Blues Blast Magazine Album Review: Steve Howell & The Mighty Men – Yes, I Believe I Will

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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

Steve Howell & The Mighty Men – Yes, I Believe I Will | Album Review

Self Release through Out of the Past Music

www.stevehowell.ws

10 tracks / 43:00

When Texas comes up in a conversation most folks immediately think of Dallas or Houston, and musicians always extoll the virtues of Austin. Well, Steve Howell of Steve Howell & The Mighty Men hails from Marshall, Texas, which is a lot closer to Shreveport, Louisiana than any of these places. That is fortunate for us because his brand of American roots and blues music is flavored by the Sportsmen’s Paradise and the Lone Star State; it is the best of both worlds.

Steve is an acoustic guitar genius and vocalist that was born in Marshall and raised in East Texas and Louisiana, which launched a career that was originally inspired by Mississippi John Hurt's magical finger picking. He kept up his music through a stint in the Navy overseas and after his service ended he played with artists and bands around Shreveport and his East Texas hometown.

Yes, I Believe I Will is Steve Howell & the Mighty Men’s fourth self-released disc, and it is very special. Steve is joined by friends that he has been performing with for more than 20 years, including Chris Michaels on electric guitar, acoustic guitar and bass, Dave Hoffpauir on drums and Jason Weinheimer on the keys. This album is comprised of ten traditional and cover songs, and has a very natural acoustic sound to it. It was recorded by the band and mixed and mastered by Weinheimer, but do not think of this as a garage band project, as the production values are high and it is a very well-made disc.

This set is not danceable nor is it something you will hear on the sound system in your local juke joint or roadhouse, but it is perfect for sitting back with your favorite beverage and just savoring the listening experience. In a day and age of over-processed commercial tunes, one hit wonders and cookie cutter instant hits, Steve Howell & The Mighty Men are doing work they can be proud of. The first track on the CD is “I Had a Notion,” a re-do of the song that Nick Katzman and Ruby Green contributed to The Best of Kicking Mule Record Inc. Volume One (this is required country blues listening). “Yes I Believe I Will” can be in the lyrics of this tune, and this laid-back mostly acoustic blues number will gives a good idea of what the rest of the album has in store for the listener.

This is confirmed by the traditional “Keep Your Lamps Trimmed and Burning,” a 19th-century African-American spiritual that was originally recorded in 1928 by Blind Willie Johnson. Howell is a fine acoustic player and his interplay with Michaels’ distorted electric guitar is certainly mesmerizing, but even more striking is the honesty and genuine tone his hoarse singing voice gives to this powerful song. The harsh electric guitar solo might not seem like it would fit into this serious folk blues track, but it works out perfectly as it bridges 150 years of musical and social history.

On the other end of the spectrum is “Wasted Mind,” a 2005 song from songwriter and banjo man Danny Barnes. This is a slow-paced modern country ballad with a heavy snare drum and even heavier lyrics. This song is a stone-cold bummer as it describes a lot of the aimless young folks that have no ambition and limited future possibilities. The music takes a backseat to the words on this one: “They got books at school / But that ain't cool / They got paintings at the art museum / You ain't never gonna see 'em / Because they don't serve light beer.”

Those that are craving more blues will be glad that Howell included Nick Katzman’s “Devil’s Side” on this disc, though it is not entirely conventional. It is very slow paced and Weinheimer’s key have almost a circus organ effect to them. The glum lyrics build drama for inspired guitar work from Chris Michaels, making this one of the standout tracks of the CD.

The band ends their set with a classy folk remake of a 1800s Irish tune, “Rake and Rambling Blade.” There is a marvelous texture of acoustic guitar and muted electric guitar with a tasteful banjo accent that fits in well with the somber lyrics that describe the life a no-good highway robber. This is the last piece of the mosaic that makes up this album, making it a complete journey through everything that is good about the American music of the south.

