Dave Weld and the Imperial Flames – Slip Into a Dream | Album Review

Dave Weld & the Imperial Flames – Slip Into a Dream

Delmark Records

www.daveweld.com or www.imperialdave.com

www.delmark.com

13 tracks / 65:44

There is nothing like an album of raucous west side Chicago blues, and that is exactly what Dave Weld and the Imperial Flames deliver. Dave is a homegrown Windy City fellow who took a break for a while in New Mexico where he studied under famed New York jazz guitarist, Kurt Black. But the call of the city was too great, and Dave headed back to town where he played endlessly at west side clubs under the watchful eye of his mentor, J.B. Hutto.

After playing with a plenty of folks from the “Who’s Who” book of Chicago blues, in 1988 Dave formed his own band, the Imperial Flames. Slip Into a Dream is their fourth album and their second for the venerable Delmark Records label. Dave handles the guitar and some of the vocals, and is joined on the leads by the amazing singer, Monica Myhre. A few long-time bandmates were there in the studio, including Dave Kaye on bass, Jeff Taylor on drums, and Harry Yaseen on piano. There were also a few extra special guest musicians, as you will soon see.

This album has twelve original tracks and one cover, with eleven of the songs written by Weld and/or Myhre. The title track kicks things off and right away it is obvious that this is going to be a rocking party with a heavy west side sound. Dave howls his lines with gusto, sounding like a much more soulful version of Clapton, and when Monica takes over the vocals she nails them with her blues diva aura. The spooky chords of guest artist Graham Guest’s organ set the overall mood, and Weld’s guitar playing is spot-on (of course). This man has tone for days.

There is plenty to like about “Looking for a Man” whether you are searching for a slamming beat, sultry vocals from Monica, a searing solo from Weld, or killer harmonica from none other than Bobby Rush. And “Take Me Back” is also chock full of good, thanks in part to tight work of the The Heard horns: Parris Fleming on trumpet, Bryant Smith on trombone, and Rajiv Halim on saxophone. Dave also sourced a prime horn section for “Sweet Love (Dulce Amor), and that would be the Chicago Horns -- Kenny Anderson on trumpet, Hank Ford on sax, and Bill McFarland on trombone.

Weld and Myhre did not write all of the originals, though. Jeff Taylor penned “Dorothy Mae” and got the nod on its lead vocals, too. This is a righteous funkfest and Taylor’s vocals are definitely up to the task. Guest brings his organ back for this track, and we get the joy of hearing Sax Gordon solo on his horn, plus a pretty neat lead guitar break from Weld.

”Too Bad, So Sad” features Myrhe on vocals and rocking guitar pyrotechnics from none other than Greg Guy (Buddy’s son). Like the other tunes on this disc, this one has its own sound, with a fat bass line from Kaye and snare-heavy drums from Taylor. This is one of the standout tracks on the disc, and it has earned a place in my next party mix.

Before the band reworked “Slip Into a Dream” as an gnarly instrumental (with a little doo-wop) to close out the set, they slipped into a J.B. Hutto cover, “20% Alcohol.” Dave digs down deep for the vocals on this one, and there is some very sweet harp (including a cool solo) courtesy of Mr. Bobby Rush. Weld has done a fabulous job of honoring his mentor on this song.

Slip into a Dream is the best album yet from Dave Weld and the Imperial Flames, and that is saying something as their other albums are very good. It is significant that they were able to write so many new songs that sound good and sequence so well with each other. This disc is a must buy, and while you are at it check out their website to see where they are playing next – you will be glad you did!

Blues Blast Magazine Album Review: Barry Big B Brenner – Keep It Clean

Good day!

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

Barry Big B Brenner – Keep It Clean

Self Release

www.bigbbrenner.com

10 tracks / 35:16

In the last half of the 20th century there was a fundamental change to blues music as electric guitar, electric bass and keyboards breathed new life into this age-old genre. But, there is a still a primal allure to the purity of pre-electric blues, and this is where Barry Big B Brenner excels.

Barry Brenner grew up on the south side of Chicago where he taught himself to play the guitar and sing. Although he became more than proficient with the electric guitar, he decided that his career would be centered on a more acoustic sound. After being in bands and playing along such notable musicians as Albert King and Eric Burdon during his 30 years on the stage, he is now on his own playing a seemingly endless series of solo acoustic club gigs near his new hometown in the Verdugo Hills area of Southern California.

His third self-released CD is Keep it Clean, a collection of ten original and traditional blues and folk tunes. If there is anything you do not like about this release it is all on Barry, as he pretty much did all of the work on this disc. He took care of all of the vocals and instruments (including acoustic six-string, twelve-string and National guitars), as well as all of the production and arrangement. That being said, chances are good that you are not going to blaming Brenner for anything, as this album is a neat piece of work.

