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: Reverend KM Williams – The Real Deal Blues | Album Review

Good day!

This CD review was originally published in the April 20, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Reverend KM Williams – The Real Deal Blues

Cleopatra Blues Records

www.revkmwilliams.com

www.cleopatrarecords.com

15 tracks / 52:10

Reverend KM Williams was brought up in East Texas, where (legend has it) as a toddler he first played the guitar while sitting on the lap of Elmore James. From there, Williams built his skills over the years by playing in churches where he got a righteous background in gospel and rhythm and blues. The Reverend is a serious guitarist and vocalist, but he also has a mean touch with the Diddley bow, a single string instrument that produces an amazing slide guitar tone in the correct hands. After listening to his new album, The Real Deal Blues, there is no doubt that Reverend KM Williams has the correct hands!

These days, listeners can find Williams playing his unique brand of raw blues on the stages of the Deep Ellum clubs in Dallas, Texas, alongside his friends such as drummer Washboard Jackson and the BMA-winning harp man, Deacon Jeff Stone. You can get a feel for this scene and the Texas blues tradition in the album’s companion short film, which is also titled The Real Deal Blues. The Reverend took his stage energy and vibe into Atom H Studios in Austin Texas, where producer Jurgen Engler brought this project to life. The resulting 15 tracks are all distinctive and innovative, while still remaining 100% blues – the album’s title is no joke.

Whatever you are expecting, once the set starts the sound of this disc will set you back on your heels a bit. It is all raw edges with a distant sound, jangly guitars, a wailing Diddley bow, and vocals that beg to you listen just a little harder. This is modern electrified music, but with the way it is recorded the gap between traditional and modern is bridged, and the way the listener interprets it might just depend on what mood he or she is in that day.

The Real Deal Blues is all about feel and mood, not showing off with flashy solos or crazed vocals, and this is apparent from the first track, “Baby Please Come Home.” Williams’ easygoing baritone vocals are set back in the mix, and the subject matter is undeniably the blues. Musically, there is a strong backbeat and the instruments are processed and electrified, but the overall vibe is vintage due to the classic repetitive blues structure of the lyrics and the overall murkiness of the tone. From there the Reverend explores swamp rock with “The Runaway Blues” which has a melting pot of guitar layers and a nice touch of Diddley Bow.

These first two songs are pretty intense, and Williams understands that this level of drama cannot be maintained for the whole album and still have people listening at the end. So there are a few conventional tunes sprinkled around the CD. “Ring in My Pocket” has a more laid back beat, and it is a sweet story of a man who has no cash in his wallet and plenty of holes in his shoes, but he is on the road home to his lady with a ring for her finger. Another more mainstream song is “Shoulda Left this Town,” which is a little slower and is built on a 12 bar blues foundation.

There are a few shorter-length themed songs, which also help to lighten the load at times when things start to get a bit heavy. “Highway 666” has a 1950s Johnny Cash rockabilly feel with a driving tempo and groovy sound effects that accompany the story of a man who has bad ambitions. Another cool tune is “Haunted House” with its roadhouse beat and a truckload of killer guitar tone.

If this album makes you wonder what a Diddley bow sounds like without electronics and processing, you will be happy that the closer is a bonus acoustic version of “Bad Boy Blues,” which appeared earlier on the album. In this case, the drama is still there, but it is a different mojo as the driving feel of the electric mix has been stripped away. Williams can make that single string sound like a dozen, and the man’s talent shines brightly when all of the studio magic is turned off.

Reverend KM Williams remains true to his roots and to the genre with The Real Deal Blues, and this album is an edgy 52-minute set of hardcore Texas blues. It is not easy listening, and it would be best to not distract yourself while it is playing as you could miss a lot. If you like what you hear and want to see him in person, head over to his website to check out his schedule; if you are in Dallas, Mississippi, or Spain, you are in luck as he has plenty of shows coming up!

Blues Blast Magazine Album Review: Aaron Burton – All Night Long

Good day!