Yes, I Believe I Will is a Steve Howell & The Mighty Men’s best work to date and if you are a fan of roots music, folk music or country blues it is a must-have for your collection. Even electric blues aficionados will surely find many things to like amongst the ten tracks this talented quartet put together. Listen for yourself and see!

Mahalo!

Blues Blast Magazine Album Review: The Claudettes – Infernal Piano Plot…Hatched!

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This CD review was originally published in the March 13, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The Claudettes – Infernal Piano Plot…Hatched! | Album Review

Yellow Dog Records

www.theclaudettes.com

www.yellowdogrecords.com

13 tracks / 39:32

House bands are almost an extinct species, but there are still a few club owners that are willing to shell out dough every week to make sure that their customers have consistently good entertainment while in their establishments. Johnny Iguana and Michael Caskey are fortunate enough to have a regular house gig, but there is no house anymore. In 2010 Miss Claudette hired them to play at her bar and grill in Illinois, but after it closed down in 2011 she kept them on the payroll to keep the entertainment going.

She keeps this piano and drums duo, known as The Claudettes, busy by booking them in clubs and off-beat locations such as video rental outlets and office supply stores. Often she will set-up her own bar within the club and sling bizarre drink specials that the guys advertise from the stage, sometimes with lighted signs around their necks. It would be hard to make this stuff up!

Despite this bizarre back story, do not write this project off as shtick as both men are accomplished musicians. Iguana (born as Brian Berkowitz) and Caskey have played and recorded alongside artists that include Buddy Guy, Otis Rush, Chuck Mangione, and Koko Taylor. After getting to know each other through countless performances, The Claudettes have finally hunkered down in the studio and cranked out their debut album, Infernal Piano Plot…Hatched!

And what you get with this disc is 13 high-octane tracks, 12 of which are originals that were penned by Iguana (Berkowitz), with nothing but piano and drums instrumentals. That is all: no vocals, horns, guitar, or guest artists – not even a Howlin’ Wolf cover. They describe their music as a blend of jazz, blues, punk, soul and space echo, or what they define as “Cosmic Cartoon Music.”

Johnny Iguana hits his piano hard from the first track, “Stumblin’ Home Satisfied,” a song with a 12-bar blues base and a heavy back-beat from Caskey’s drum kit. The recording is clean, with bright piano and organic-sounding drums. It sometimes sounds like Iguana has three hands, notably in the faster sections of tunes like “Motörhome” and “Land of Precisely Three Dances.” Those years spent touring with the Junior Wells Band and Otis Rush certainly honed his skills, even on non-blues songs such as these.

The sole cover on Infernal Piano Plot…Hatched! Is a respectful take on Little Brother Montgomery’s “Tremblin Blues.” It is a little faster than other versions I have heard before, but Johnny has the phrasing and feel down pat. The drum line is unconventional with its intermittent spouts of energy, but adds a sense of drama that is not found in the original.

Things draw to a close with “Do You See it Too?” which is a combination of jazz with some classical elements. The innovative drumming with a heavy kick drum and off-beat snare that accompanies this song is yet another reminder that these two are in perfect sync throughout the album, and it unquestionable that they are kindred souls that are on the same mission. This is the standout track, and was a wise choice for their finale.

The Claudettes took a chance by going their own way with Infernal Piano Plot..Hatched!, and their ambition and hard work have been rewarded with a fabulous album. This is not easy-listening by any stretch of the imagination, but it is fabulous music that is unquestionably danceable and refreshingly unique. This is 40 minutes of high-energy fun, and if Johnny Iguana and Michael Caskey can maintain their momentum, Miss Claudette will have to start booking them into larger clubs, and maybe even shopping malls!

Mahalo!

Blues Blast Magazine Album Review: Chris James & Patrick Rynn – Barrelhouse Stomp

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This CD review was originally published in the April 10, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Chris James and Patrick Rynn – Barrelhouse Stomp | Album Review

Earwig Music

www.chrisjamesandpatrickrynn.com

www.earwigmusic.com

12 tracks / 53:25

It is refreshing to see talented artists that are willing to leave their egos at home and give the limelight to others, which is the case with Chris James and Patrick Rynn’s latest album, Barrelhouse Stomp. This disc is a celebration of that uniquely American hard-driving genre, and it features three fabulous blues pianists that each get a shot at taking the lead role.

