Blues Blast Magazine Album Review: The DogTown Blues Band – DogTown Blues

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This CD review was originally published in the March 26, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The DogTown Blues Band – DogTown Blues | Album Review

Self Release

www.thedogtownbluesband.bandcamp.com

12 tracks / 52:22

DogTown is the West Los Angeles neighborhood that separates the communities of Venice Beach and Santa Monica. In the 1970s it was the rougher part of town and it was the nexus of the skateboarding revolution that brought the sport into the mainstream. This neighborhood captures the essence of the LA surf and skate culture, and the guys from the southland-based DogTown Blues Band have adopted it as their moniker. The band recently self-released their debut album, DogTown Blues, which brings a cool mixture of blues and jazz for your listening pleasure.

Though they met up in Southern California, the band members bring diverse musical influences from all parts of the US to the studio. Producer, songwriter and guitarist Richard Lubovitch hails from Chicago, and in his career he has been a sideman for Rufus Thomas and Gatemouth Brown and run his own recording studio. He wrote eight of the twelve tracks for this disk, with help from singer Q. Williams and harpmaster Bill Barrett. They were joined in the studio by Wayne Peet on keys, Tad Weed on piano, Trevor Ware and Tom Lilly on bass, and Lance Lee on the skins. There is not enough room here to run down all of their CVs but they have a wealth of experience, having played with big-time acts that include Kenny G, Diana Ross, Edgar Winters, Kenny Burrell, and Lindsey Buckingham.

DogTown Blues kicks off with “She Was Not a Girl at All,” and right away the PG-13 rating is guaranteed for this album – do not put this in the mix for you kid’s next birthday party. Though these guys are top-flight musicians, they are still having a ton of fun. Q. Williams’ voice is throaty and full of wry humor as he leads the band through this hearty blues romp. Their sound is huge with piano, Hammond organ and a super-tight backline. You will find a similar humorous theme to the slightly misogynistic “Ugly Girl Blues” which brings things right into R-rated territory.

But these guys are no joke, as they can tear off some serious blues too. “Slow Jam Blues” is a guitar-driving instrumental with a killer harmonica lead. This is followed-up by the “Sexy Man Blues” which features Weed cutting loose on his boogie woogie piano for a couple of top-shelf breaks. “Drunkard Blues” slows things down a bit, and lets Q. Williams’ fabulous voice take the front of the stage with a rich foundation of organ setting the mood.

These tunes are interspersed with four covers, including a smooth instrumental version of Howlin’ Wolf’s “Wang Dang Doodle,” a 1960 tune that was written by Willie Dixon. Then there are three other songs that you would never expect to find from a group with “Blues Band” in its name. The first of these is an instrumental of the Young Rascals’ 1967 chart topper, “Groovin’.” The vocals are switched out for Barrett’s harmonica and Lubovitch’s guitar in this laid back jazz-influenced R&B tune, and it all comes together very nicely. It is interesting that the DogTown Blues band only did instrumental versions of these tunes, as it makes it seem like they have great respect for the originals, but want to make them their own by providing a different type of voice. It is a good strategy, as it makes the album much more interesting.

There is also a sweet re-do of the Dave Brubeck Quartet’s “Take 5” with Lubovitch taking on Paul Desmond’s sax part. Richard does a great job of capturing the sax feel with his axe in what is probably the most recognizable jazz hit of all time. The final cover finishes up the album and it is way outside the box: Frank Zappa’s epic song from 1969, “Son of Mr. Green Genes.” This one was an instrumental to start with, and Richard cut this fusion/prog-rock classic down to five minutes to make it more accessible. They also took a more laid back approach to bring it more into the conventional jazz realm, and it works out just fine.

DogTown Blues is well recorded, and the songs are sequenced seamlessly so that nothing is out of place and the album can stand a singular whole, not just a collection of diverse songs. This project is a terrific debut from the DogTown Blues Band, and they are going to have to aim high to top this one. If you like jazz and blues, it is worth your time to give it a listen!

Sari Schorr – A Force of Nature | Album Review

Sari Schorr – A Force of Nature

Manhaton Records

www.sarischorr.com

www.manhatonrecords.com

12 tracks / 57:00

Sari Schorr is an amazing blues singer from Brooklyn, and I am not the only one who thinks that she has tremendous potential. In fact, legendary producer Mike Vernon (Eric Clapton, David Bowie, Fleetwood Mac, John Mayall) put his retirement on hold to oversee the construction of her debut album, A Force of Nature. This is not an overnight success story as Sari has been working for years, touring the US and Europe with esteemed artists such as Joe Louis Walker and Popa Chubby, and she was recently inducted into the New York Blues Hall of Fame.

A Force of Nature was cut in Seville, Spain and London, England, and a cadre of top-shelf musicians were called on to back up Sari. The core band is made up of Innes Sibun and Quique Bonal on guitar, Jose Mena on drums, Nani Conde on bass, and Julian Maeso behind the keyboards. The list of guest artists is equally impressive, with contributions from Walter Trout and Oli Brown on guitar, as well as the keyboards of John Baggot, Jesús Lavilla, and Dave Keyes.

There are a dozen tracks on this album, and Sari collaborated on the writing of nine of them. First up is “Ain’t Got No Money,” a guitar-heavy blues rocker that kicks off with a slick intro from Sibun. He is a heck of a blues guitarist, but even that is overshadowed when Schorr starts to sing, as her voice is powerful with a more than respectable range and an abundance of emotion. This is backed up by “Aunt Hazel,” a rock song where Sari gets to cut loose and bemoan the results of substance abuse, accompanied by the rock-solid backline of Mena and Conde. This is one of my favorite original tracks from the album, as all of the parts fit together with precision without losing the feeling of spontaneity.

Walter Trout joined in with his guitar to help cover one of his own tunes, “Work No More.” Trout recommended this song, and it is a personal message for a friend he knew who had passed away. The respectful words are an honest eulogy for a wonderful woman, and Sari does a fabulous job of delivering them with emotion. Trout wails throughout this rocking track, with a little help from Baggott on the organ and Keyes on the piano.

The other two covers are really cool too! Schorr takes a legitimate run at Huddie "Lead Belly" Ledbetter’s “Black Betty,” and delivers the goods. This track is not a fast-paced rocker like the Ram Jam or Spiderbait versions, instead starting with a bare-bones acoustic guitar accompaniment, which transforms into a powerful piece of grinding blues-rock featuring organ from John Baggott. The final cover is on the other end of the spectrum, and Sari’s soulful and bluesy interpretation of The Supreme’s 1965 Motown hit, “Stop! In the Name of Love” is like no other version you have ever heard. Rietta Austin does a lovely job with the backing vocals on this track – you can't do this song without harmonies!

As you would expect from Vernon, the production values are first-rate, and this is a very well recoded and mixed project. The balance of the instruments and vocals is perfect, and the songs are sequenced so that the listener does not ever become weary of the content. For once, I have no complaints at all!

A Force of Nature is a stellar debut from Sari Schorr, and she certainly has plans for the future. Tour dates are scheduled throughout the US and Europe, Mike Vernon has agreed to work on Schorr’s next two albums (maybe he is just semi-retired), and she is writing new material with Innes. With Sari’s talent and Mike’s experience, her future is bright indeed!

Isaiah B. Brunt – A Moment in Time | Album Review

Isaiah B. Brunt – A Moment in Time

Self Release

www.isaiahbbrunt.com

9 tracks / 39:39

Isaiah B. Brunt has an impressive amount of musical experience as a studio owner and sideman in Australia. He has worked with the Goo Goo Dolls, the Julio Iglesias Orchestra, and Randy Jackson, plus he toured with Keanu Reeve’s Dogstar when they opened up for Bon Jovi on their Australian tour. But at heart he is a bluesman, and an exceptional one too, as evidenced by last year’s killer release of Just the Way that it Goes and his trip to the International Blues Challenge.