This CD review was originally published in the April 9, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Aaron Burton – All Night Long

Self Release

www.aaronburton.net

14 tracks / 51:48

As blues has evolved over time it has strayed pretty far from its original formula, but country and folk blues usually stays pretty true to the original sources of the genre. Aaron Burton’s self-released sixth album, Up All Night, falls into this latter category, and delivers a solid collection of roots and blues music with a Lone Star influence.

Aaron Burton hails from the Dallas / Fort Worth area, and he has shared his pleasant drawl and fine stringed-instrument prowess around the United States and all the way to the United Kingdom, where he is gaining a respectable collection of new fans. On Up All Night he takes care of the vocals, guitar, mandolin and dulcimer, and he his joined by “Stompin” Bill Johnston on the harp and Dick Cordes behind the drum kit. There are fourteen self-penned tracks on this release, with a couple of neat covers worked into the set.

The title track is up first, and it is readily apparent that Burton has put together a power country blues trio with a big sound. “All Night Long” starts with a dulcimer ostinato and quickly adds slide guitar and mandolin. Johnston’s harmonica takes an active role, filling in the parts that would normally be covered by a second guitar or keyboard. When you add Cordes’ hard-hitting drums into the mix, the effect is quite huge.

Burton’s guitar work is very good, but he does not show off as he plays only the notes and chords that are really necessary. This makes the CD more accessible to a larger audience and provides a more laid-back vibe. His vocals are rich and appropriately growly at times – perfect for the style of blues he is selling.

Aaron is a good storyteller and a capable songwriter as shown by “The Day Big Tex Caught Fire,” a tune that uses the classic blues lyrical style and his electric guitar to recount the loss of the famed Texas State Fair icon back in 2012. He also does a stunning job of capturing the listener’s attention and emotion with “Hard Luck Child,” a more modern blues tune that tells the sorry tale of innocent folks who never had a shot at happiness in their lives.

Despite the heaviness of this last tune, Burton maintains an upbeat mood for much of the album, with light-hearted songs about things that most folks can relate to. And those things are the highs and lows of relationships with the opposite sex. A great example of this is the good sense of humor he maintains as he tries to cut a deal with his ex in “Don’t Talk Bad About Me” (and I sure won’t talk bad about you).

The covers on Up All Night are pretty cool, and they include Charlie Patton‘s “Pony Blues” and Blind Willie McTell’s 1928 standard, “Statesboro Blues.” They both end up being a lot closer to the originals than the countless other versions out there, so if you really love the Canned Heat or Allman Brothers takes on these, you might be a bit let down. But, as they are, they are refreshingly different than what we have come to expect and they fit much better into the overall theme of this release.

The set closes out with a bonus track, “I’m Your Santa Claus,” which might be a fun inclusion for your next holiday party, and it is one last chance to hear some awesome harp work from Stompin’ Bill. Well, it should probably be an adult party, as there are plenty of double entendres that are set to the tune of John Brim’s “Ice Cream Man” (famously covered on Van Halen’s debut album).

Aaron Burton is a fine musician and a mature songwriter, and Up All Night is his best work since he first entered the studio ten years ago. If you are a fan of roots music or country blues, this CD will be just what you are looking for. Also, if you are near Dallas anytime soon, be sure to check out his website as he has a heavy gigging schedule in the DFW metro area, including a regular Tuesday night Delta Blues Jam at The Goat in East Dallas.

Blues Blast Magazine Album Review: Mike Stern and Eric Johnson – Eclectic

Hello!

This CD review was originally published in the January 15, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Mike Stern and Eric Johnson – Eclectic

Concord Music Group

www.mikestern.org

www.ericjohnson.com

www.concordmusicgroup.com

12 tracks / 72:22

Two powerhouse guitarists, Mike Stern and Eric Johnson, first got together when Mike asked Eric to play a few tracks on a recording project, which led to a performance together at the Blue Note in New York City. They had such a good chemistry on this show that they could not just go their separate ways, so they recently completed a neat cooperative effort, Eclectic.