This San Diego-based pair have worked together for 24 years, but they have not adapted to their laid-back Southern California surroundings and they continue to crank out righteous Chicago electric blues. James is the vocalist and lead guitarist and Rynn handles the bass chores, just as they have with the Blue Four and all the other bands and artists they have worked with.

Barrelhouse Stomp is the Blues Blast Magazine Award-winning duo’s third effort for Chicago’s Earwig Music label and you will not find a bad track amongst the 12 tunes on this CD. Actually, that is an understatement -- these are all very good songs! They took their time making this album, as it was cut between 2009 and 2011 in Chicago and Arizona, and it includes the work of 11 extra-fine musicians, some of who are unfortunately no longer with us. The featured pianists are Henry Gray, David Maxwell, and the late Aaron Moore; you may remember that Gray and Maxwell also appeared on their previous album, Gonna Boogie Anyway. They also brought in a trio of heavy-hitting tenor sax players: Norbert W. Johnson, Eddie Shaw and Johnny Viau.

This disc kicks off with “Goodbye, Later for You” which was penned by James and Rynn along with their long-time buddy and harmonica player, Rob Stone. This trio also wrote six other originals for this release. This song is straightforward post-war Chicago blues that highlights Stone’s harmonica and David Maxwell’s piano. Stone and James each take a solo break in between the throaty verses, and though he does not get a solo Maxwell’s keys do not get lost in the mix as he fill the spaces in between.

“Just Another Kick in the Teeth” is full of tasty bass work, including a rare solo from Rynn. All three horn players participate in this one giving it an extra-funky vibe and a 1970s feel. James vocals are strong (as they are on the rest of the album), and his phrasing and feel are spot on. He has soul to spare and his years of experience are readily apparent, making him the perfect front man!

The first of two instrumentals, “Messin’ with the White Lightnin’,” is one of the standout tracks on Barrelhouse Stomp. This frenzied piece needed an extra guitarist so they brought in the venerable Jody Williams to help out. The guitar work of both men here is spectacular, as is Patrick Rynn’s hand-crampingly unrelenting bass line. David Maxwell keeps his right hand just as busy on the piano all the way through, not to mention his killer solo break that end up being the best 90 seconds of the album. By the way, Chicagoan Willie Hayes fills in behind the skins and does a first-rate job of keeping the beat going.

“Take it Easy” is a sweet tribute to the late Pinetop Perkins, and David Maxwell is tasked with honoring this legendary pianist. They clear the stage for this driving boogie and put the piano up front, giving Maxwell the chance to prove himself and, (as always) he does not disappoint. The backline is tight and James plays an aggressive rhythm guitar that he uses to set the playful mood.

The cover tunes were well-chosen, and include gems such as Big Bill Broonzy’s 1941 tune, “I Feel So Good,” boogie-woogie legend Little Brother Montgomery’s “Vicksburg Blues” and Elmore James’ classic favorite, “Bobby’s Rock.” Of these, ”I Feel So Good” is the big winner as all the pieces come together splendidly, including Aaron Moore on piano, plenty of gloriously raunchy sax from Johnny Viau, and the late blues virtuoso Willie “Big Eyes” Smith behind the drum kit.

Appropriately, the album comes to a close with one last original tune, “Last Call Woogie” that features Henry Gray on piano plus Viau and Johnson on sax. Eddie Kobek’s tom-heavy drums and creative use of silence lend this song an Afro-Cuban/Latin feel and James’ vocals are out front and edgy as hell. The lyrics are perfectly suited for the last song of the set, plus it is cool to end the album on an upbeat note.