Mr. Brunt has followed up this success with a new album, A Moment in Time, and it is his best work yet. This disc has nine tracks of originals that were written by Isaiah, and he served as the executive producer for this project in addition to taking care of the vocals and guitars. He was joined in the New Orleans studio by a core band of George Porter Jr. on bass, Doug Belote on drums, Mike Lemmler on keys, and a horn section of Jeffery T. Watkins and Ian E. Smith.

I do not hear much of an Australian accent to Brunt’s singing, but he has a wonderfully smooth and rich timbre to his voice, and the effect is quite unique. This is heard right from the start with “Still Waiting,” as Isaiah runs through a conventional 12-bars blues vocal construction. As with the rest of the album, there is a live feel to this mid-tempo tune, with Lemmler providing roadhouse piano and B3 over a fat bass line from Porter. A rowdy guitar solo from Brunt gives a touch of variety, as do a pair of trumpet and guitar solos. This segues into a piano-fueled rhythm and blues tune, “Singing the Blues,” which has lovely backing vocals from Sarah E. Burke.

Brunt can also dig deeper and belt out gritty vocals, and this is a cool contrast to his smoother work. One example of this is “May I Dance with You,” a nice bit of horn and organ driven funk. The backline is a more complex on this song, with Belote working the drum kit and Porter popping out the bass rhythms. This tune features a righteous solo break with interplay between Brunt’s guitar and Watkins’ sax, as well as a sweet horn outro. Isaiah also gets down on “Party Late All Night,” a more conventional 12-bar blues song. These are two of the standout tracks on the disc, and are both great party tunes.

There is also one track that is completely different than everything else on the album, as “Travel Back in Time” takes the listener all the way to New Orleans. This slowly grinder is held together by guest artists Tuba Steve on the sousaphone and James Evans on the clarinet, with snare from Belote keeping time. The horns join in halfway through to accompany a wicked solo from Evans, and the overall effect of this song will make you want to head off to Bourbon Street to forget your sorrows. Or maybe earn some new ones!

After about 40 minutes, the set closes out with “A Moment in Time,” an interesting blend of a mellow country bass beat, reverb-soaked guitar chords, and some jazzy flugelhorn from Smith. Brunt does well with the honest lyrics of remembrance and love, once again with Sarah filling in the backing vocals. After adding in David Stocker and his mellotron samples the overall effect is very pretty, and this ends up being a low-key way to bring things to an end.

Isaiah B. Brunt and his friends did an awesome job with A Moment in Time, and it is a solid follow-up to Just the Way that it Goes. Be sure to check out his website to keep up on his schedule – he only has gig dates scheduled in Australia at this time, but maybe the allure of the States (or another invite to the IBC) will draw him to our shores so we can enjoy his music in person!

Josh Garrett – Honey for My Queen | Album Review

Josh Garrett – Honey for My Queen

Self Release

www.joshgarrettmusic.com

10 tracks / 43:26

Josh Garrett hails from Louisiana, and his influences from the Sportsman’s State result in a cool blend of roots, blues, and generally soulful music. He took up the guitar when he was twelve, and right he away got into songwriting. The subsequent years of practice and hard work have resulted in a series of increasingly awesome projects and the Josh Garrett Band’s fourth album, Honey for My Queen, is the best of the bunch. This disc contains a fun set of listenable and unique original music that should appeal to fans of many genres.

For this project Josh did vocals and guitar work as well as writing and arranging all ten of the songs. A fine crew of drummers and bassists joined him in the studio, and you will also hear Waylon Thibodeaux on fiddle, C.R. Gruver on the keyboards, and Clay White on the harmonica. The set starts off with the title track, and “Honey for My Queen” has a mellow Southern rock feel with lovely barroom piano from Gruver, slightly distorted harmonica from White, and a tight backline. The lyrics are a witty ode from one worker bee to his queen, and they are delivered in a pleasant tenor tone. Here are a few other highlights from the CD:

- Special guest artist James Johnson appears on “Same Boat,” and you may remember him as the guitarist for Slim Harpo back in the 1960s. James took a break from music after Harpo passed on in 1970, but he came back in the 1990s, and he contributes his voice and guitar to this soulful rhythm and blues tune.

- You will find some sweet country blues with “Goodnight, Goodnight,” which has the instrumentation stripped back to just an acoustic guitar and the harmonica. This love song uses a classic 12-bar blues base with repeated phrases to get its point across, and the guitar uses both slick fingerstyle and a bit of slide to carry the melody.

- The band also included an uptempo instrumental, “Slide in ‘G’.” This tune has a funky drum beat with popping bass, and killer Hammond B3 courtesy of Gruver. The harp and guitar are used to carry the leads (with a cool organ break midway through), and this song acts as a neat interlude midway through the album.

- “Whole Bottle of Whine” is not just a clever song title, the lyrics are witty too as they beseech a loved one to ease up on the drinking. The music is a compelling combination of blues-funk and country, complete with a generous display of tricky chicken picking on the guitar, and a fun call and response with the guys in the band.

43 minutes goes by quickly, and before you know it the disc finishes up with “Moonshine & Cigarettes.” The band gives this song the full Crescent City treatment with jazzy drums and NOLA style piano and harp, which is a great homage to Josh’s home state. The Josh Garrett Band did a fine bit of work with Honey for My Queen, with well-written songs. Check it out for yourself and make sure you head over to their website to see if they are playing near you any time soon!

Blues Blast Magazine Album Review: Henry Carpaneto – Voodoo Boogie

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This CD review was originally published in the March 5, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Henry Carpaneto – Voodoo Boogie | Album Review

OrangeHomeRecords

www.orangehomerecords.com

12 tracks / 66:23

A long path was traveled to produce Italian pianist’s Henry Carpaneto’s debut album, Voodoo Boogie. The journey started in New Orleans after a tour with famed blues guitarist Bryan Lee when the two of them headed into the studio to lay down the keyboards and Lee’s guitars and vocals. After two years, Lee sent the tracks along to Henry in Italy where the bass, drum, and saxophone tracks were recorded. The final three tracks were finished up in London with guest artists Otis Grand on guitar and Tony Coleman on the drums. The final results are very good, with a strong set of piano-driven blues that should please most blues fans.

Henry Carpaneto is the top blues pianist in Italy and is constantly working, but his reach extends beyond the European continent to the home of the blues in the United States. He appears at major festivals and shows across America, including recent gigs at the New Orleans Jazz Festival and the Blues Memphis Awards. He has worked with a fine group of solid musicians over the years including Guitar Ray & the Gamblers, Jerry Portnoy, Lea Gilmore, Sonny Rhodes, Paul Reddick, and Big Pete Pearson.

Voodoo Boogie comes in at well over and hour and is made up of eight songs written by Lee and four neat cover tunes. The first track is the original tune “Drinking and Thinking” with a heavy beat and a sweet guitar and piano intro. Lee has a very effective tenor voice to go along with his perfect guitar phrasing, and Carpaneto bangs out a complicated honkytonk piano part throughout. All of this is set over the rock-solid beat of the house band of Andrea Tassara on drums and Pietro Martinelli on the double bass.

Henry switches to the Wurlitzer for “My Brain is Gone” which is a well-written 12-bars blues track with jazz influences. Lee knows how to build a song as well as he plays the guitar, which is no small feat, and he and Carpaneto trade solos in this mid-tempo piece that will put a smile on your face. “Angel Child” brings Paolo Maffi’s saxophone into play on the album. This slow 12-bar blues song uses the age-old theme of lost love to good effect, and hearkens back to the transition of blues to rock in the mid 1950s.