Mike Stern is a top shelf jazz guitarist and Berklee graduate who has released 16 of his own albums, six of which were nominated for Grammy Awards. His big break was in 1976 with Blood, Sweat & Tears, and since then his career in the various genres has been nothing short of impressive. He has performed and recorded with an amazing cadre of artists, including Miles Davis, Jaco Pastorius, David Sanborn, the Brecker brothers, and Bela Fleck. The list goes on and on, bit you get the point.

Eric Johnson provides the rock half of the equation, and his curriculum vitae is no less solid, with a Grammy Award and five nominations of his own. Eric took up the guitar at the age of eleven (as Beatlemania took hold of the US) and in just a few years he jammed with Johnny Winter who later remarked, “When I heard Eric, he was only 16, and I remember wishing that I could have played like that at that age.” After a four-year stint with Austin, Texas’ seminal fusion band, the Electromagnets, he went on to cut ten of his own albums. Along the way he garnered the respect of big name guitarists such as B.B. King, Billy Gibbons, and Steve Morse, and had the opportunity to tour with his fellow guitar gods Steve Vai and Joe Satriani.

Eclectic was recorded in just 3 days at Johnson’s Austin, Texas studio, with few overdubs and a decidedly live feel. It clocks in at well over an hour and serves up eleven original tracks and one kicking cover. Stern and Johnson handle the guitars (obviously) and they are joined by the rock solid backline of Anton Fig on drums (late night with David Letterman’s World’s Most Dangerous Band) and Chris Maresh, Johnson’s regular bassist. A few key guests contributed as well, and their disparate backgrounds ensure that Eclectic is not just a clever name.

Austin’s pre-eminent soul man, Malford Milligan, helps kick things off with his growly vocals on “Roll with It.” His chops are a good match for the intricate guitar work on this funk rock piece, and the backline delivers a rock steady beat without being too flashy. After this things get jazzy with “Remember,” a six-minute fusion instrumental piece that might not be terribly radio-friendly, but it is super-listenable and features a killer bass groove from Maresh, who has no trouble keeping up with Johnson and Stern.

The instrumental “Benny Man’s Blues” is a tribute to Benny Goodman, and though it has the word “blues” in the title it defies categorization. There is a blues backbone, but it is layered with distorted bluesgrass picking, jazz rhythm guitar / bass, and knockout rockabilly drumming. Things calm down a bit for “Wishing Well” which is peaceful despite its fast tempo. This is surely helped along by the sweet vocal stylings of Grammy winner Christopher Cross, Johnson’s longtime friend and fellow Texan.

Maresh’s “Bigfoot” benefits from a world music intro that features Mike’s wife, Leni Stern, on vocals and n’goni. After 90 seconds of her lovely melodies, things go all experimental electric jazz, and it is hard to believe that the band was able to put songs this complex together in just a few days and still have them sound good.

Eric is not known for being a jazz guitarist, but one of his big inspirations is Wes Montgomery, and “Tidal” is a tribute to him. He also does not forget his own musical past, as he placed an Electromagnets song, “Dry Ice,” into the mix. This high-energy fusion instrumental exercise sounds huge, and Fig’s driving snare and kick drum propel this thing into overdrive for almost seven minutes. In keeping with the eclectic theme the horn section of saxophonist John Mills, trombonist Mike Mordecai and trumpeter Andrew Johnson join in on “Hullabaloo,” the most poppy and accessible track on the disc.

The album finishes up with a fresh take on Jimi Hendrix’s “Red House” with Stern and Johnson switching off on the vocals, and it turns out that they can both sing well too. Jimi inspired these guys, and their talent makes sure it is a fitting tribute. For good measure Guy Forsythe kicks in some tasteful harmonica work, which add a new element to this blues-rock classic.

Mike Stern and Eric Johnson’s Eclectic is a spontaneous collection of very good songs that were recorded by two of the best axe men in the business. If you love guitar music with no boundaries, this is the album for you. Hopefully their collaboration will continue after this project and we will get to hear more from this dynamic duo!

