Blues Blast Magazine Album Review: Blue Largo – Sing Your Own Blues

Hello!

This CD review was originally published in the May 19, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Blue Largo – Sing Your Own Blues

Self Release

www.bluelargoblues.com

14 tracks / 60:44

The story behind the third Blue Largo album, Sing Your Own Blues, is inspiring, to say the least. This San Diego, California group has been together since 1999, fronted by Alicia Aragon on vocals with Eric Lieberman on guitar. They have a passion for the sounds of the 1940s and 1950s, and their first two albums were tributes to classic blues tunes. Eric had a major setback in 2006 when a disorder seriously hindered his ability to play guitar, but by practicing five hours a day for over eight years he was able to re-train himself how to play again, which is inspiring no matter how you look at it.

As their previous albums were recorded around the turn of the century, Alicia and Eric decided it was time to return to the studio. But in their back pocket they had seven original songs that Lieberman had written, so this time they are indeed singing their own songs. They were joined in the Oceanside studio by quite a crew of musicians, including their regular members: Jonny Viau on sax, Taryn Donah on piano, and Art Kraatz on the bass. But there are also plenty of guest artists, and with this roster the vibe is big and bouncy.

The set kicks off with four of these original tunes, and the first one, “Walkin’ on a Tightrope" a hopping 12-bar blues song with smoky vocals from Aragon and some fabulous roadhouse piano from Donah. This is followed up by “Kindness Love and Understanding,” an up-tempo song with a tasteful guitar break from Lieberman, and “Sing Your Own Song,” which has the feel of a gospel revival. Then, “Tears of Joy” tugs at the heartstrings with its heartfelt message of hope over an easygoing island beat. These latter three songs include Rafael Salmon on organ and backing vocals from San Diego’s Missy Anderson, a Blues Blast Music Award nominee from 2015.

The cover tunes are also cool, with a smoky jazz club rendition of “Evening,” which was previously recorded by artists as diverse as T-Bone Walker and Tony Bennett. Alicia proves to be quite the chanteuse, and Eric trades reverb-soaked guitar licks with Viau’s aggressive sax. In a similar vein, there is Willie Dixon’s “You Know My Love,” which was also recorded very well by Otis Rush in 1960. But the standout of the re-dos is Magic Sam’s “I Need You so Bad” from the late 1960s. Lieberman can rock out on the guitar just fine, so he does this song justice, but it is Aragon’s vocals that take this song to the next level, as she gives the tune a whole different character to this song of longing.

Proving that he last lost nothing in the chops department, Lieberman's guitar takes center stage on three instrumentals. From 1957 there is “Guitar Rhumba” by Earl "Zeb" Hooker, which starts with a slick Latin beat and transforms into a cool surf rock odyssey. There is also the “Okie Dokie Stomp” as done by Clarence “Gatemouth” Brown, with some nice punctuation from Viau’s sax and Joey Jazdzewski’s double bass. And lastly, Herb Remington's "Remington Ride” is presented as a rollicking classic country tune (just like Freddie King did it!) with some awesome barroom piano from Donath and a little help on rhythm guitar from Nathan James. By the way, James also acted as co-producer, recording engineer, and mixer for this project, besides filling in on backing vocals and bass where needed.

After all of this, the album closes out with Walter Vinson’s blues standard, “Sitting on Top of the World,” a neat acoustic track with a Delta/roots vibe. Once again, Aragon takes the lead, this time with call and response backing vocals from Lieberman. Eric handles the acoustic guitar (including a nicely finger-picked solo), with James providing a healthy dose of his slide talent on a resonator guitar. This song has a completely different sound than the rest of the tracks on the album, but the feel is the same and it is a neat way to finish up the set.

It took thirteen years to get a new album from Blue Largo album, and Sing Your Own Blues was worth the wait. Their new songs are very good, and the classic tunes they chose are not ones that other bands usually cover. The end result is an hour of positive messages with a cool vintage vibe, and after hearing it you might wish you lived on the left coast so would be in a better position to catch one of their shows!

1983 Fender JV Series Stratocaster Review

Aloha!

In my old job I used to go to Japan pretty often, and I always kept my eye out for the holy grail of vintage Japanese guitars as I hit up the secondhand stores. That is the case with the gorgeous 1983 Fender 1962 re-issue Stratocaster we are looking at today. This JV instrument has become my new #1 Strat, hands down.

Now is probably the time to explain the whole JV thing. JV stands for “Japanese Vintage”, and was the serial number prefix for the first series of guitars that were built for Fender in Japanese factories, and they were produced between 1982 and 1984. These instruments were constructed at the Fuji Gen-Gakki factory in Matsumoto, Japan. This was the same factory that was building Ibanez and Greco guitars.