The three London tracks feature classic big band blues leader and guitarist Otis Grand and B.B.King’s drummer, Tony Coleman. There is Louis Jordan’s jump blues classic “Caldonia,” so of course Maffi’s saxes are prominently featured as well as Grand’s red-hot leads. Another fine selection is B.B King’s “Rock Me Baby” and Lee does a respectable rendition of the Beale Street bluesman’s classic vocal sound as Coleman keeps time on his hi-hat.

Just to show you that Henry has a bit more in his bag than the blues, the band tears off a quick ditty, the Latin-themed “Mambo Mamma” which might not be the most politically correct tune in the world “She’s not fat, she’s just tall…” but it certainly is a fun song! They also throw a little boogie-woogie into the mix with “Turn Down the Noise,” which provides a nice break in the heavier blues action.

The album draws to a close with one last original, “Blind Man Love,” which is five minutes of slow-tempo juke joint glory. An old-time feel is attained through Lee’s dirty guitar (which features a fabulous solo) and Carpaneto’s saloon piano sound that benefits from a strong right hand. When the song is over do not pop the disc out right away, as there is a bonus track hidden at the end that provides one last taste of Henry’s piano magic.

Henry Carpaneto’s Voodoo Boogie is a testament to the value of hard work, perseverance, and good communication. It stands together as a singular body and does not sound like a mishmash of different pieces that were stuck together, which is a real danger with projects that were spread out like this one. Henry and Bryan can be proud of the work they did here, as the result is a solid set of piano-driven blues that is worthy of your valuable listening time and a bit of your hard-earned money.

Blues Blast Magazine Album Review: D.A. Foster – The Real Thing

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This CD review was originally published in the February 5, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

D.A. Foster – The Real Thing | Album Review

VizzTone Label Group

www.dafostermusic.com

www.vizztone.com

12 tracks / 48:45

It is appropriate that D.A. Foster titled his new album The Real Thing, because if anybody is the real thing, he is. He was the heart of The Shaboo Inn of Connecticut from 1971 to 1982, and during that time the 1000-seat venue hosted almost 3000 concerts, featuring young and upcoming acts that included the likes of Aerosmith, AC/DC, Journey, Cheap Trick, and the Police. It was like a 1980s rocker’s dream come true! But a lot of great blues acts made their appearance there too, such as John Lee Hooker, Willie Dixon, T-Bone Walker, Buddy Guy, and a probably a few hundred more. After the club closed its doors (thanks to the scourge of the disco era), a few months later it was destroyed in a fire.

But the story does not end there, as D.A. had a lot left in his tank. He started a production company and ran his own band with luminaries such as Matt “Guitar” Murphy” and Harvey Brooks. Foster brought his fine blues vocals to the table with this project to continue on with a performance career that has been brewing since 1979. Over the past 35 years, everybody under the sun has joined him onstage, including Keith Richards, Chuck Berry and Muddy Waters. You would be hard-pressed to find a better pedigree than his.

Moving forward to 2015, D.A. has cut a fine disc, The Real Thing, which has its own roster of strong personnel; all of them are first-call musicians. Besides D.A.’s vocals, there is the Grammy-winning Phantom Blues Band to contend with, including Mike Finnigan (Big Brother and the Holding Company) on the keys, Tony Braunagel (Robert Cray, and many more) behind the drum kit, Larry Fulcher on bass and Bonnie Raitt’s Johnny Lee Schell on guitar. Other Phantom alumni to be found here are Darrell Leonard (trumpet), Joe Sublett (sax), and Lenny Castro (percussion). Braunagle and Finnigan produced this effort, and it is a polished piece of work, to be sure!

The twelve tracks span classic rhythm and blues and jazz ground as well as a few lesser-known covers, starting off with Dave Steen’s “Good Man Bad Thing.” This is a straight-up funky R&B tune which is a nice intro to Foster’s soulful voice, backed by some excellent B-3 work from Finnigan, sweet backing vocals from Julie Delgado and Nita Whitaker, and horns aplenty.

Not surprisingly, there are a few tunes by Don Robey, who was one of the most prolific R&B writers of the 1950s and 1960s. “Ain’t Doing Too Bad” puts the horns in the spotlight, and Schell brings a little more funk to the party with his syncopated rhythm guitar work, as well a rocking solo. The other Robey contribution is “This Time I’m Gone for Good” which shows off more of Foster’s impressive vocal range.

For pure fun, Eddie Hinton’s “Super Lover” takes first prize. It brings a little bit of everything to the table: fun lyrics, offbeat percussion (courtesy of Castro), machine-gun horn arrangements, and seductive backing vocals. This one should definitely go into your next party mix!

A different line-up was used for three of the songs, with uber-versatile Grammy-winner Josh Sklair on guitar and the hard-working veteran David Garfield on piano. With Josh’s leads and David’s subtle chording, “We All Fall Down” ends up with more of a jazz-rock feel. Bill Withers’ 1985 ballad, “You Just Can’t Smile it Away,” puts Garfield more forward in the mix, and gives guest artist Lee Thornberg a chance to shine on a beautifully muted trumpet (or is that flugelhorn?) solo. And the band’s remake of the oft-covered “Gee Baby Ain’t I Good to You” provides room for FInnigan to take over a bit on his Hammond, lending it a gospel/roadhouse feel.

The album closes out all too soon with George Henry Jackson’s “Down Home Blues,” which is the grittiest and most traditional blues track to be found on this disc. For this one, D.A. pushes his voice into the raspy range, which is a lovely contrast with the backing vocals of Delgado and Whitaker. The backline of Braunagel and Fulcher hold tight in the pocket as this awesome songs ends things on a killer note.

If you were a fan of the good old days at The Shaboo Inn or if you just like solid rhythm and blues, D.A. Foster’s The Real Thing would certainly be a wise investment. Check it out and see for yourself!

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!

Blues Blast Magazine Album Review: Sidney Green Street Band - SGSB

Hello!

This CD review was originally published in the February 12, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The Sidney Green Street Band – SGSB | Album Review

Self Release

www.reverbnation.com/thesidneygreenstreetband

11 tracks / 51:08

The Sidney Green Street band is promoted as a New Jersey bar band, but don’t let that description fool you into thinking they are amateurs – these guys are the real deal. But you do not have to travel to the Garden State to appreciate their brand of blues-rock, as they have recently issued their sophomore CD, SGSB.

Though they have only put out two albums, this quartet has more than enough experience to get the job done no matter where they are playing. Lance Doss (guitar and vocals) toured the world for over six years with John Cale, and guitarist Justin Jordan has over 20 years of professional experience, touring and appearing with artists as diverse as Sean Fleming, Shirley Allston Reeves and Gary US Bonds. Bassist Paul Page toured with John Cale too, and appeared with some really cool acts including Dion, Popa Chubby, Gary US Bonds, Bo Diddley, Del Shannon and Ben E. King. And rounding out the group is drummer Steve Holley whose resume includes work with Paul McCartney, Joe Cocker, and Chuck Berry to name a few.

The Sidney Green Street Band has a few things going for it that most North Jersey bar bands do not, and the first thing is original material: Lance wrote all eleven guitar-heavy tracks for this album. Another plus is a high level of musical ability, and the last piece is their take on Southern blues-rock. Apparently, Doss picked up a good dose of this from his home state of Alabama, but their vibe is still original with just a touch of Skynyrd here and there.

The band took a chance by opening the set with a slow song, “Bye, Bye, Bye,” but this burning rocker paid off for them. Jordan and Doss’ smoking hot guitars are run in stereo and Lance knocks the vocals out with his diverse style, which can be described as a rough on one side and smooth on the other -- kind of like a sheet of A-C plywood! This leads into the almost-pop “Sadie,” a play on the original Sadie Hawkins story as introduced in the Li’l Abner comic strip back in 1937 (in case you were wondering).