Mahalo!

coWpilot – coWpilot | Album Review

coWpilot – coWpilot

Self Release

www.facebook.com/coWpilot

9 tracks / 30:44

I review a lot of blues CDs, and it was nice to get something a little different to listen to this time, and coWpilot certainly delivered. Their eponymous debut album is a dose of quirky country (among other things) that is nothing like the formulaic pabulum that Nashville songwriters crank out like there is no tomorrow.

coWpilot has survived a long germination, with three members who have known each other for decades since they first met up on the central California coast. The lives and careers of Tee Fitch, Jack Williams, and Chris Barham took different directions, but fate smiled on them and they all eventually ended up in the Lone Star State. About ten years ago they sort of picked up where they left off, found themselves a drummer (Andy Alsup) and another guitarist (Jimmy Buck), and started playing club and corporate gigs again. Hallmarks of their live shows were their curious mashups (such as “Folsom Prison Wizard”), and the welcome conversion of terrible pop tunes to country (“These Boots Are Made For Walkin’”).

Fast forwarding to today, these folks needed a demo CD that they could use to procure more of these precious gigs, so they hit the studio to lay down some quick and dirty tracks. Things got out of hand, and they put together nine original tunes that Tee had written, and spent more time in the studio than they ever thought possible. Jimmy Buck acted as executive producer, and enlisted Bruce Faulconer to do the studio magic at Dallas’ Cake Mix Recording, where much of the album was cut (the remainder of the guitars and vocals were recorded at Hezoree Sound Studios in Kyle, Texas).

As far as their line-up goes, for this project Tee played the guitar and was in charge of the lead vocals, Jack was bassman, Chris played lead guitar and all manner of stringed instruments, Jimmy played the guitar, and Andy was stuck behind the drum kit. Jack, Chris, and Jimmy also added backing vocals. It should also be mentioned that their friend and ace in the hole, Chuck Ward (Bellamy Brothers, and a whole lot more), took care of the keyboard parts. It is good to have friends in high places!

Their half-hour set kicks off with “Texas Raindrops” with a Johnny Cash intro and bass that is slightly fatter than what you would have heard back in the day. Fitch has a pleasant tenor voice, and the catchy chorus features vocal harmonies that are destined to get stuck in your head. Barham throws down a tidy guitar solo with deft finger work, but he does not go overboard. And that is sort of the theme of this album: it is all about the songs so there are no epic solos or musical breaks for the listener to deal with.

This is followed up by one of the standout tracks from coWpilot, “Go Big Train.” Musically, this song is more complex, with layers of acoustics guitars, banjo and pedal steel. Though it starts out as a mid-tempo country ballad with lovely melodies, the chorus is more aggressive and the transitions pique the listener’s interest. This is a fun contrast to the next track, “White Trash Girls,” an up-tempo rhythm and blues love story (sort of) with tasty keyboards provided by Mr. Ward.

“She’s Changed Her Mind Again” features piano from Chuck, and comes off as more of a plaintive modern country tune. This track highlights the backline of Williams and Alsup, who are perfectly in sync yet still squeeze a few tasty fills in here and there. The group also steps into pop-rock on “Happy Going Nowhere,” with vocal harmonies galore and more guitar layers than you can shake a stick at. This is track is also a standout thanks to Fitch’s crooning and his lyrics that are easy to relate to.

Before things end, coWpilot flirts with easy-going California country on “The Opposite of Here,” and country rock with “About Elektra,” which has a gloriously distorted guitar break. Then, before you know it, the set draws to a close with “Until Then,” an example of roadhouse country at its finest, complete with honky-tonk piano and pedal steel.

By the way, there is also a hidden track, but you are not going to hear about it from me. You will have to go find it for yourself…

coWpilot’s debut album is a strong effort, with well-written songs that are professionally played and recorded with care. This kind of Americana music has good legs, and hopefully the guys will make it back into the studio to record their sophomore effort soon. coWpilot will be released on May 7, 2015 and will be available for purchase through the usual digital outlets (iTunes, Pandora, Spotify, CD baby, Amazon, Shazam, etc.), and surely it will be possible to pick up a physical copy at one of their upcoming shows. According to the band, “an extensive tour of Texas is in the works,” so follow them on Facebook to keep up to date on their activities!