The album starts off with “Follow the Drinking Gourd,” a song that begs more research. The exact history of this song is unclear before it was first published in the 1920s, but it is rumored to have connections with the Underground Railroad. Legend has it that the gourd that is referred to is The Big Dipper constellation that slaves used to help to navigate their way to the north. It is a somber folk tune sung in Brenner’s distinctive whiskey voice and accompanied by a few layers of strummed and fingerpicked guitars.

This recording project uses overdubs that allow Barry use vocal harmonies and have more than one guitar on each track, but there is none of the usual big-label polish here. There is a vibrant feel that carries over from his live show (I have attended one of his gigs), and there is a great variation in volume and presence within each song that that adds drama and interest to tunes that have inherently simple words, as well as his amazing instrumentals.

The three instrumentals each have a unique feel, letting the listener know that Brenner is not a one-trick pony on the guitar. “Reap what You Sow” is a slow blues song with heavy National guitar, “Cochinonas” has a jaunty Latin feel and “St. Elmore’s Fire” is a folk blues. They are all very good, but the last one on the list is the standout of the instrumentals, as it has the most interesting melody and harmonies, as well as exceptional slide guitar work.

Some of the tracks are more folk-oriented, but their lyrics carry the spirit of the blues down deep in their soul. These include “The Back of His Hand,” a song that implores the listener to appreciate what they have and to remember that fortunes can change in a heartbeat -- this is not the Dwight Yoakam song, in case you wondering. The other is “Stack O’Lee,” which was a #1 hit for Lloyd Price in 1959, though the best version is the one that Mississippi John Hurt cut in 1928. The lyrics are an the intriguing story of Billy Lyons’ murder on Christmas day of 1895 by notorious St. Louis pimp “Stag” Lee Shelton. Brenner brings both of these songs to life with his pleasant voice and harmonies, showing that his guitar is not the only thing he has mastered over the last three decades of his career.

The strongest track on Keep it Clean is Blind Boy Fuller’s 1938 song “Pistol Snapper Blues,” and you may be familiar with the version that was recorded by the Irish blues guitar legend, Rory Gallagher. Barry kept a traditional country blues sound for this song, and when listening to it there is no way to tell that it was not recorded during the 1930s: it is that timeless.

The album ends on a happy note with the title track, which was a hit for Charley Jordan in the 1930s, and more recently covered by Lyle Lovett while Barry was in the process of recording Keep it Clean (bad timing, I guess). Big B’s version benefits from sweet upbeat fingerpicking and the fun lyrics that make it seem more like a good-time summer tune than the southern blues that it actually is.

Keep it Clean is a solid album, and Barry Big B Brenner did a good job of keeping this project on track and arranging a collection of well-matched roots and blues songs that can stand by themselves or work together as a whole. If you like this CD, you should check out his live act, as he has plenty of shows around So Cal, including regular gigs at South Pasadena’s Firefly Bistro for the weekly Burgers, Beer and Blues show and their Sunday Blues Brunch.

Mahalo!

Sauce Boss – 100% Pure | Album Review

Sauce Boss – 100% Pure | Album Review

Self Release

www.sauceboss.com

12 tracks / 43:07

Not too many one-man band blues albums come across my desk, so Sauce Boss’ 100% Pure really stood out when it arrived in the mail. After giving it a listen or two, I found out that it is a fun disc that has a lot to say for itself!

The Sauce Boss is Bill Wharton, and it is not just a clever nickname – he actually sells his own brand of hot sauce on his website and at his shows. But, more than this, Wharton mixes his loves of music and food together, while also giving back to his Florida community. He donates his time, talents, and gumbo to shelters to help out and lift up the spirits of those that are not as fortunate.

For 100% Pure, Wharton did all of the heavy lifting, performing all of the instrumental parts as well as handling the vocals, songwriting and production chores. The twelve tracks are a fun blend of roots and swampy Florida blues-rock, and he kicks off the set with “Zipper Bird” and right off we learn that the Sauce Boss has the tastiest guitar tone in town. He combines this fuzzy six-string with an array of percussion instruments to obtain a surprisingly full tone, and you will hear that his one-man band concept is not a gimmick – he is the real deal.

For “Marquis de Swamp” (greatest title ever) Bill uses guitar synth to achieve a dark and spooky mood as he howls the vocals with gusto. He then changes gears quickly to play the hopeful “Gonna Be All Right” which features righteous slide work and Latin-tinged rhythms. Wharton digs deep for the vocals for “Chains,” a song about being tied down by the ones we care about.