This change of genres is not unusual for the Sidney Green Street Band. “Some Things Ain’t Never Gonna Change” is a soft rock tune, but with hard hitting rhythm guitar work over the awesome backline of Page and Holley. It has a few unique guitar breaks, including a standalone dry solo and a heavily processed Wah pedal solo. Also, the modern boogie of “Number” is a jaw-dropping bit of guitar fun.

There are also a few standout tracks on the album that should be pointed out. The first is “Divine,” which has a catchy hook and an acoustic rock foundation. It shows mature songwriting, though it is uncertain if comparing your lady to a “good Southern Whiskey” will get you in her good graces. Doss’ voice is in fine form here with a surplus of emotion, and his harmonies with the other members are spot on. The other winner track is the country rocker, “Payin’ the Price” which is carried by its clever lyrics, an infectious rhythm guitar line, and some truly tasteful solo work.

SGSB ends with a really cool tune, “Consumer,” which has a lot going on. The rhythm section builds a sweet Boz Scaggs riff on the bottom, there is a smoking twin guitar attack on top, and a fun vocal history cuts through the middle. This track would be a good set-closer, and that is exactly what the band does with it on this disc.

The Sidney Green Street Band’s new album is a solid collection of original blues-rock with a Southern flavor. If you are a fan of heavy guitar blues with a killer beat this will be your cup of tea. And if you ever find yourself on US 46 between the Del Water Gap and NYC, make sure you stop in at the Great Neck Inn – they might just be on stage!

Mahalo!

Tweed Funk – Come Together | Album Review

Tweed Funk – Come Together

Self Release

www.tweedfunk.com

10 tracks / 39:08

Tweed Funk brings a Memphis sound to their unique blend of soul and blues, which is partly due to their frontman, Joseph “Smokey” Holman, who worked with Curtis Mayfield in the early 1970s. This Wisconsin based six-piece group formed in 2010 and a few months ago they released their fourth album, and you will find that Come Together is a sweet piece of art. These guys are doing everything they can to succeed: they have earned five Wisconsin Area Music Industry (WAMI) awards, they play all the right festivals, and they are getting great media coverage. It is all well deserved!

For this project, Holman sings the lead vocals, and he is joined by Eric Madunic on bass, J.D. Optekar on guitar, Dave Schoepke on the drums, Andrew Spadafora on sax, and Roomful of Blues’ Doug Woolverton on the trumpet. Chrissy Dzioba and Sara Moilanen contribute backing vocals on half of the tracks. All ten of the tracks on this disc are originals, and it was cut at Makin’ Sausage Music by Steve Hamilton.

Tweed Funk kicks off Come Together with “Light Up the Night,” and this is some extremely tight funk blues. From the intro the listener knows what the band is all about as the horns are popping over Madunic’s killer bass line that is perfectly in time with Schoepke’s drums. There is a lot going on here: Holman’s smooth tenor lyrics use Alice in Wonderland metaphors to spread the message of overcoming your troubles, Spadafora and Woolverton trade splendid riffs, and Dzioba and Moilanen’s backing vocals add just the right amount of soul. This is righteous stuff!

After this, the band shows that they are versatile as they run through different sounds, though the funk and the horns are never too far away. Here are a few examples:

-“Muse” has a light-hearted beat with Latin flavor, and Optekar does a stand-up job of setting the mood with his syncopated guitar chords. This is probably the best example of Smokey’s vocal style as this love song is right in his wheelhouse, both in range and style. This is the shortest song of the set, and I wish it were just a little longer!

-“Who is This” is a stone-cold funkfest, and this instrumental would be a great calling card for any of the musicians involved. Schoepke works the skins hard, and there are standout solos from Woolverton, and Spadafora.

-“Bullet” is an emotional and slow-tempo ballad with muted trumpet and reverb-soaked guitar. The message is somber, as it deals with a friend who chose to leave us too soon.

Coming in at 40 minutes long, this set goes by pretty quickly and before you know it things wrap up with “Soul Rockin’.” This is one last chance for the band to cut loose, and they build a brick house on top of Madunic and Schoepke’s foundation. Smokey’s voice is pleading as he expresses the need for some soul rockin’ from his lady. And, for one last time, the horns are off the hook and tightly hooked up -- this was a wise choice to close with.

Each new album that Tweed Funk has released has better than its predecessor, which is a tough task as their debut was pretty darned good. Come Together has solid songwriting and musicianship, and as a bonus it has a super positive vibe. This is a collection of wonderfully funky and soulful horn-driven blues, and it is a “must buy” in my book!

One last thing - on a more personal note, please keep Smokey in your thoughts as he was diagnosed with multiple myeloma after this disc debuted. The band is taking a break as he gets treatment, and will hopefully pick up again in October. Thank you for your support of him and the rest of Tweed Funk.

Chicago Blues Guide Album Review: Mississippi Heat - Warning Shot

This review was originally published in Chicago Blues Guide on November 5, 2014. Be sure to check out their website at: www.chicagobluesguide.com

Mississippi Heat - Warning Shot

Delmark Records

By Rex Bartholomew

Since 1991, Mississippi Heat has been churning out a unique brand of blues from their home base of Chicago. The band has gone through a few line-up changes over the years, but it is still led by Pierre Lacocque, a masterful harmonica player and first-rate songwriter. They have a big and fun sound, and are not afraid to record original material or bring their show to the stage. They have a heavy gigging schedule and a legion of dedicated fans that come out to see their wonderful high-energy shows.

Mississippi Heat recently released Warning Shot, their 11th album and fifth release from Chicago’s storied Delmark Records. It is a hearty serving of Chicago blues (with a few other flavors added), coming in at over an hour and containing 16 tracks. 14 of these tracks are originals that were written by the band members, with Lacocque getting credit on ten of them. There is a killer line-up of musicians for this disc, with Inetta Visor on vocals, Neal O’Hara on keys, Brian Quinn on bass, Sax Gordon on the saxophone, Kenny Smith and Andrew Thomas on drums, and Michael Dotson and Giles Corey on guitar. A true Windy City legend, Ruben Alvarez, also lends a hand with his tasty percussion work.

All of the songs on Warning Shot are very good, and the band placed one of the best up front! “Sweet Poison” has a frisky bounce right from the intro, with Pierre waging a harmonica battle against the guitar and holding his own. Then, when Inetta starts singing, this track is propelled to the next level with her throaty pipes tearing into her old man for his philandering ways and ruing that his love is still so sweet. There are high production levels to be found here, with crystal clear recording and a spot-on mix that will be found throughout the rest of the album. It is amazing that this disc only took two days to record!

“Alley Cat Boogie” is another peach of a song, a rocking boogie with hammering piano from O’Hara and Sax Gordon trading solos with Pierre. The backing vocals of Mae Koen, Diane Madison and Nanette Frank are a nice touch and make this track complete. You may also know them from their work on guitarist Giles Corey’s Stoned Soul album, which was released by Delmark earlier this year. This track is backed up with the Calypso stylings of “Come to Mama,” which includes some fun percussion work from Alvarez and is also notable change from the pell-mell boogie that came before -- Mississippi Heat never gets stuck in a rut on Warning Shot.

Guitarist Michael Dotson takes the vocals on the three tunes that he penned, and his voice is hearty and could possibly even be described as tortured. “Yeah Now Baby” has driving tempo that is held in check by the masterful backline of Quinn on bass and Thomas on drums, and “Swingy Dingy Baby” brings a little vintage swing fun into the mix. But the standout is “Evaporated Blues,” a funky Delta-tinged blues-rock song that only a guitar player could have written. Kenny Smith also wrote one of the tracks, “What Cha Say,” and we get to hear his lead vocals on this slow grinder as well as his fine work behind the drum kit. This quartet of songs fits in well with the rest of the material on this CD and provides even more variety to what is already a diverse collection of music.

