it to his tastes, including additions to the main house and the building of other structures on the property. He died there in 1977, and was buried in the back yard, and you will find him there next to his folks and his grandma. Graceland was opened to the public as a museum in 1982, and these days about 600,000 people a year make the pilgrimage to Elvis’ estate.

I have long been a fan of Elvis Presley, and have never been able to work in a trip to see his home during my business travels. So, I decided that I had to make a special trip with Graceland as the primary destination. I am glad I did!

I bought the tickets online to save the hassles of waiting in line when I got there. They charge a $5 premium per ticket for this service, by the way. I went for the Entourage VIP tour, which includes all of the tours (airplanes, cars, etc.) and most importantly meant that we would not have to wait in the hour-long line to catch the mandatory shuttle up to the house. It turned out to be a hot day, and those people looked miserable. Good choice…

They started out by snapping a photo of us in front of a green screen, which I had no intention of buying, but it turned out really nicely, so I just had to buy it. Then it was on to board the shuttle for the short trip across the street to the mansion. They included a self-guided audio tour, which included little audio players that we could punch in codes to have the different displays and rooms described to us.

The tour starts through the front door, and fortunately I read up on the estate before I went so I knew that The Man had dies right above the front door! Then we got to tour half of the first floor, including his living room, dining room and kitchen. Nothing has been re-decorated, so it still has that mid-1970s charm. Then down to the basement to see the TV room and pool room, which were my favorites. The decorations and furniture are truly breathtaking.

Then, back up another staircase (encased in green shag carpet) to the Jungle Room. My god. Elvis had truly incredible taste! After this, you exit the house. No second floor tour – rumor has it that only Lisa Maria and Priscilla can go into his room, which is just as he left it.

You go out into the back yard, pass the car port and Lisa Marie’s old swing set, and take a walk thorough Vernon’s office. Going out through the smokehouse/shooting gallery, there is a path past the horses and stable to his trophy room. You have never seen so many Grammys and gold records in one place. There are also costumes from some of his movies in there.

Across from there is his racquetball building, which has been converted into another trophy room. Lots more gold records and jumpsuits in here, folks. And last on the regular mansion tour agenda is the Meditation Garden, where Elvis and his kinfolk are interred (and there is a memorial stone for his twin brother that dies during birth – who knew?). If you go for the VIP tour, there is another room you get to see with Lisa Marie’s memories of her dad. I thought it was pretty neat.

There are also a half-dozen other displays, and my favorites were his two airplanes and the car museum. The planes are definitely a little time worn, but are worth a looksie, if only to see the gold hardware in the bathrooms and Elvis’ mile-high club member exam area. The cars are fantastic, and include some motor bikes, and golf carts too.

There are a few downsides to the place. Parking is $10, and as you exit all of the sub-tours you have to pass through yet another gift shop. Also, Memphis is kind of a great big ghetto, and I never felt truly safe anywhere I went outside of Graceland. The town is not a great tourist destination, I guess.

Anyway, I thought that Graceland was cool. Others poo-poo it as small, lurid and gaudy, but I look at it as getting to glimpse Elvis Presley’s life, and I think it is a great opportunity for fans to get to know him, and for others who are not as familiar with his work to realize what an incredibly huge deal he still is.

I recommend seeing it soon, as there are plans to tear down the visitor centers and a lot of the area around Graceland to build a huge convention center and theme park. This would allow a few million people per year to visit. I cannot image trying to cram more people through the home unless they open up 24 hours a day.

Check it out for yourself!

Mahalo!