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!

Laura Tate – I Must Be Dreaming |Album Review

Laura Tate – I Must Be Dreaming

Self Release

www.musicbylauratate.com

12 tracks / 40:37

Laura Tate has done quite a lot with her life, as she has forged successful careers as an actress and award-winning filmmaker, as well as being an advocate for educational and humanitarian causes. But if you are reading this you are probably most interested in her singing. She has an impressive voice and has not limited herself to just one genre; she is equally capable in singing rock, jazz, country, blues, or musical theatre.

This is fortunate for us, as her new album, I Must Be Dreaming, is a wonderful blend of cool American music, and a worthy tribute to the master songwriter, Mel Harker. Though Laura started out in Dallas and now lives near El Paso, she spent a good portion of her life in Los Angeles, where she became acquainted with Harker. She used some of his songs on her previous two albums, but this time she set aside all twelve of the tracks for his work, and it is awesome!

Tate took care of the vocals on this new release (of course), and she was joined in a Los Angeles studio by a fine crew that included Terry Wilson (guitars, bass, and drums), Billy Watts (guitar), Lee Thornberg (brass), Paulie Cerra (sax), David Fraser (harmonica), Lewis Stephens and Jeff Paris (keys), Karen Hammack (piano), Teresa James (backing vocals), and Wally Ingram (percussion). This is a huge crew, but they were needed to get all of the sounds that can be heard on I Must Be Dreaming.

The songs cover a lot of ground, but they are all have positive feel and the lyrics are clever with vivid imagery that draws the listener in. Though she chose material from Harker’s existing library of work, these songs all sound like they were put together with her voice in mind. It kicks off with a country Rocker, “Snake Tattoo,” and from then on no two songs sound the same. There is lounge jazz for the title track, a beautiful ballad (“If Ever Forever Should End”), a little “Cowboy Jazz,” and even the reggae/ska-inspired “Counting Up the Ways.” Besides these examples, there are bits and pieces of blues, rock, western swing and big band.

Throughout all of this, Laura maintains her cool and exerts an impressive vocal presence. She is able to sing brassy, sultry, and rocking sounds with no problem, and doing a country twang or bold blues is no problem at all. But this is not just the output of a talented voice - she is able to overlay heartfelt emotion, which moves her abilities to a higher plane. There are also no issues with hearing her, as the engineering and mixing are first rate; I have no complaints at all with this disc, which is a rare thing.

I Must Be Dreaming is a fun album, and Laura Tate has the chops to pull off all of these well-written songs. Check it out and hear it for yourself, and keep an eye on her website to see if she has any shows coming up!

Blues Blast Magazine Album Review: Jim Suhler – Panther Burn

Hello!

This CD review was originally published in the July 3, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Jim Suhler – Panther Burn | Album Review

Underworld Records

www.jimsuhler.com

www.underworldindierecords.com

14 tracks / 49:00

Dallas native Jim Suhler may not be a household name, but whether you know his name or not, you have heard his work before. His awesome guitar skills have enabled him to share the stage with the biggest names in the business, including Buddy Guy, Johnny Winter, Willie Nelson, AC/DC, Les Paul, Billy Gibbons and Joe Bonamassa. But his bread and butter for the past fifteen years has been his rhythm guitar gig with George Thorogood and the Destroyers -- he has appeared on all of their albums since 1999 and toured with the band all over the world.

Despite these demands for his time he also keeps very busy with his own band, Jim Suhler & Monkey Beat. Panther Burn is his fifth release, and it is a well-polished tour through all that the Texas blues scene has to offer. Its 14 tracks include 13 originals and one special cover tune. Suhler takes on many of the vocal and guitar chores and is joined by a bevy of talent, including Monkey Beat members Shawn Phares on organ, Carlton Powell on bass and Beau Chadwell on drums (former member Jimmy Morgan also contributes his drum work to a few tracks). Special guests include Kim Wilson of The Fabulous Thunderbirds and Asleep at the Wheel’s Ray Benson, Carolyn Wonderland and Jason Elmore.

The title track kicks off the record, and “Panther Burn” is a slow swamp rocker with an intense mood. There is a lot going here, with Tim Alexander filling in on organ and Suhler stacking up layers of guitars, to which he adds healthy servings of conventional electric and delta slide guitar breaks. This song has a very modern sound while still capturing the raw feel of the Gulf States music. The mood changes drastically for the next song, “I Declare,” which is a hard-hitting roadhouse boogie with righteous honkytonk piano alongside Wilson’s fine harp work.

There is a lot more accordion on Panther Burn than you will find on most blues albums, and in this case it is used effectively to change up genres on a few of the tracks. Alexander’s squeeze box lends a Tex-Mex feel to “Across the Brazos”, a country sound to the super-fun “Texassippi,” and Cajun flavor to “Jump up Sister.” The accordion is not just for polka and norteño music, my friends!

There also is a touch of gospel influence to be found on Panther Burn. “Amen Corner” is less than a minute of Suhler on electric guitar and Alexander on the super-fat church organ. This song serves as an introduction to “All God’s Children Get the Blues Sometime” with guest vocals from Wonderland and Benson. This is old-time gospel blues, and the sweet vocals (and Jim’s steel guitar) will put a smile on your face.

Part way through the album Jim Suhler pulls back the curtain and gives his fans a glimpse of his personal struggle with the loss of his daughter twelve years ago in a traffic accident. Even without knowing this back story “I See You” is a touching love story that is sung with conviction; it is a beautifully written and performed tribute to Brittany.

The sole cover is “Remember Mama,” which was written by the legendary Elmer Bernstein for the soundtrack of the film, To Kill a Mockingbird. This instrumental is barely two minutes long, and it is set against a sparse background of piano and organ. Suhler uses many guitar textures and tones to set up a melodic slide guitar interlude. It is a shame this song was not a little longer, as it is a really nice piece of work!

The album finishes up with “Worldwide Hoodoo” which is a red-hot blues rocker with funk-based rhythm guitar and bass. This fast-paced tune gives the listener one last chance to hear Suhler’s guitar prowess, and it is a final reminder that he has serious songwriting and production skills – this is about as tight as things can get.

Everything in the Lone Star State is bigger, and so is its music. Texas blues has influences that range from country, western swing, gospel to Tex-Mex, and Panther Burn incorporates all of these flavors and more. Jim Suhler is a consummate professional and ties all of these influences together into a cohesive unit, with the end result being his best effort to date. If you love guitar blues you owe it to yourself to give it a listen!

Mahalo!