The two covers are quite unexpected. The first is a fairly faithful revision of Ruth Brown’s “I Don’t Know” from 1959. This Brook Benton and Bobby Stevenson jazz song stands the test of time well, with Inetta taking the role of chanteuse and Lacocque’s harp and Corey’s lead guitar edging the tone a little towards the bluesier side of things. The other is completely out of left field: an instrumental take on Hank Williams’ “Your Cheating Heart.” Pierre plays the lead on his harmonica and Gordon blows a gloriously raunchy solo on his sax. This may be the best version of this song out there, besides Hank’s (of course)!

Finishing up the set is “Working Man,” with the entire band back on stage and Visor featured on the soulful lead vocals. This brand of fast-paced Chicago blues is a fine way to bring things to a close, as it is a fun reminder that this is where it all started for this top-shelf band.

Warning Shot is a well written and masterfully played album of new blues tunes that integrates all manner of influences to keep the listener entertained from beginning to end. Mississippi Heat delivered the goods with this record, and their live show is also a treat to see. They are gearing up for the Lucerne Blues Festival in Switzerland right now, but they will soon be heading back for plenty of shows around Chicago, and then on to other points in the US and Canada. Check out their website at www.mississippiheat.net

Chicago Blues Guide Album Review: Jarekus Singleton - Refuse to Lose

This review was originally published in Chicago Blues Guide on June 22, 2014. Be sure to check out their website at: www.chicagobluesguide.com

Jarekus Singleton - Refuse to Lose

Alligator Records

By Rex Bartholomew

As he hails from Mississippi, it would be natural to assume that Jarekus Singleton would be another in the long line of Delta bluesmen, but the scope of his music goes far beyond the borders of the Magnolia State. His original songs are blues-based, but he calls upon many genres to achieve a unique mood, including rock, jazz, funk, hip-hop, and maybe even a little country. This contemporary blues sound caught the ear of Alligator Records’ Bruce Iglauer, who helped Jarekus produce his debut album for the label, Refuse to Lose.

Though Singleton is barely 30 years old, music has been a life-long passion for him, and he started playing bass at the age of nine in his grandfather’s church. After switching to guitar and discovering his voice he fell under the spell of the blues at the age of 15. He showed impressive athletic prowess during college, but he always stuck with his music. This was fortunate for him (and us) as his basketball career was cut short in 2009 by injury, just as he had caught the eye of the NBA.

That same year, Jarekus formed his own band that self-released an album in 2011, and some of its tracks received regular airplay on satellite radio. He won the first of many blues awards in 2012, and it was only a matter of time until he signed with a label that could get his music heard across the country and around the world. His decision to work with Alligator worked out well -- Refuse to Lose is 53 minutes of exceptional art that is broken up into 12 self-penned tracks, and it is getting him the attention he deserves. Singleton takes the guitar and vocal parts for this project, and he is joined by a more than capable crew that includes James Salone on organ, Ben Sterling on bass and John “Junior” Blackmon behind the drum kit.

This set kicks off with “I Refuse to Lose” and the first impression is that this project has a very live sound. The guitar, bass, drums and organ on this blues rocker have a natural tone and blend, so that it is almost like being at a perfectly mixed blues gig. Credit for this vibrant mood goes to Pete Matthews of Nashville’s PM Music, who puts together a consistently tight product. Jarekus’ voice ranges from a spoken-word style all the way to a throaty roar, and if you listen to the words you will get to learn a bit of his life story.

Not knowing all of Singleton’s history, it is easy to assume that many of the songs are autobiographical as the lyrics are written in a very personal manner. Both “Hero” and “High Minded” sound like the voice of experience, taking to task folks that are haughty and egotistical, or possibly just too big for their britches. Also, “Crime Scene” and “Suspicion” are full of worldly wisdom that can only come from having a few relationships go sour. These subjects have been staples of the blues since day one, but Jarekus’ use of modern language and pop culture references brings his songs into the present day and makes them accessible to a new generation of listeners. He is a masterful storyteller!

In the same self-revealing vein, “Keep Pushin’” describes his motivation as well as specifics about his athletic history and the path to his new life in the blues spotlight. This hard-driving rock song uses a killer walking bass line, hammering drums and superb organ work to give it a rock feel that contrasts well with his rap-like lyrical delivery. It makes for a catchy package that results in one of the standout tracks on Refuse to Lose.

The other prize-winning tune is “Blame Game” which has a traditional 12-bars blues construction, but uses a sparse arrangement that is refreshingly different than what other artists are bringing to the table. Singleton changed things up for this song and brought in a different band to back him on this song: Ben Sterling popping out a very organic-sounding bass, Brandon Santini honking out a tasty harmonica lead and Robert “Nighthawk” Tooms playing a subdued piano accompaniment. This ends being a bare-bones shell that is decorated with Jarekus’ simple syncopated guitar chords and an all-too short solo. He really is quite a singer and guitar player, and the closer, “Come Wit Me,” arrives all too soon to end things on an upbeat note.

With its unique modern blues sound, wicked arrangements and heartfelt songwriting, Refuse to Lose is a winner in every way. Jarekus Singleton has made his own niche with his progressive sound and style, and he surely will play an important role in the future of the blues!

Blues Blast Magazine Album Review: Doug Otto and Hurricane Harold – Blues at Barkin’ Jack’s

Good day!

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

Doug Otto and Hurricane Harold - Blues at Barkin’ Jack’s

Self Release

10 tracks / 36:53

A lot of new blues music has to be described in terms of the other genres that have influenced its sound, for example, blues-rock, country-blues, and the old standard: rhythm and blues. There is no struggle to figure this out with Doug Otto and Hurricane Harold’s new CD, Blues at Barkin’ Jacks. This release is mostly blues at its most basic level – guitar, voice, and harmonica, and all of it is played with a remarkable brilliance. No drums, bass or keyboard were needed to achieve their goals, and the effect is really cool.

Both of these gentlemen hail from the Twin Cities, and those long cold winters in the great white north have apparently given them the opportunity to hone their chops! Doug Otto provides the guitar and vocals for this project, but he also finds plenty of work with his own bands, the Getaways and North Country Bandits, as well as sitting in with the No Accounts. Hurricane Harold Tremblay is a master harmonica man (a mentor of Curtis Blake), and co-founder of Cool Disposition. He also hosts a weekly blues show on KFAI radio in Minneapolis and leads the All-Star Revue, which features some truly fine artists from Minnesota – he is a genuine renaissance man.

Blues at Barkin’ Jacks has ten tracks that are mostly covers of wonderful vintage blues tunes, along with three originals that were written by Otto. It was recorded live in the studio with no overdubs and no more than two takes for any song. Jeremy Johnson did a wonderful job of engineering and mixing the guys’ time in the studio, and the final product has a clean sound that makes it sound like these guys are playing in your living room.

After starting off the set with a slow-driving rendition of Howlin’ Wolf’s “Asked for Water,” the duo plays the first of the three originals, “Broken Thoughts.” Otto’s writing on these songs has more of a roots and country-blues theme, and all of them are well suited to his pleasant tenor vocal range (which makes him sound a bit like Eric Clapton). His songwriting is mature, with good imagery and phrasing, which can also be found on “Heart to Heart” and “My Time is Moving Slow.” The latter gives Tremblay a chance to sing harmonies, which is a cool effect as his voice lends a unique droning effect. This is the standout track in the album, without a doubt.

