Blues Blast Magazine Album Review: Steve Dawson – Rattlesnake Cage

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

Steve Dawson – Rattlesnake Cage | Album Review

Black Hen Music

www.stevedawson.ca

www.blackhenmusic.com

11 tracks / 41:31

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

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

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

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

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

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

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

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

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

Mahalo!

Blues Blast Magazine Album Review: Daunielle

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

Daunielle – Daunielle | Album Review

Catfood Records

www.daunielle.net

www.catfoodrecords.com

10 tracks / 41:18

It is easy to forget that artists with amazing debut albums have done a lot of work earlier in their careers to get to the point where they can record their own material, and Daunielle Hill’s eponymous first CD is no exception. She has been working in the business since she was a youngster in Memphis, Tennessee, having grown up at Stax Records where her dad, William C. Brown III, was one of the legendary Mad Lads and later a recording engineer. But Daunielle (dawn-yell) was never in daddy’s shadow as she went on to become an in-demand backing singer, having appeared on countless albums (including King Solomon Burke’s latest), and toured with Huey Lewis and the News for the past four years.

Daunielle was produced by multiple Grammy-winner Jim Gaines, and his experience shows here. A group of 11 seasoned musicians from the Catfood Records label were assembled to support Daunielle’s hearty vocals, and they perform ten tracks that consist of originals, songs by some of her artist friends from the label, and a couple of fun covers that will be crowd-pleasers. Throughout this set she takes the lead, and there is no doubt that she is the one in the driver’s seat.

This album delivers modern blues with a little soul and funk thrown into the mix, and things get off to a strong start with “Runaway Train.” This song was written by Johnny Rawls, label-mate James Armstrong and bassist Bob Trenchard, and it lets Daunielle show emotion as she chastises a man who is taking the wrong path in life and who “don’t give a damn, it’s easy to tell.” This hard-hitting piece features a classy horn arrangement and some fine work on the organ by Dan Ferguson.

After worrying on “Early Grave” that a no good lover will be the end of her (likening it to musical legends who passed too soon), Daunielle treads dangerous ground by covering Etta James’ “Damn Your Eyes.” Fortunately she has the chops to pull off this awesome song from a legendary lady, and this ends up as one of the standout tracks on the album. She stays respectful of the original as she belts out the heartwrenching vocals of a woman that did not plan on falling in love again. Will McFarlane’s guitar and Ferguson’s piano provide the appropriate counterpoints to the melody as Richy Puga lays down a steady beat on the drums. Etta would approve!

The other cover is a “(Your Love Has Lifted Me) Higher and Higher” which is a lovely combination of the Jackie Wilson and Rita Coolidge versions. It is has a driving beat and features the amazing horn section of Mike Middleton on trumpet, Robert Claiborne on trombone, and saxophones by Andy Roman and Nick Flood. They are joined by Tameka “Big Baby” Goodman on backing vocals, and the result is a feel-good moment that fits in well with the rest of the material on the album.

”I Got a Voice” is refreshingly honest in this age of cookie-cutter lyrics that seem to endlessly rehash the tired topics of angst, love gone wrong, and substance abuse problems. Daunielle wrote this with Sandy Carroll to celebrate her love and support for her adopted children who have endured serious medical issues. She asserts that she is “important, don’t ignore me,” and her tone in convincing! This pop tune dances on the edge of becoming a gospel song thanks to its inspirational message and the lovely backing harmonies.

Another collaboration with Carroll is “Nobody Cared,” a soulful piece with a positive message that no matter how many times you are knocked down you can always get back up again, and to not forget that there are people out there who really care for you. Goodman provides sweet backing vocals on this one as Ferguson tinkles the ivories and the solid backline does not miss a cue. If these two songs are any indication of what Daunielle can write, she needs to pick up the pen more often and take control of her destiny.

Daunielle is not just a great debut album, it is a solid piece of art that can stand on its own. This lady has prodigious talent and the team that was put together for these recordings stood tall and delivered a likeable collection of modern blues that can be listened to over and over again. Daunielle cannot be considered a backing singer anymore: she has proven that she is a leader that will give her all and she will be a star if she can back up this release with another winner!

Mahalo!

Review of A Christmas Carol at the Long Beach Playhouse

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Recently, my son had to attend a stage play for his high school drama class, and looking around on the internet my wife found that the Long Beach Playhouse was currently running their version of Charles Dickens’ A Christmas Carol, and since it was convenient we picked up some tickets. I was not super enthusiastic about this, but it really worked out well and we all had a great time.

The Long Beach Playhouse has been around since 1929, and during this time they have put on more than 1,000 shows, which is not surprising considering they put on a new show every three weeks. This really is a local treasure, and over 35,000 people. This company has their own facility with two different stages, and A Christmas Carol was performed in their 200-seat Mainstage Theatre.

This is the fourth time that these folks have put on this show, and it is different every time. The basic story is what you will expect it to be, but it has been re-imagined by Gregory Cohen with direction by 'Phie Mura
 and scenic design by Andrew Vonderschmitt. There are only ten actors, so they play multiple roles, and scenery and props are kept to a minimum to the point where the actors are the props and scenery at times (Lisa March did a fantastic job as the fireplace).