Donald Ray Johnson – These Blues, the Best of Donald Ray Johnson | Album Review

Donald Ray Johnson – These Blues, the Best of Donald Ray Johnson

Self Release

www.donaldray.com

13 tracks / 59:00

Donald Ray Johnson has certainly managed to get around, and has come a long way since he was born in Bryan, Texas. As a young man he worked the cotton fields and learned how to play the drums, leading to a career that started when he was 14 with legendary blues pianist, Nat Dove. After an all expenses paid trip to Southeast Asia (courtesy of the US Navy), he returned to Southern California, where he hooked up with the blues scene again. You may know of him as a member of A Taste of Honey, which won the Best New Artist Grammy in 1979.

Johnson moved to Calgary, Alberta in 1989 and since then he has recorded six mighty fine blues albums, and his voice is just as good as his work on the traps. These Blues, the Best of Donald Ray Johnson is a compilation of nuggets from this body of work, though it must have been tough to narrow it down to only an hour of material. The thirteen tracks on this disc reveal a lot of versatility as it includes a little rhythm and blues and a touch of country, but it is mostly hard-hitting Chicago style blues. For a Canadian citizen that grew up in Texas and honed his craft in LA, he has a lot of the Windy City in him!

Nine of these tracks are originals, and he included four pretty cool covers for good measure. Donald opens the set with one of these, the Reverend Al Green’s “Ain’t No Fun to Me” which has a rock-solid backline (not surprisingly, he is a drummer after all), with plenty of harp, horns and Hammond. Johnson’s voice is a wonderfully hearty, but still smooth. This is a great tune, and all of the other tracks are just as good, which makes it hard to pick favorites, but I will give it a shot. Here are a few:

- It seems like every great bluesman has written at least one drinking song, and “Me and Jack (Daniels)” is Donald’s contribution to the community. This romp features a popping bass line, and an incredibly visual depiction of a man’s battle with the bottle. In this case the bottle always wins…

- “Always On My Mind” is one of my all-time favorite tunes, and this one provide a cool contrast to the most famous version, which was done by Willie Nelson (sorry, Elvis fans). Though this one also uses mainly country-style acoustic guitar as accompaniment, Donald’s voice is so much smoother than Willie’s that it makes this sad song new to me again.

-Johnny Taylor’s “Last Two Dollars” makes my list, as Johnson lays down some of the sexiest rhythm and blues lyrics you will ever hear. Of course, it helps that he started out with a very well written song that motors right through when played by one of the tightest bands you could put together.

- “No Guitar Blues” has plenty of guitar in it, courtesy of Michael Huston. This slow-rolling smooth blues track bemoans the fact that the blues community expects a front man to have an axe over their shoulder, and not be sitting behind a drum kit. The lyrics are witty and there is a glorious sax break and killer leads from Huston. This original song defines what Johnson is all about, so there was no way he could leave it off this “best of” compilation.

If you are not familiar with his work, These Blues, The Best of Donald Ray Johnson would be a perfect way to become familiar with his work. But be careful, after hearing it you might end up buying his other six CDs!

Laura Tate – I Must Be Dreaming | Album Review

Laura Tate – I Must Be Dreaming

Self Release

www.musicbylauratate.com

12 tracks / 40:37

Laura Tate has done quite a lot with her life, as she has forged successful careers as an actress and award-winning filmmaker, as well as being an advocate for educational and humanitarian causes. But if you are reading this you are probably most interested in her singing. She has an impressive voice and has not limited herself to just one genre; she is equally capable in singing rock, jazz, country, blues, or musical theatre.

This is fortunate for us, as her new album, I Must Be Dreaming, is a wonderful blend of cool American music, and a worthy tribute to the master songwriter, Mel Harker. Though Laura started out in Dallas and now lives near El Paso, she spent a good portion of her life in Los Angeles, where she became acquainted with Harker. She used some of his songs on her previous two albums, but this time she set aside all twelve of the tracks for his work, and it is awesome!