The standout track on 100% Pure is “Delta 9 Blues,” an ode to the demon weed. For this song, Bill dirties up Delta blues with heavily processed slide guitar and combines it with innovative rhythms to get a very dark effect. But the mood does not stay down for very long, as after this track he tears off “Peckerwood,” a super-funky country tune with a really catchy guitar hook.

Many of the Sauce Boss’ songs are personal, and he has a fascinating life story, starting with his childhood in the Windy City. In “Chicago Combat Zone,” as Bill rips into his resonator guitar he references the tale of his daddy being mugged and beaten. And in “Outlaw Blues” he gives an amusing narrative of his brush with the law for an unauthorized agricultural project in the Sunshine State.

There is a little bit of everything on 100% Pure from the Sauce Boss, and it is all presented with the intention of providing the listener with a good time. Check it out if you get a chance, and head over to his web site at www.sauceboss.com to check out his gig schedule, as his live show must be something to see. You will find his gumbo recipe there too!

Eddy “The Chief” Clearwater – Soul Funky | Album Review

Eddy “The Chief” Clearwater – Soul Funky

Self Release through Cleartone Records

www.eddyclearwater.com

12 tracks / 75:44

Eddy “The Chief” Clearwater is a certified Chicago hero, and is certainly one of the legendary blues guitarists/singers of the last half of the 20th century. Born as Edward Harrington in pre-WWII Mississippi, he moved with his family to Alabama where he taught himself to play the guitar (as a southpaw), and he took up with a few gospel groups. But the big city lights have their allure, and he finally had to take off for the Windy City in 1950 to live with his uncle.

He started his career in Illinois washing dishes, but he worked his way into some gospel gigs and eventually fell under the mentorship of Magic Sam. By 1953 he was performing as Guitar Eddy Clearwater, and he has not let up since -- that long of a professional music career makes for true guitar hero stuff!

Well past the normal retirement age Eddy is still out gigging and recording while most folks of his era are sitting at home and trying to figure out what to do with themselves. He has figured out what he wants to do, and that is playing the blues! His latest release, Soul Funky, is a wonderful glimpse into the world of his live show, as recorded at SPACE in Evanston, Illinois on January 10, 2014.

A killer crew joined Eddy that evening, and they brought some serious muscle to what must have been a crowded stage. This included Ronnie Baker Brooks on vocals and guitar, Johnny Iguana (the Claudettes!) on the keys, Shoji Naito on guitar and blues harp, Stephen Bass behind the drum kit, David Knopf on bass, and Thomas Crivellone on guitar. Eddy, Shoji and Rick Barnes produced this 12 song disc that plays out like a regular hour-plus club set, and they made sure that it would be a neat piece of work in all respects.

The show kicks off with “They Call Me the Chief,” a catchy intro that was written by Brooks, and it is the first chance on the CD to hear The Chief’s still-incredible guitar prowess. Eddy and Ronnie are proficient songwriters, which is fortunate as these gentlemen penned 10 out of the 12 songs on this album. From there they coasted into “Hypnotized,” an original funky blues tune with burning guitars from Brooks and Clearwater and sweet Hammond work from Iguana.

“Too Old To Get Married,” was written by Brooks and is catchy enough that hearing it once is enough to get it stuck in your head for the rest of the day. It has that Check Berry sound, this time with Naito on guitar and a little Jerry Lee Lewis piano thrown in for good measure. It is all good stuff, but the highlight of this album is a hybrid presentation of “Came Up the Hard Way” and “Root to the Fruit,” which is thirteen minutes of slow-grinding blues and feel-good stomp, both with some nice harmonica parts from Shoji. It looks kind of weird on paper but works out just fine on the stage.

A couple of sweet covers can be found in this set, too. “Please Accept my Love” does not stray far from the B.B. King original, and this slow blues ballad provides a breather in what is an otherwise rocking blues set. And “Lonesome Town” is a spooky grind with reverb galore, co-written by Los Straightjacket’s Eddie Angel. There will certainly be no mistaking this for the Ricky Nelson song of the same name.

As the album draws to a close, the “Ending Midnight Groove” gives Eddy the chance to graciously thank his fellow musicians, as well as the fans in the crowd that keep him in the spotlight year after year. His love for what he does and for the folks that come out to see him play is obvious; he is a bridge to an era of the blues that should be appreciated and never forgotten.

Soul Funky is the next best thing to seeing Eddy Clearwater and his band playing out, and if you are a fan of Chicago blues you owe it to yourself to pick up a copy of this CD because you will be able to hear for yourself that after more than 60 years he is still at the top of his game. Unfortunately, his upcoming tour schedule is mostly in Europe, but if you play your cards right you will make sure you are in Evanston on January 9, as he has another gig scheduled at SPACE. Check him out for yourself!