But, just because the production has been stripped in some areas this does not mean that the audience is missing out on anything. As this is such a small theatre it is very intimate and the crowd is drawn into the transformation of Ebinezer Scrooge from a miserable old git into a slightly manic do-gooder.

The play moves along quickly, coming in at around 90 minutes with an intermission at the 45 minute mark. All of themes of the original story are kept, and the actors are wonderful. Scrooge was played by Gregory Cohen, and he nailed the essence of the elderly miser. Other standout performance were Leigh Hayes as the Ghost of Christmas Past and Gary Williams as the Ghost of Christmas Present. And who could not love Carmel Artstein’s take on Tiny Tim! The other players did very well too, and there was hardly a flubbed line or missed cue to be found. You would be hard-pressed to find a community theatre that could do better.

The cast crew, music, staging and direction all came together and it was really a terrific show. As I said earlier, I did not really want to go but I ended up having a great time and it put me into the spirit of the holiday season. Long Beach Playhouse’s A Christmas Carol is a wonderful experience that is uniquely staged, and if you are a local I recommend that you get out to see it before it closes on Sunday, December 20.

Mahalo!

Blues Blast Magazine Album Review: Josh Hoyer and the Shadowboxers

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This CD review was originally published in the July 10, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Josh Hoyer and the Shadowboxers – Josh Hoyer and the Shadowboxers | Album Review

Self Release

www.joshhoyerandtheshadowboxers.com

8 tracks / 40:12

There are no shortage of fine blues bands from the Midwest and over the past few years there have been some fabulous new albums coming from Oklahoma, Kansas and Nebraska. In kèeping with this tradition, the Cornhusker State has sent another winner our way via Josh Hoyer and the Shadowboxers. This highly-talented group recently self-released their debut CD, and it is a fun and refreshing blend of blues, soul and funk with a sound that is uniquely their own.

This band was formed in 2012 in Lincoln, Nebraska and is fronted by Josh Hoyer, an in-demand session man who had successfully fronted award-winning local groups including the marvelous Son of '76 and the Watchmen. His nine-piece crew is made up of musicians that have proven themselves through years of touring, teaching, and session work, and it has turned out to be a symbiotic relationship that has the power to create something truly special!

For this eponymous album, Josh takes on the vocals, keys and baritone sax, as well as writing and arranging all eight of the songs. He is joined by Benny Kushner on guitar, Justin G. Jones on drums, and Brian Morrow on bass (plus all three contribute vocals). There are also a pair of fine horn players (Tommy Van Den Berg on trombone and Mike Dee on tenor sax) and three wonderful vocalists: Hanna Bendler, Kim Moser and Megan Spain.

The band hits hard right from the start with "Shadowboxer" a smooth yet funky R&B piece. The horns lead the way, with a little extra oomph from guest artist Russell Zimmer on the trumpet. The backline holds down a rock steady beat without getting too fancy, letting the horns and backing singers set the melody. Josh lets his organ work take a back seat to his great vocal range, and his emotional delivery is full of soul as he implores the listener to stay strong in this discouraging world.

Hoyer keeps this theme up with the next few tracks as “Close Your Eyes” and “Illusion” examine the fast pace that people try to keep up with and the politicians that cannot help but continually disappoint the public. “Close Your Eyes” is my favorite of these, as it is a super-slickly written soul song that brings the organ to the forefront as Morrow’s driving bass line keeps things moving along.

The pacing of the CD is good, as before things get too gloomy the subject turns to the blues standby – all the ways that love can go wrong! After the dramatic funk revue of “Everyday and Everynight” (complete with a cool trombone solo from Van Der Berg) the band tears off the standout track from Josh Hoyer and the Shadowboxers, “Just Call Me (I’ll be Sure to Let you Down).” Hoyer channels the Reverend Al Green in this melodic R&B song with fat walking bass lines and an innovative tenor sax solo from Mike Dee.

The Shadowboxers cover a Son of ’76 and the Watchmen tune, “Til She’s Lovin’ Someone Else” from their 2010 release Letters from Shangri-La. Josh pulls out some wonderful New Orleans barroom-style piano work as the horns punch out the funky beat in this slow roller. Jones hits the drums hard throughout this one and it is a pleasure to hear his fills as well as Kushner’s raw guitar solo. This was a neat song to start with and it turned out just as well the second time around.

The set comes around full circle and ends up with “Dirty World,” and you pretty much know where it is going from the title, but this one is asking what can be done to make it better and it encourages the listener to make a difference. Musically, this one is almost like a drum solo with a funky song happening on top of it. The Shadowboxers went all out for the finale and it is a cool way to bring this project to a close.

Josh Hoyer and the Shadowboxers is a very good album, and the fact that it is their first is a makes it all the better. The songs are original and well-written, and the performance and production values meet the high standards set by the material. If you are looking for fresh new blues and soul you should check It out for yourself, and hopefully Hoyer is writing up a new batch of songs so they can bring on even more of their funky message!

Mahalo!