The JV-series instruments have become very collectible, and were built using the original blueprints to be authentic replicas of pre-CBS Fender models. These models usually got the full treatment, including vintage-style tuners and cloth covered harnesses, as well as the original body contours and neck radii. The quality of these put the US made Fenders of the time to shame, and therefore they were not imported to the United States, though I guess a bunch made it to Europe. I found this one at a second-hand store in Japan on one of my business trips, and had to bring it home.

Our subject guitar today is an non-export model Fender Stratocaster, and I am not sure of the model as I have not wanted to take it apart yet to see what is lurking in the neck pocket. This will answer the questions about the model number and born on date, which I will want to know at some point.

This guitar is finished in nice aged burst. When I first saw the guitar and its JV-serial neckplate, I was pretty excited. The shop knew what they had so it was not super cheap, but it was still a better value than what I would have paid on this side of the pond.

I am pretty sure it has the original electronics, but again I will need to take it apart to be sure. It would certainly be nice if it is a higher end model with the cloth-covered wiring and the Fullerton pickups. The neck is very nice. The vintage-style tuners work fine, none are bent and they do not bind. The frets are good, with almost no; the neck is true, and the truss rod works freely.

I believe this guitar is completely unmodified, and I dig the vintage touches like the bent bridge saddles. This one might actually be a keeper - it sure plays well and sounds incredible...

I might be selling a few of my other Stratocasters, so drop me a line if you are interested. They are all pretty nice too!

Mahalo!

Blues Blast Magazine Album Review: Chris Yakopcic – The Next Place I Leave

Hello!

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!

Inventory Update: 2nd Quarter of 2018

Hi there!

What with career changes and school, I have not been very diligent about keeping up the blog, and it has been quite a while since I posted an inventory of what is hanging out in the shop. Anyway, the pile has gotten a little out of hand and I need to make some room. If you see anything here that you cannot live without, drop me a line. It is all good stuff…

First off, the basses:

∙ 1974 Aria Telecaster Bass (STILL apart for repair)

∙ 1983 Ibanez RB630 Roadstar II

∙ 1984 Aria Pro II Wedge

∙ 1986 MIJ Fender Jazz Bass Special Short Scale

∙ 1986 MIJ Fender 1962 re-issue Precision Bass

∙ 1986 Aria Pro II SB Elite

∙ 1987 Aria Pro XRB-2A

∙ 1989 Ibanez EX405

∙ 1995 ESP Christian Olde Wolbers Horizon 5

∙ 1995 Fender JB75-90 Jazz Bass

∙ 1995 Fender Geddy Lee Signature Jazz Bass

∙ 2003 Fender PB70-70US Precision Bass

∙ 2005 Fender PB57-70US Precision Bass

Electric Guitars:

∙ 1965 Teisco E-110

∙ 1981 Greco MSV850 Flying V

∙ 1982 Greco SS-600 SG Copy

∙ 1983 Fender JV ‘62 re-issue Stratocaster

∙ 1983 Squier JV ‘62 re-issue Stratocaster

∙ 1984 Squier SQ Stratocaster CST-50

∙ 1986 MIJ Fender ‘62 re-issue Stratocaster

∙ 1990 Gibson Les Paul Standard

∙ 2003 Fender TL52-SPL Telecaster

∙ 2005 Fender TL52-80TX Telecaster

∙ 2006 MIJ Fender Stratocaster XII

∙ 2008 Epiphone Les Paul Custom (Silverburst!)

∙ 2010 Gibson Explorer with custom pimp paint job

∙ LTD George Lynch Kamikaze 1

∙ Memphis Cigar Box Guitar by Matt Isbell

Acoustic Guitars:

∙ Martin Backpacker steel string

∙ Kala solid mahogany soprano ukulele

∙ Takamine EF341

Amplifiers:

∙ 1967 Acoustic 260 Guitar Head

∙ Genz Benz Shuttle 9.2 with Aguilar GS112 and GS112NT cabinets

∙ Fender Acoustasonic 30 DSP

∙ Fender Champion 300

∙ BOSS Katana 100W 1x12 Combo (review coming)

Check in again in July to see what is still around. As always, you know it will be different!

Mahalo!

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

Hello!

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

Daniel De Vita – Southside Blues

Self Release

15 tracks / 47:13

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

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

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

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

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

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

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

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

Review: Yamaha A12 2-Way Passive Loudspeakers

Howdy!

I mostly use powered speakers for gigs, as I really love my QSC K10s and K12s, but for smaller gigs sometimes it is easier to not have to run extension cords to the speakers, so there is still a place in my world for passive loudspeakers. This is where the Yamaha A12 PA speakers come into my story.