The rest of the songs are straight-up Maxwell Street blues material, as can be heard from Muddy Waters’ “Long Distance Call,” which uses subtle electric guitar chording with a heavy bass beat while Harold shows off his fine feel for the harp. Otto’s guitar tone is outstanding on Skip James’ haunting classic “Hard Time Killing Floor,” and he also delivers a surprisingly good falsetto vocal performance, which is a hard thing to accomplish for most singers.

The classics continue with Lonnie Johnson’s “She’s Making Whoopie (in Hell Tonight)” which would be a hard song to write today, but in 1930 there were no political correctness police to contend with. There are also a couple of well-done Robert Johnson tunes, “Hell Hound on My Trail” and “Kind Hearted Woman,” that are delivered in a wonderfully laconic style.

Despite the good craftsmanship these gentlemen showed on the cover tunes, the originals are exceptionally special, and are the highlight of this disc. A full-length album of Otto-penned originals would surely be a good listen, and hopefully this pair will have the chance to continue their work and head back to the studio to give us a bit more of this wonderful stuff.

There is a lot to like about Blues at Barkin’ Jack’s, and Doug Otto and Hurricane Harold really delivered the goods. Their bare bones live sound is clear, and the selection of tunes that they assembled works well together. There is no mistaking this album for anything but the blues, and you should certainly give it a listen!

Mahalo!

Reverend Freakchild – Illogical Optimism | Album Review

Reverend Freakchild – Illogical Optimism

Treated and Released Records

www.www-reverendfreakchild.org

www.treatedandreleasedrecords.com

3 Discs / 35 tracks / 2:29:00

Reverend Freakchild is not your everyday average bluesman. Sure, he can play the blues in all of its forms, but his albums are way out there in the blues realm: they confuse old people, make little kids cry, and cause fellow musicians to grin from ear-to-ear. His latest project is no exception, and it is a worthy follow-up to last year’s amazing Hillbilly Zen-Punk Blues. This time around he has put together Illogical Optimism, which is two discs of his own material plus a third disc from another reverend, Ramblin’ Jennings. Personnel for this project included the Reverend on vocals and guitar, Chris Parker on the skins, Hugh Pool on lap steel, and backing vocals from The Mulebone Singers.

Disc 1: Odds, Ends and Other Amazingness is 67 minutes of a little bit of everything – it is not just a clever title. You will hear that the Reverend has mad guitar skills and a versatile voice, and that Chris Parker is one hell of a drummer. These songs are a collection of popular and obscure covers, and none of them are performed as they were by the original artists. “Who Do You Love” maintains its Bo Diddley beat, but gets a spooky spoken-word vibe. “All Along the Watchtower” goes reggae, but keeps a Hendrix-like solo. And John Lennon’s “Imagine” has Lou Reed written all over it, so there are surely dead hippies everywhere spinning in their graves. This might seem terrible on paper, but everything works out beautifully and in the end and it all sounds wonderful. Trust me.

Disc 2: Everything is Now is something completely different. In a little under an hour, the gang gives a dozen completely different takes on the same song: the catchy “All I Got is Now” from the Hillbilly Zen-Punk Blues album. How different? He does versions of the song in French and German, as well as interpreting it in genres such as punk, funk, reggae, and even “hillbilly.” The hillbilly version (“Alla Gotta Na’”) is breathtakingly stripped down, with lovely banjo and harp accompaniment. Likewise, the acoustic demo version is really cool with a roots vibe and barely intelligible lyrics thanks to a really up-front guitar sound.

Disc 3: Kairos is from Florida’s Ramblin’ Jennings, and this EP (24 minutes) is stripped down and full of awesome. Jennings gets the work done with just his voice, an acoustic guitar, and a harmonica. There are seven original tunes of Gulf Coast blues that use plenty of slide guitar, and Jennings’ voice is perfect for them -- full and timeworn, and dripping with character. There is also one traditional tune, and this vocals-only version of “John the Revelator” is powerful and full of terrifying biblical imagery.

Well, I cannot recommend Illogical Optimism enough. Reverend Freakchild pushes the boundaries of blues and approaches old songs in new ways that really makes the listener think. And his buddy Ramblin’ Jennings brings blues down to its basics to provide a touch point for the other two discs. Give it a listen for yourself, and check out his website for upcoming tour dates as he his getting around quite a bit this summer.

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!

Various Artists – Blues for Big Walter | Album Review

Various Artists – Blues for Big Walter

EllerSoul Records

www.ellersoulrecords.com

16 tracks / 76:00

The use of harmonica in blues music owes a big debt to Big Walter Horton, who helped define the harp sound that we still hear today. Big Walter passed on back in 1981, which was way too soon, and to honor him and his contributions, Li’l Ronnie Owens (also no slouch on the harmonica) put together a cool tribute disc that includes nine harp players running down sixteen cool tracks. There is a little bit of everything on Blues for Big Walter, and recording took place on two continents over the course of three decades.

Besides Owens, on this production you will hear Kim Wilson, Mark Hummel, Bob Corritore, Sugar Ray Norcia, Steve Guyger, Mark Wenner, Kurt Crandall, and Andrew Alli. Each of these guys has a great sense of history and incredible talent, making this a very special project. As an added bonus, backing them are dozens of incredible musicians, including Anthony Geraci, Bob Welsh, Robert Lockwood Jr., Big Jon Atkinson, and many more. This was a labor of love, as the artists performed for free, and proceeds of sale go towards two fine blues charities: The Blues Foundation and the Handy Artists Relief Fund (H.A.R.T).

There are both studio and live recordings, acoustic and electric arrangements, and a lot of different sounds and feels. For example, “Easy” is covered twice here, with Mark Hummel and Andrew Alli each having a different take on it. Hummel went for a full band, while Alli kept it down to a more simple arrangement with just an acoustic guitar for accompaniment. Each version is wonderful, but variety is the spice of life and these guys deliver the goods. It is not possible to run down each of the other sixteen tracks, but a few of them really stood out for me:

”She Loves Another Man” showcases the hard-working Bob Corritore on harmonica and the late Jimmy Rogers on vocals and guitar. This is Chicago blues at its finest, and Bob’s understated harmonica work fits in perfectly. His phrasing and sense of space complement this song perfectly, which is what Hornton brought to the projects he worked on. Big Walter was the ultimate sideman!

”Sugar Ray Medley” is the showpiece of “Blues for Big Walter,” an 18-minute track that includes “That Ain’t It,” “Walter’s Boogie,” “Everybody’s Fishing,” “I Don't Get Around Much,” and “Blueberry Hill.” A lot of thought and practice went into this medley, as the individual songs blend seamlessly into each other and have an amazing balance. And, of course, Sugar Ray Norcia nails the vocals and harp parts; he is simply a joy to listen to.

Finally, the album closes up with ”Think Big,” a live version that was cut by Li’l Ronnie with Terry Garland on guitar in at the Canal Club back in 2009. Owen’s harp is crystal clear and takes a nice leading role over Garland’s acoustic guitar. It is cool to finish up with a bare-bones instrumental that features the harmonica up front for this very special compilation.

If you are a fan of blues harmonica or Chicago style blues, Blues for Big Walter is a must buy. Rumor has it that there were many more artists that were interested in participating, but there just was not enough room on the disc (it comes in at 75 minutes), so there might be a volume 2 coming up. So, keep your fingers crossed and check in with the Ellersoul website for updates.

Eliza Neals – Breaking and Entering | Album Review

Eliza Neals – Breaking and Entering | Album Review

Self Release

www.elizaneals.com

12 tracks / 51:08

Sometimes a new album gets misplaced on my desk, and it takes me way too long to get around to reviewing it. This happened with Eliza Neals’ Breaking and Entering, which is a damned shame as this Detroit diva really delivers the goods with this disc of hard-hitting original blues-rock.