Tate took care of the vocals on this new release (of course), and she was joined in a Los Angeles studio by a fine crew that included Terry Wilson (guitars, bass, and drums), Billy Watts (guitar), Lee Thornberg (brass), Paulie Cerra (sax), David Fraser (harmonica), Lewis Stephens and Jeff Paris (keys), Karen Hammack (piano), Teresa James (backing vocals), and Wally Ingram (percussion). This is a huge crew, but they were needed to get all of the sounds that can be heard on I Must Be Dreaming.

The songs cover a lot of ground, but they are all have positive feel and the lyrics are clever with vivid imagery that draws the listener in. Though she chose material from Harker’s existing library of work, these songs all sound like they were put together with her voice in mind. It kicks off with a country Rocker, “Snake Tattoo,” and from then on no two songs sound the same. There is lounge jazz for the title track, a beautiful ballad (“If Ever Forever Should End”), a little “Cowboy Jazz,” and even the reggae/ska-inspired “Counting Up the Ways.” Besides these examples, there are bits and pieces of blues, rock, western swing and big band.

Throughout all of this, Laura maintains her cool and exerts an impressive vocal presence. She is able to sing brassy, sultry, and rocking sounds with no problem, and doing a country twang or bold blues is no problem at all. But this is not just the output of a talented voice - she is able to overlay heartfelt emotion, which moves her abilities to a higher plane. There are also no issues with hearing her, as the engineering and mixing are first rate; I have no complaints at all with this disc, which is a rare thing.

I Must Be Dreaming is a fun album, and Laura Tate has the chops to pull off all of these well-written songs. Check it out and hear it for yourself, and keep an eye on her website to see if she has any shows coming up!

Blues Blast Magazine Album Review: Jim Suhler – Panther Burn

Hello!

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: Steve Howell & The Mighty Men – Yes, I Believe I Will

Good day!

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

Steve Howell & The Mighty Men – Yes, I Believe I Will | Album Review

Self Release through Out of the Past Music

www.stevehowell.ws

10 tracks / 43:00

When Texas comes up in a conversation most folks immediately think of Dallas or Houston, and musicians always extoll the virtues of Austin. Well, Steve Howell of Steve Howell & The Mighty Men hails from Marshall, Texas, which is a lot closer to Shreveport, Louisiana than any of these places. That is fortunate for us because his brand of American roots and blues music is flavored by the Sportsmen’s Paradise and the Lone Star State; it is the best of both worlds.

Steve is an acoustic guitar genius and vocalist that was born in Marshall and raised in East Texas and Louisiana, which launched a career that was originally inspired by Mississippi John Hurt's magical finger picking. He kept up his music through a stint in the Navy overseas and after his service ended he played with artists and bands around Shreveport and his East Texas hometown.

Yes, I Believe I Will is Steve Howell & the Mighty Men’s fourth self-released disc, and it is very special. Steve is joined by friends that he has been performing with for more than 20 years, including Chris Michaels on electric guitar, acoustic guitar and bass, Dave Hoffpauir on drums and Jason Weinheimer on the keys. This album is comprised of ten traditional and cover songs, and has a very natural acoustic sound to it. It was recorded by the band and mixed and mastered by Weinheimer, but do not think of this as a garage band project, as the production values are high and it is a very well-made disc.

This set is not danceable nor is it something you will hear on the sound system in your local juke joint or roadhouse, but it is perfect for sitting back with your favorite beverage and just savoring the listening experience. In a day and age of over-processed commercial tunes, one hit wonders and cookie cutter instant hits, Steve Howell & The Mighty Men are doing work they can be proud of. The first track on the CD is “I Had a Notion,” a re-do of the song that Nick Katzman and Ruby Green contributed to The Best of Kicking Mule Record Inc. Volume One (this is required country blues listening). “Yes I Believe I Will” can be in the lyrics of this tune, and this laid-back mostly acoustic blues number will gives a good idea of what the rest of the album has in store for the listener.

