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!

coWpilot – coWpilot | Album Review

coWpilot – coWpilot

Self Release

www.facebook.com/coWpilot

9 tracks / 30:44

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

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

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

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

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

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

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

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

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

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

Mike Osborn – In the Dog House | Album Review

Mike Osborn – In the Dog House

Je Gagne Records

www.michaelosbornmusic.com

11 tracks / 45:00

Few albums that I review can be classified as pure blues, as they often have elements of rock or country in them, and in Mike Osborn’s case, his In The Dog House disc has a little bit of everything in it. After moving from Illinois to Woodland, California (near Sacramento) in his early teens, Mike took up the guitar and by the time he was 16 he was playing lead guitar in a country rock band; since then he has played a bit of everything: classic rock, blues, and metal. After taking a break from gigging to take care of his children, about ten years ago he got back into the business in a serious way. The result was his killer 2009 debut album, Fire & Fury, and now his follow-up, In the Dog House.

Though Mike now lives in the San Francisco Bay area, this disc was recorded in Southern California with Grammy winner Alan Mirikitani doing the mixing, mastering, and taking on the producer role. Mirikitani also wrote seven of the tracks with his collaborator Dennis Walker; Osborn wrote three of the other songs, and John Fulbright wrote the remaining tune. Mike took care of the vocals and guitars, and he was joined by a bunch of stone-cold professionals in the studio. These folks include Johnny Griparic on bass (Slash and BB Chung King), Lee Spath on the skins (Robert Cray and Rod Stewart), and Teddy Andreadis on keyboards (everybody, including Carole King and Guns & Roses). Whew!

What these guys put together is incredible: the songs are all very well-written, musicianship is first-rate, and Osborn’s guitar work and vocals are amazing. Each song is different and cover more genres than would seem possible in a 45 minute album that actually sounds like it is a singular piece of art. They kick this diverse set off with “Love vs. Ego” a blues rocker with nice Hammond from Andreadis and hearty vocals from Mike. He says “love wins,” but I am not too sure about that…

Though In the Dog House seems to be mostly focused on love and its associated games, Osborn finds time to address two subjects other than romance on this album. One of these, “Company Graveyard,” is a hard driving boogie about a man who does not want to be tied down by the man. And “Veterans Song” is an ode to our armed forces, a pleasant rocker with neat vocal harmonies.

But the other tracks are all about love, all the way down to its most graphic level, as found in “Tied Up.” This straight up blues tune matches a raunchy guitar tone to the lyrical content, and Andreadis’ organ is amazing. Get it?

One of the standout tracks on this disc is “Jump in Your Fire,” a Texas boogie that has a lot of “La Grange” in it. Except that Osborn’s growly vocals are a bit more intelligible than you might expect from the intro. This track rocks to the highest degree, and it shows that Mike’s talent has a lot of depth.

And to provide the icing for this tasty cake, guest artist Randy Mitchell (formerly with Warren Zevon) lends his slide guitar to the John Fulbright song, “Satan & St. Paul.” Though beautifully built, this countrified ballad is stone cold bummer as Osborn dissects a romance gone horribly wrong with vocals that he grads from deep within his soul.

The set draws to a close with the title track, and again we get something just a little different and unexpected. The surf-rock inspired instrumental has a slamming beat, jangly guitars and a cool melody. It is cool that Mike got to show off his mad guitar skills one last time -- he is the real deal, for sure.

Mike Osborn’s In the Dog House is a winner from every perspective. He delivers a passionate and intelligent album that was carefully put together by one of the best in the business. I have heard his live performance is just as good, so I look forward to checking his show out for myself at my earliest convenience!

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!

George Taylor – Rain or Shine | Album Review

After experiencing wave after wave of mushy pop music that came out of the same mold, it is refreshing to hear a complete album of Americana that is full of great stories and distinct music. That is exactly what George Taylor delivers with his sophomore disc, Rain or Shine.

George is a Virginian blues musician that took a three year trip to Austin Texas and a tour through the Mississippi River Delta to discover his own blues sound, and it turns out that there is a lot of country music in him that is looking for a way to get out. The ten original tracks (all written by Taylor) are definitely blues based, but his rock, roots and country influences give these songs a vibe that is all his own.

Taylor recorded this album at Shine Music in Austin, and he took on the vocals, harmonica, and much of the guitar work. He was joined by Blake Lange on drums, Cody Ground behind the keyboards, and Jerry Reynolds on fiddle. Justin Douglas co-produced this project with George, and handled the engineering, mixing and mastering chores, as well as playing the bass, lap steel and dobro, and laying down the backing vocals. He is a busy guy!

Rain or Shine kicks off with “Goodnight” and the fiddle and harmonica combine with his tenor twang and spoken word interludes to give it a fun acoustic country feel. This song sets the listeners’ expectations high as the lyrics are very well crafted, and Taylor keeps up this standard for the next nine tracks with some excellent songs of love, loss and hitting the road.

”What am I Gonna Say” is George’s take on a murder ballad, this time with the theme of a weekend fling in Mexico gone horribly wrong -- hopefully this is not a true story. This is the most raw track on the album, with just Taylor, his acoustic guitar and gritty lyrics galore.

There are plenty of genres to be found here, including the jaunty electric piece, “Breakin’ in Boots,” which has a catchy chorus and almost enough fuzzy guitar to make any rocker happy. But the standout track from this set is “Only Blue” which has a unique Deltq/country/zydeco feel with just the right amount sweet pedal steel and raunchy harmonica lines.

All too soon, the album draws to a close with “Seat with Your Name,” a subtle ballad with sweet harmonica and tastefully restrained guitar picking. Cody Ground’s lovely piano work completes the picture as Taylor shares a bit of his personal faith: “I know a place we all need to go,
where there’s pearly gates and roads paved with gold,
and getting there’s easy and it frees you of shame.”

George Taylor’s Rain or Shine is a solid album of original American music with ten tracks that all deliver the goods. It is worth your time to give it a listen on his website at www.georgetaylormusic.com , and then do a quick search on Amazon, iTunes or CDbaby if you are interested in picking up a copy (vinyl available!) for yourself.

Thank you!

George Taylor – Rain or Shine

Self Release

www.georgetaylormusic.com

10 tracks / 41:16