The Yamaha A12s are 2-way passive speakers with a 12-inch woofer and a 1-inch diaphragm titanium high-frequency horn. I have no idea what the cabinets are made of as they are covered with fuzzy black carpet, but at this price point I suspect they are made of MDF. They are relatively light at 35 pounds each, and thy measure 16 x 23 x 13 inches. There is only one handle on these, a recessed unit on the top, so they are not entirely easy to wrestle onto speaker stands.

Spec-wise, they are 8 ohm speakers that are rated at 300W continuous / 500W peak, with a frequency range of 65Hz-20kHz, and a maximum of 125dB. Around back you will find ¼-ich and Speakon jacks, and not much of anything else.

I run the A12s with my old-school 500-watt Yamaha EMX512SC mixer, and they are certainly up to the task. They have a warm sound that I cannot really get with the QSCs, and they provide surprisingly good bass and mids for 12-inch speakers. And, of course they get plenty loud without distorting - I consider Yamaha to be a solid brand, and these speakers meet my expectations every time.

The Yamaha A12 loudspeakers sell for around $230 each from most online sellers, and they are a great deal. They sound good, have good power output, are durable, and will get the job done. Why kick a winner?

Mahalo!

Blues Blast Magazine Album Review: Dr. Helander – Country Boy

Hello!

This CD review was originally published in the April 14, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Dr. Helander – Country Boy

Bluelight Records

12 tracks / 45:59

When is the last time you heard a blues album from Finland? Well, Country Boy from “Dr.” Ilkka Helander is a rare set from the land of a thousand lakes, and it is a fine collection of hard-hitting classic acoustic blues. The Dr. has previously released three albums of mostly original electric blues, so this unplugged album is a big departure from his proven methods as it has ten covers and only two originals. But, apparently this man knows the blues in all of its forms, and this disc really clicks.

For this project, Helander sings and provides the most of the acoustic guitar parts, and Mika Railo joins him on double bass for many of the tracks with Topi Kurki behind the drum kit on four songs. There are also a few outstanding guest artists, as you will soon see.

The Muddy Waters-penned title track is up first, which features none other than Grammy winner Charlie Musselwhite on harmonica, and Esa Kuloniemi on slide guitar. “Country Boy” is an awesome song to start with, and this crew does this slow blues jam justice with Muselwhite leading the way along with the doctor’s hearty vocals. In case you were wondering, the vocals are all in English, with appropriate inflections and a touch of gravelly Midwest twang.

If you like Muddy Waters, there is one other tune from his Folk Singer album on this disc, “My Home is in the Delta.” Like many of the other songs on this release the instrumentation is kept to the minimum, this time with just Helander’s acoustic guitar and Railo’s stand-up bass. He dials things back even further with Son House’s “Walking Blues,” with only his voice and dobro. Mr. Helander has a nice touch and feel on the six-string, and he does a pretty mean job with his slide on this one.

There is also a pair of neat Junior Wells tracks to be found on Country Boy: “Good Morning Little Schoolgirl” and “Hoodoo Man Blues,” both of which feature Little Willie Mehto on the harp. His style is a little more laid back than Musselwhite’s, which allows Helander’s voice to take the front of the stage and he does a marvelous job of howling out these tried-and-true lyrics.

A standout track on this disc is Charley Patton’s “Green River Blues” which has quite a bit going for it. Kurki lays down a slick up-tempo drum rhythm that meshes well with a walking bass line provided by Railo. Also, Kuloniemi’s mandolin is a cool counterpoint to Helander’s well-picked guitar. Of course, it also helps that this is just an incredible song that was written by a blues master.

There are plenty of other cool classic blues covers to be found here, including “Mean Old Frisco” by Big Boy Crudup, Lightnin’ Hopkins’ “Hello, Central, Give Me 209,” and Little Walter’s “Just a Feeling.” But as wonderful as these songs are, there is one song that is a little outside the box, and that would be Mike Bloomfield’s “Hey Foreman.” This is probably the newest of the covers (from the mid-1970s), and its original folk blues would have seemed a little out of place if Helander copied it exactly. But he re-worked it with slide guitar from Olli Haavisto, making it a little more Delta than Bloomfield’s version. It works, and it integrates seamlessly with the rest of the songs on the CD.

Helander and Kuloniemi wrote one of the two original tracks on the album, and “$100 Bills” fits right in with the rest of the set. This tune has a driving roadhouse beat with Musselwhite adding his harmonica and Kuloniemi picking his mandolin. This is a very well written track, and is the standout track on the album. The other original, “Big Cold Beer,” also cuts the mustard with its jaunty guitar leads and witty lyrics. Hopefully we can get a full album of original blues from Helander, as he certainly has the writing chops to pull it off.

Dr. Helander did an impressive job with his first acoustic blues album, and Country Boy is a winner. It is a cool history of the blues greats, played with respect and talent, and it is not a record you will listen to once and put away. Check it out for yourself, and also take a listen to his catalog of original electric blues if you get the chance. This fellow is the real deal!