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!

Brothers Brown – Dusty Road | Album Review (Release Date: March 28)

Brothers Brown – Dusty Road

335 Records

www.335records.com

12 tracks / 46:49

When people talk about musical supergroups, it often conjures images of shredding guitar heroes and metal band members who are trying to figure out what to do with their lives now that the 1980s are over. This is not what we got with the Brothers Brown, a group of four supremely talented musicians who got together and recorded Dusty Road, an album of very tight and original American music.

It is better to get to the confusing part right away – the band is led by two guys names Paul Brown. The first Paul Brown is a Grammy winning Los Angeles-based producer, guitarist, singer, and songwriter. And Brother Paul Brown is a Grammy nominated Nashville-based producer, keyboardist, and songwriter. The backline is also from Nashville, and they are David Santos on bass (Billy Joel, Elton John, etc.) and Pete Young behind the drum kit (Loretta Lynn, Burrito Brother, and more). All four members get production and writing credit for the dozen tracks on their debut album, Dusty Road, which is scheduled for release on March 28, 2016.

Brothers Brown’s Facebook page says this is a blues band, but when they kick off their set with “Cup of Tea,” you will hear that it is not possible to shoehorn their sound into a single genre. With trick rhythms on the drums, classic organs sounds, jazzy piano, countrified lead vocals, and R&B backing vocals, there is a lot going on here. But there are a few things that are easy to define: these guys can write a slick song, and they are really good musicians. Things do not let up from here, as every other song on this disc as just as good.

There seems to be an equal partnership in this group. The Browns get frontman duty (of course) but we also get to hear how well Santos sings on the country-rocker, “The River,” and Young gets his turn behind the mic on the bluesy ballad, “Drink You off My Mind.” When trying to find a group to compare these guys to, I am at a little bit of a loss, but am going to go with Steely Dan. Why? Not because they sound like them, but because there is a bit of jazz in their sound, their lyrics are clever and cover a wide range of subjects, and they seem to have tried really hard to achieve perfection.

After hearing how tight the band is and how well this album is put together, it is hard to believe that each member recorded their own parts in their own studios, and shared their files for the final product. These guys sound like they have been playing together for years, which is a testimony to their talent and professionalism.

So, the Brothers Brown’s Dusty Road is a very good album, but where does the band go from here? As with many other supergroups, these guys already have active careers, and I have not heard of plans for shows or a tour. So, check out the album when it comes out on March 28, and like their Facebook page so you can keep up with what is going on with the band. Let’s hope they keep this gig going for a bit longer!

Blues Blast Magazine Album Review: Steve Dawson – Rattlesnake Cage

Good day!

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

Steve Dawson – Rattlesnake Cage | Album Review

Black Hen Music

www.stevedawson.ca

www.blackhenmusic.com

11 tracks / 41:31

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

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

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

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

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

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

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

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

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

Mahalo!

Fo’ Reel – Heavy Water | Album Review

Fo’ Reel – Heavy Water

Self Release

www.foreelband.com

11 tracks / 53:06

Fo’ Reel bills themselves as a “New Orleans All Star Blues Funk” band, and though it sounds like hyperbole, there might just be something to their boast. Just looking over the list of personnel for their new album, Heavy Water, proves that they have a lot of powerful musicians in the line-up.

For starters, C.P. Love, the legendary Crescent City soul singer is their frontman, and a couple of Grammy winners are on the bill too: Jonny Neel behind the keyboards (Allman Brother, Gov’t Mule, and Dicky Betts) and Jon Smith on tenor sax. David Hyde takes on the bass chores, and the drums were played by Daryl Burgess or Allyn Robinson, depending on which city the recording session was in that day (New Orleans or Nashville). This ensemble is rounded out by Ward Smith on baritone saxophone, Barney Floyd on trumpet, and songwriter Rick Lawson, who provided the lead vocals on four of the tracks.

But do not forget guitarist and executive producer Mark Domizio, who is their leader and the brainchild that turned this group of journeyman musicians into a cohesive whole. David played with Dr. John’s band for 40 years, and has been a first-call guitarist on the New Orleans scene for just as long. Now that this disc is cut, he will be taking some of these guys on the road to spread their brand of blues to the hungry masses.

For a “New Orleans All Star Blues Funk” band, their selection of music is not what you would think it would be – what they play is not exactly the New Orleans Blues. Though there is an undercurrent of the NOLA vibe, their music has a smooth and soulful modern blues sound that is not loaded up with accordion, washboards, or raw production values. It is a fresh blues-based sound that incorporates elements of jazz, soul, funk, rhythm and blues, Latin beats, and even a little Texas swing. This album is as slick as hell with high-quality and seamless production, and the band cranks out eight original songs and three clever covers in just under an hour.

Heavy Water kicks off with “Breaking up Somebody’s Home,” the first of the three cover tunes. This Albert King standard differs from other versions that came before as it is more soul-based, with some incredible Hammond work from Neel, and killer horn arrangements from Smith. Love’s vocals are strong and suitably harsh and emotional for the theme of this song.

Love also takes the lead vocals on the other two covers: “Shake N Bake” and ”Just as I Am,” both of which were recorded by the late Luther Allison. The former is a slow-rolling funk masterpiece, and the latter borders on gospel. The common ground between the two is the rock-solid backline, Domizio’s stellar lead breaks, and the incredible keys of Neel.

Rick Lawson’s smooth voice brings more of a 1970s funk style to “Shake N Bake” which is an explosion of raw horns, retro synthesizer sound, and hammering snare and hi-hat. But otherwise, his vocals are used for slow-rolling blues tunes, including “Leave Your Love Alone,” “Blues,” and “Outside Love.” These latter two also feature some sublime slide work from Domizio.

As cool as all of this is, there are a few instrumentals that will really knock your socks off too. “Gate” is a jazzed-up Texas swing tribute to Clarence “Gatemouth” Brown, with some trick fingering on the guitar and razor sharp horns, including a fabulous tenor sax solo from Smith. They chose to end the set with “Tater,” a jazzy horn fest with a funky beat.

Fo’ Reel’s Heavy Water is a very good album with first-rate writing, arranging, performance and production. If you like contemporary blues or soul, this disc is a must-buy, but also consider their live show if you are looking for a fun evening of righteous music. For details of how to purchase the CD or to see their gig schedule check out their website at www.foreelband.com

Thanks for checking in!