If you are not a fan of Chris James and Patrick Rynn, you will be after just one listen of Barrelhouse Stomp. Their refreshing take on an old genre, their tight groove and high production standards (not to mention their cadre of talented friends) will guarantee that their music will stick in your mind make you want to give it another turn. Check it out if you get a chance!

Blue Lunch – Above the Fold |Album Review

Blue Lunch – Above the Fold |Album Review

Rip Cat Records

www.bluelunch.com

www.ripcatrecords.com

15 tracks / 60:42

I am always happy to see a new album from Rip Cat Records, the purveyors of fine blues, swing, and rockabilly who are based in my hometown of Long Beach, California. They only represent solid artists and put out great music, and it is no surprise that their latest release from Blue Lunch, Above the Fold, is no exception!

Now, these guys are not from the Southland but come straight out of Cleveland, a truly rocking city. This band has been kicking around in various forms since I was in college (30 years ago) and Above the Fold is their eighth release. The gang includes Peter London on vocals and harmonica (the only original member), Bob Frank on vocals and guitars, Mike Sands on piano, Ray Deforest on bass, and Scott Flowers on drums. Completing the octet is also a killer horn section of Chris Burge on sax, Mike Rubin on trumpet, and Bob Michael on trombone.

This album is chock full of originals written by Burge, Frank, and London, along with a couple of other tunes that may be familiar to you, making for an hour-long set. Though they are often referred to as a jump blues band, these fifteen songs draw from many genres so the show never gets into a rut. And it really is a show, as most of the material was laid down live in the studio (with the usual vocal overdubs), which results in a vibrant sound throughout.

Above the Fold kicks off with “Ain’t Trying to Kill Nobody,” and it is apparent that this will be a fun album! The clever lyrics, slick guitars, and smoking sax ensure that the listener is drawn in right away. From there they continue their tour through different styles, with a bit of jazz in “One Fine Day,” a righteous boogie with “The Long Game,” and some Rip Cat swing on “Everybody’s on the Phone.” They also touch on blues, Afro-Cuban rhythms, pop, rhythm and blues, big band, and jump blues. There is a little something for everybody here, and they even threw in a few instrumentals!

The standout track of this effort is “Where Do You Think It’s Going,” which checks all of the boxes. It has a glorious gospel/soul/rock feel with strong lyrics, perfectly arranged horns, a smoking harp solo, a roaring bass line, and killer guest vocals from Evelyn Wright and Hammond organ from Tim Longfellow. This song comes in under three minutes, and I wish it were a bit longer!

There are also a couple of lost hits of the 1950s included on the album: Andre Williams’ “Tossin’ & Turnin’ & Burnin’ All Up Inside” and Dave Bartholomew’s “Love No More,” both of which play to the strengths of the horn section. And finally, the set draws to a close with a traditional a capella gospel tune, "Good News," which was the perfect way to finish this project.

One last thing: the liner notes are really neat. The band had their friend (and distant relative), Harlan Ellison, write a few words and it is great to see two artists that I enjoy get together when I least expected it. By the way, his quote of a quote is spot on in so many ways: “To define is to kill. Too suggest is to create.”

Above the Fold is a really cool album full of songs that are all a little different, and the guys from Blue Lunch really delivered the goods. Don’t try to put them in a box, just buy the CD and enjoy their music, or better yet check out one of the 120 shows they perform every year. Trust me!

Blues Blast Magazine: Pete Cornelius – Groundswell | Album Review

This CD review was originally published in the March 20, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Pete Cornelius – Groundswell | Album Review

Self Release

www.petecornelius.com

11 tracks / 54:37

Pete Cornelius has squeezed a lot of musical experience into the past 20 years, since he took up the guitar at the age of nine. This Tasmanian bluesman released his first album when he was 13, and by the time he was 15 he had his own band, Peter Cornelius and the DeVilles. Working with this band, his other band (King Cake), and countless side projects, he must spend all of his time in the studio and on stage!