Eliza has all the right pieces for success. Her voice which is often compared to Janis Joplin, but I disagree and assert that she has found her own sound and a style that takes the phrase “high energy” to new levels. Her passion and power are so intense that it would be hard for you to find her equal. She is also an incredible songwriter who has managed to earn both the rock and blues songwriting awards from the Detroit Blues Society. Neals wrote eleven of the twelve songs on this release, with co-writing credit for some of the tunes going out to fellow Detroit blues hero Howard Glazer, who brought his axes into the studio for this project.

Eliza kicks off the set with “Detroit Drive” which features Glazer on the Dobro and Erik Maluchnik pounding out the beat on the kick drum. Neals shows a lot of versatility here as she is able to take the vocals from soft to loud at will, while maintaining an edge throughout. This basic acoustic blues provides a cool contrast with the heavy electric blues-rock that is found through much of this record.

This is followed up by the title track, which is the standout song from this disc. “Breaking and Entering” is seven minutes of guitar-fueled awesomeness, and Eliza howls the lyrics with her amazing vocal skills. Paul Randolph on bass and Tim Grogan behind the drum kit hold down the backline on this 1970s AOR epic piece of pychedelia. Glazer and Neals battle it out for who gets to be in the foreground of the sonic stage, and this contest ends up as a draw.

The sole cover is “Sugar Daddy,” a sweet piece of northern soul that was written by fellow Detroiter Barrett Strong. Neals pulls off a more than respectable smooth Motown sound, accompanied by backing vocals from Lizz Kristi, a heavy lead guitar from Shane Visbal, and B3 from Tyrone Smith. This song is completely different than everything else on Breaking and Entering, and it provides for an interesting break.

The album finishes off with a radio edit of “Breaking and Entering” (with a more accessible 4 ½ minute run time), but the real end of the set is “Spinning.” This slowly grinding song uses Glazer’s heavily distorted guitar for the introduction then Eliza tears into the lyrics with a few layers of her distinctive voice. This bare-bones guitar and voice is really the essence of what Neals is all about – in the end it all comes down to the song, doesn't it?

Breaking and Entering is a fabulous effort from Eliza Neals, as it is well-performed and there is not a bad song to be found. She brought a great group of musicians together in the studio (14 in all), and they pulled off a lot of magic with their hard work. Check it out for yourself, and do not make the mistake of misplacing this disc!

Blues Blast Magazine Album Review: Chad Strentz – Shake-Down

Good day!

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

Chad Strentz – Shake-Down | Album Review

Tree House 44 Limited Records

www.chadstrentz.com

www.treehouse44.com

15 tracks / 59:07

Chad Strentz is one of the hardest working frontmen in the British blues scene, and you may be familiar with his work with Paul Lamb and the King Snakes, who has earned numerous British Blues Awards, including UK’s Best Blues Band. He has music deep down in his soul, having started playing guitar and singing in his early teens while taking inspiration from all the right artists: Elvis Presley, Johnny Cash, Ray Charles, Little Richard, Big Boy Crudup, and Bo Diddley, to name just a few. After gaining a firm foundation in rockabilly, he dove deep into the blues that he practices each day, both with the King Snakes and his own band, the Chad-illacs.

After decades of touring and recording, it is amazing that Chad had not cut a disc of his own before now. Shake-Down is Strentz’s debut album, and it was recorded in only three days at drummer/producer Mike Thorne’s Rimshot Studios in the English countryside. Chad and Mike were joined by a group of excellent musicians from all over Europe, including Jim Leverton on electric bass, Pete Pritchard on double bass, Christian Rannenberg on piano, and Raphael Wressnig on the Hammond C-3. Jimmy Reiter and Kai Strauss shared electric guitar duties and British acoustic blues guitar giant Danny Kyle sat in on this session as well, which is a real treat!

This disc clicks in at just under an hour, and it includes 15 tracks that are made up of eight Strentz-penned originals and seven really cool covers from some of the artists that have inspired him. Listening to his own songs, it is obvious that Chad is not just a gifted singer, but also a very talented songwriter that has a good feel for American music. The title track kicks things off with up-tempo 1960s soul that has plenty of organ and razor-sharp vocals from Strentz, and this sets the tone for the rest of the album.

After this first song, it is apparent that Shake-Down has a raw and vibrant feel, which is intentional as it was decided to record it live with few (if any) overdubs, and with only tube amplifiers and analog recording equipment. Strentz wanted to honor the music he listened to as a youth by recreating its sound and vibe as genuinely as possible, and it all came together beautifully.

This tribute continues over to his choice of cover songs, as well. These include Ray Charles’ “Hard Times,” “Hey Porter” from Johnny Cash, and the jazz standard “Paper Moon,” complete with boogie-woogie piano and a healthy dose of carnival organ laid over the top of it. On the more obscure side of things are Cowboy Jack Clements’ “It’ll Be Me” and Clarence Carter’s “Someone You Use,” which you may remember from Vonda Shepard’s Ally McBeal soundtrack recording. But the strongest of these is the most pared down: a gorgeous remake of the Miracles’ “Tracks of my Tears.” Chad does an admirable job of living up to Smokey Robinson’s original lyrical style, accompanied solely by Kyle’s subtle acoustic picking.

But Strentz’s originals should not be discounted, as they take the listener on an interesting journey through different American music genres. He throws out a couple of serious shuffles, “Don’t Get Me Wrong” and Street Shuffle,” as well as a little boogie on “Gone for Good” that features killer piano work from Christian Rannenberg. Things really shine when Chad focuses on his influences, such as the rockabilly of “Cardboard Street,” or when he channels his inner Johnny Cash for “So Much Time.”

The set ends with a favorite, “Always on My Mind,” one of the most-covered songs ever (and rightfully so). Though Willie Nelson did a bang-up job with it, the Elvis Presley version defines this song and that is exactly where Chad went with it. The highlight is when Wressnig lays down a sweet Hammond organ break that fits perfectly with the emotional timbre in Strentz’s voice. Please note that if you are patient, after this song ends there is a killer hidden vocal/acoustic howling blues song that should not be missed.

Shake-Down from Chad Strentz is a winner, with 15 solid tracks that are an enjoyable mixtures of blues, soul, and the foundations of rock and roll. His decades of performing and recording have taught him how to do things right in the studio, and it is apparent in this release. Check out a copy for yourself, and see if you agree!

Mahalo!

Blues Blast Magazine Album Review: AC Myles – Reconsider Me

Hello!

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

AC Myles – Reconsider Me | Album Review

Self Release

www.acmyles.com

11 tracks / 41:48

Fresno, California does not get as much publicity as its two big neighbors, Los Angeles and San Francisco, but it is a cool city that helps support one of the largest agricultural areas in the United States. You may not think that there is a lot of blues music going on there, but with half a million people there are plenty of blues enthusiasts to be found. In fact, guitarist and singer AC Myles grew up in Fresno, and he is a fine representative of the town!

AC Myles has a fine pedigree; after touring with his own band as a young man he ended up in San Francisco where he found work as a sideman for killer acts such as Fillmore Slim and Joe Nemeth. This experience honed his performance skills and helped him develop his own brand of blues chops on both guitars and vocals. For his debut album, Reconsider Me, he hooked up with the legendary Kid Andersen, who produced this project as well as recording and mastering it at his Greaseland Records in San Jose, California. Things happened quickly, as they only had to spend two days in the studio, which gives this disc a righteously vibrant feel!

This album is made up of eleven tracks that include four of Myles’ originals and seven special covers. These were not culled from usual list that other artists choose from, as he mostly picked songs that were from some of the artists he has worked with over the years. For this project, AC took on the lead vocals and guitars, and he was joined by Derrick Martin behind the drum kit, Nate Ginsberg on the keyboards, Lisa Andersen with the backing vocals, Endre Tarczy on bass and keys, and Kid Andersen with the rhythm guitar and keyboards.