This is confirmed by the traditional “Keep Your Lamps Trimmed and Burning,” a 19th-century African-American spiritual that was originally recorded in 1928 by Blind Willie Johnson. Howell is a fine acoustic player and his interplay with Michaels’ distorted electric guitar is certainly mesmerizing, but even more striking is the honesty and genuine tone his hoarse singing voice gives to this powerful song. The harsh electric guitar solo might not seem like it would fit into this serious folk blues track, but it works out perfectly as it bridges 150 years of musical and social history.

On the other end of the spectrum is “Wasted Mind,” a 2005 song from songwriter and banjo man Danny Barnes. This is a slow-paced modern country ballad with a heavy snare drum and even heavier lyrics. This song is a stone-cold bummer as it describes a lot of the aimless young folks that have no ambition and limited future possibilities. The music takes a backseat to the words on this one: “They got books at school / But that ain't cool / They got paintings at the art museum / You ain't never gonna see 'em / Because they don't serve light beer.”

Those that are craving more blues will be glad that Howell included Nick Katzman’s “Devil’s Side” on this disc, though it is not entirely conventional. It is very slow paced and Weinheimer’s key have almost a circus organ effect to them. The glum lyrics build drama for inspired guitar work from Chris Michaels, making this one of the standout tracks of the CD.

The band ends their set with a classy folk remake of a 1800s Irish tune, “Rake and Rambling Blade.” There is a marvelous texture of acoustic guitar and muted electric guitar with a tasteful banjo accent that fits in well with the somber lyrics that describe the life a no-good highway robber. This is the last piece of the mosaic that makes up this album, making it a complete journey through everything that is good about the American music of the south.

Yes, I Believe I Will is Steve Howell & The Mighty Men’s best work to date and if you are a fan of roots music, folk music or country blues it is a must-have for your collection. Even electric blues aficionados will surely find many things to like amongst the ten tracks this talented quartet put together. Listen for yourself and see!

Mahalo!

Blues Blast Magazine Album Review: Jeff Strahan | Monkey Around

Good day!

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

Jeff Strahan – Monkey Around

Self-release through Squaw Peaks Records

www.jeffstrahan.com

10 tracks / 42:58

I know a lot of folks that dream of becoming full-time musicians, but making the step from an established career to the stage is an almost insurmountable hurdle. Jeff Strahan did just that, giving up his day job as a trial lawyer and immersing himself in the wonderful world of Texas blues rock. And after listening to his ninth record, Monkey Around, you will find that he is dead serious about his craft and that his love of music led him in the right direction. Strahan is a journeyman singer and keyboard player and fabulous guitarist from the high plains of Texas, and he brings all of these talents to the studio, which in this case is somewhere outside of Austin. Jimmy Hartman joins him on this project on bass and backing vocals, and Chris Compton on drums and backing vocals. Jeff produced this disc and wrote nine of the ten tracks, with the other track being penned by his friend and fellow guitarist, the late Lil’ Dave Thompson.

“Don’t Get Too Low” kicks off Monkey Around with crunchy rock guitar chords layered with Hammond B-3 and piano. This is not hard music to enjoy as Jeff has a pleasant voice that does not need to be driven into screaming to get his point across. For a guitarist he does not mind digging into the keyboards, and he tears off a neat piano break before jumping into the first guitar solo of the album, which is quite a corker. This is Texas-style rock, so there are no taboos about cutting 6-minute tracks with plenty of guitar! If you like the sound of this one, “Can’t Change Me” and “Monkey Around” are also killer rock tracks that you should not miss.

Beside his musicianship, Strahan should also get kudos for his role as producer for Monkey Around as it is a nice piece of work. It is well recorded and mixed, and though the tracks are quite varied they are in a logical sequence and work well together. Many self-produced albums that I come across are not quite up to snuff in the sound department and do not flow well; those other guys could go to school on this disc.