Things start off with a tight soul tune written by Fenton Robinson, “You Don’t Know What Love Is,” and one thing is for sure: Myles has a fabulous voice. He stays in tune across his impressive range, and his vocals have an honest inflection and character that bring the words to life. Next up is Rory Gallagher’s “Do You Read Me,” which is an ambitious undertaking as Gallagher was a true guitar hero. AC fills the role well, and this turns into a roaring blues rocker with blazing guitars, a thumping bass line, and awesome organ accents. This is one of the top tracks on the album, without a doubt.

After stirring rock with a little gospel in Elvin Bishop’s “Rock My Soul,” the band takes on the title track from Johnny Adams. “Reconsider Me” features some jaw-dropping falsetto, and extra cool roadhouse piano over the solid foundation of Tarczy’s bass and Martin’s drums. This duo also sets up Roman Carter’s 1965 classic, “Queen Bee,” for Myles’ best James Brown imitation.

The most pure blues tune on Reconsider Me is “Death Bed Blues,” which was penned by Myles. His lead guitar has a super-clean tone in this 12-bar Chicago-style tune, and Andersen backs him up well. The slow tempo creates tension for the classic low-down lyrical themes that are sung with emotion and gusto.

AC laid down two very strong original rockers, “Call ‘em All Baby” and “Three Ways to Fall,” and then the set ends with Fats Domino’s “Blue Monday.” But, this time it a Fillmore Slim arrangement with funky wah-wah rhythm guitar and 1970s-issue electric piano. Myles digs deep (and even wails a bit) for this closer, leaving things on a happy note.

If there were anything that is missing with this release, it would be more of AC’s own material. Myles’ career has advanced to the point where his fans would surely like to hear a more personal take on his music. He is a fantastic singer, guitarist, and arranger, so surely he can perform whatever thoughts he puts down on paper and make them work.

It is true that AC Myles has talent galore, and Reconsider Me proves it on every track. This is a solid album of soulful rhythm and blues that is expressed with his own style thanks to his years of experience. Check it out, and we should all hope that he starts working on a follow-up soon!

Mahalo!

Ivor S.K. – Delta Pines | Album Review

Ivor S.K. – Delta Pines

Self Release

www.ivorsk.com

5 tracks / 18:46

There is a strong blues scene in Australia, so I am surprised that more of their music does not make it to my desk for review. So, it was cool to receive a debut disc from Ivor S.K., Delta Pines. This young man has developed a mature voice and guitar skills in a short amount of time, helped along by the mojo of his beloved city of New Orleans.

Ivor Simpson-Kennedy wrote all five of the songs for this EP, and performed all of the guitar and vocal parts. Before he took up guitar he was a drummer, so you will hear that each tune has a cool and steady beat with subtle influences of soul, and maybe even some reggae or ska, but this is still undeniably based on Delta blues. Since there are a few less tracks to deal with than usual, following is the blow-by-blow for each:

First up is “Help Poor Me” and you will probably be shocked that an Australian kid has a voice like a grizzled man from the Delta. Also, he manages to break the word “help” into two syllables – I have never heard that before! In this tale of woe his guitar work is simple and clean, and this is a very listenable piece of music. Things change direction a bit after this. Many blues artists create their own ode to the bottle, and in “Missus Green” Ivor describes a man who puts aside all manner of liquor in favor of his chosen poison, which is all-natural, but not exactly drinkable.

Layers of acoustic and slide guitar are used to construct “Pelican,” an instrumental that is more roots than blues. It is a pretty tune that uses stereo effects to present a sound stage that makes seem like there is more than one player. Ivor’s guitar skills are up to the task, and his fingerstyle shows that he has a good feel for the instrument. A laid-back love song follows this up, and “I Like the Way” is a smart piece of acoustic blues with an intimate message.

The CD finishes up with “Delta Pines” which is a celebration of Mississippi and its music, with shout outs to cultural fixtures from all over the state. This is set to a simple quarter note kickdrum beat (provided by Ivor?), and this percussion provides an interesting change from Ivor’s usual guitar and voice formula. There are at least three guitar parts in play here, which makes me wonder which one he chooses when he is doing a live show!

Ivor S.K. has something going here, and Delta Pines is a solid first effort. His voice is impressive, and his original songs are easy to listen to with lyrics that provide a few surprises along the way. Hopefully he is busy writing new material so that we can get a full-length album from him soon.

Blues Blast Magazine Album Review: David Pinsky and Phil Newton – Over the Moon

This CD review was originally published in the December 28, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

David Pinsky and Phil Newton – Over the Moon

Self Release

www.davidandphil.info

11 tracks / 49:35

With the many diverse subgenres of blues that are being recorded today, it is good to regularly touch home with where the blues came from so we do not lose track of where we came from. Oregonians David Pinsky and Phil Newton are creating just this kind of bare bones music and are doing a very good job of it, as evidenced by their first album together, Over the Moon.

PInsky and Newton have known each other for years and started playing gigs together a few years back with their brand of Delta style roots and blues, and it caught on. This dynamic duo had enough juice to win the completion that allowed them to represent the venerable Cascade Blues Association at the 2014 International Blues Challenge in Memphis. Competition was stiff and they did not prevail, but the door did not close and they again won the right to represent the CBA again in 2015 at the IBC. I wish them luck!

They came back from Tennessee with none of their fire diminished, and they headed into a Central Point, Oregon studio this past summer to cut their first album together. The album was produced, engineered, and mastered by Thomas Hartkop and it features Dave and Phil on vocals and harmonica, with Dave also providing the guitar parts. That is it – no horns, drums, bass, keyboards, or trio of beautiful backing vocalists. Instead, we get 11 original tracks written with honesty from these two veterans of the Pacific Coast blues scene, and it is a good trade-off.

The set kicks off with “Memphis by Midnight,” and the blues listeners get exactly what they are looking for, which is bare bones acoustic blues. This is a raw recording with woody sounding acoustic guitar that is recorded so well you can hear the strings hitting the frets. The weathered vocals recount this year’s trip to Memphis, with plenty of their recollections, impressions and images. Rounding out the package are a few harp breaks that are muted yet still pretty.

There are other songs that throw out a little of the duo’s history. “Black Highway” is a howling Delta-esque ode to Oregon Route 238, the highway that David and Phil both live on. And “3303 Burdeck Drive” brings back memories of growing up in the cold clime of Oakland, California, this time with a country blues feel thanks to the carefully picked guitar lines and the doubled guitar/harmonica intro.

One of the standout tracks of Over the Moon is “Mama’s in the Kitchen,” which brings a lot of Louisiana spice to the table. This is accomplished with Pinsky and Newton’s minimal instrumentation by having the harmonica mimic a squeezebox, and at times you can be fooled into thinking it actually is an accordion. The guitar lays in the background playing heavy downbeats while the lyrics take the front of the stage (as they do on most of the album), but this time in a Fats Domino style.

Looking at the album as a whole, this is the kind of music that a couple of friends would get together to play at a backyard cookout or in a slow-paced roadhouse, and these two old buddies can do it better than most anyone else around.

Things draw to a close with “Your Turn to Go” with some beautiful harmonica work and aggressively strummed acoustic guitar. The lyrics recall remorse for how things have gone so badly in life, but realizing the need to move along anyway and hope the future gets better. This is what the blues is all about!

If you like what you hear on David Pinsky and Phil Newton’s album, you should try to catch their live show, as they have gigs almost every week for the next few months, including the IBC on Beale Street in Memphis this January. But, if you cannot make it to Oregon or Tennessee, the next best thing would be to pick up a copy of Over the Moon. Taking this journey to the roots of the blues and Americana will definitely be money well spent. Plus, picking up a copy will support their trip to the IBCs, which is a cause worth standing behind!