Anyway, slow blues is another one of Strahan’s specialties, and “Curtains” is about as good as it gets. Jeff gets a wonderful tone out of his Strat on the intro over the tight backline of Compton and Hartman. The lyrics are full of regret and are cleverly crafted into the classic blues structure. He has more blues on tap -- “Dangerous Curves” is some fine Texas blues with a walking bass line (and a little organ on top), and “Two Shades” uses electric piano, heavy high hat and fat bass to create that funky 1970s vibe.

Jeff uses his good sense of humor as he addresses the traditional Rhythm and Blues theme of substances that people enjoy using and abusing. In “4:20” he uses a zydeco beat that segues into Texas rock as he sings about folks that need to chill out a bit, and it turns out that he has just the solution for them. It’s a shame that this song does not have a run time of 4:20, though! “Baptist Bootleggers” is the sad story of growing up in a dry town where a little liquid refreshment is needed. It turns out that there is always a solution if you look hard enough, and Strahan uses the lyrics to paint a vivid picture of the best place in town.

Rounding out the different styles of music on this album is “The One,” a piano-accompanied ballad that Jeff dedicated to his mother, Lillian, who passed on last year. The heartfelt lyrics and Jeff’s honest voice stand on their own, and this track is a well-placed break midway through the disc.

Monkey Around is certainly a good showcase of Jeff Strahan’s many talents, but it is also a really good album with not a bad track to be found. If you like blues/rock/folk music, do yourself a favor and give it a listen!

Mahalo!

1990’s Favorite: The Toadies “Rubberneck” Album

Well, I guess this one counts as an oldie. The Toadies released the “Rubberneck” album in 1994, but it is still one of my all-time favorite albums. What was I doing in 1994? Home improvement projects, most likely…

Anyway, there was one popular hit from this album, “Possum Kingdom”, which hit #9 on the Billboard charts. Other than that, “Rubberneck” fell off the radar quickly. The album topped out at #56 on the Billboard 200. That is a shame, because this is one of the few albums of the last 20 years that is entirely made up of REALLY good songs. If you go to iTunes and buy only “Possum Kingdom”, you will miss out on a lot. Go ahead and spring for the whole album.

All of the songs are quite different from each other, as if they did not feel the need to make the songs flow seamlessly from one to another. It is kind of like the “Pulp Fiction” of rock albums. There is an instrumental, a ballad or two, and lots of hard-driving countrified rock.

Beside the tremendous variety of musical styles, the lyrics cover a panoply of issues, from sex to religion to the occult and even some incest (and other kinds of relationships) for good measure.
The songs include:

”Mexican Hairless” (instrumental)
“Mister Love”
“Backslider”
“Possum Kingdom” (the name of a lake and state park outside of Dallas)
“Quitter”
“Away”
“I Come from the Water”
“Tyler” (my favorite)
“Happy Face”
“Velvet”
“I Burn” (man oh man, does this song build)

To me, the heart of this band is Todd Lewis (vocals and guitar), who got most of the songwriting credit. He provided a unique voice, clever lyrics and a few of the nicely layered guitars of their harder-driving songs. Also on the album were Lisa Umbarger (bass), Mark Reznicek (drums), and Darrel Herbert (guitar).

I would be remiss if I did not offer my opinion that the reason that this album is so close to perfect is because it was mixed by Grammy Award-winning Andy Wallace. He has been around a long time, and was instrumental in putting together Nirvana’s albums. He has also worked as producer/engineer/mixer with The Cult, Slayer, Prince, Bruce Springsteen, White Zombie, Faith No More, Rollins Band, Rush, Alice Cooper, Rage Against the Machine, Foo Fighters, System of a Down, A Perfect Circle, and Paul McCartney, to name a few.

In checking around on Al Gore’s bitchen internet, I found that this Texas-based band did have some personnel changes, and did eventually break up. Their follow-up album “Feeler” was badly torpedoed by Interscope, and did not have the same level of success as “Rubberneck”.

Fortunately, The Toadies re-united, released another album in 2008, and will complete another this year. They still do some gigs, most notably the annual “Dia de los Toadies” which is held in August each year. This year it will be in New Braunfels, Texas (Near San Antonio). I need to figure out some sort of work trip for late August this year, apparently.