For his latest album, Groundswell, Pete put together a new team of musicians and recorded most of the tracks live at his friend’s vacation house in Elephant Pass. Besides providing the guitars and vocals, Cornelius produced, recorded and mixed this CD. He is joined by the backline of Simon Holmes on bass and Henry Nichols behind the drum kit; other contributors include Randal Muir on the Hammond organ, Kelly Otaway on piano, and Susannah Coleman-Brown on backing vocals. Paul Williamson, Jeremy Williamson, Donald Bate and Lila Meleisa added their horns to the basic mix, giving this project a huge sound where it needed it the most.

Groundswell starts strongly with an original track, “Drinking the Blues” which is not the expected paean to overindulgence of adult beverages. Though Cornelius is a guitar slinger of the highest order, he does not show off, and instead submits tasteful backing guitar and well-placed clean leads. The horns are well-arranged, and with the piano added in this spooky-sounding R&B number achieves a hearty blues revue mood. This and the other five originals were all written by Pete – he is a busy guy.

The five covers that Pete selected for this disc are diverse, and when there are combined with his original songs no two tracks sound the same. This project is a refreshing blend of blues, country, funk and rock that confirms his separation from the current crop of uber-talented Stevie Ray Vaughn disciples. For example, Reverend Al Green’s “Love and Happiness” showcases Cornelius’ well-practiced vocals. His voice is strong and he sings with no trace of an accent (in case you were wondering). He doubles the organ with a few of his guitar licks, and cuts loose with a solo the likes of which you will only hear at the finest of blues jams. He follows this up with Otis Rush’s “Right Place, Wrong Time” which proves that his vocals are up to the task of taking on the most soulful of tasks.

It was surprising to hear Tom Waits’ “Cold Water” on this playlist, but it fits in well with the amalgam of genres that are to be found here. There is a hard-rocking gospel feel that plays well off of Waits’ brilliant imagery of a man of the road who has a hard life but still gets by. This is the roughest-sounding track on the album, but this jaggedness lends a gloriously live feel and it turns out perfectly.

The most impressive re-do on Groundswell is Cornelius’ searing, eight-minute take on Ray LaMontagne’s “Repo Man.” A hefty dose of funk is injected into this song by Holmes’ bass and Muir’s Hammond while Cornelius finally lets his guitar take center stage as he plays a killer solo that is equal parts Hendrix, Clapton and Stevie Ray, with a few of his own twists mixed in.

As good as these covers are, Pete displays great maturity in his own songwriting. These songs run the gamut from a sweet ballad for his young daughter (“Goodnight my Love”) to the Creole horns of “Talkin’ Bout New Orleans.” The standout track amongst his original work is “Strong Suit,” a roots tune with genuine lyrics, beautifully fingerpicked guitar, and heartfelt vocal harmonies. He chose to end the album with this song, which was a wise decision.

Pete Cornelius has done more in the past two decades than most musicians accomplish in their lifetime, and Groundswell reflects his dedication to the blues and its related music forms. It is a top-notch album with both quality original material and a unique sound, and it is worth your time to give it a listen. We can only hope that he adds a tour of the states to his busy schedule, because it would be great to see these song performed in person!

Mahalo!

Blues Blast Magazine Album Review: The Fried Okra Band – There’s a World Outside My Door

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This CD review was originally published in the March 6, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The Fried Okra Band – There’s a World Outside My Door

Self Release

www.friedokraband.dk

12 tracks / 43:11

Though the genre got its start in the states, there is certainly no shortage of solid blues albums coming from all corners of the globe, and you will find that The Fried Okra Band out of Europe definitely cuts the mustard with their new release, There’s a World Outside My Door!

The Fried Okra Band is based out of Copenhagen, Denmark, and they have been honing their craft since 2003 by playing shows around Denmark and Finland, as well as taking up residency at the Mojo Blues Bar in Copenhagen. There’s a World Outside My Door is their third release, and their second of all original material. Morten Lunn wrote all 12 of the songs and provides vocals, guitar, and diddley bo for this album. Other members of the band include Thomas Foldberg on guitar and harmonica, Thomas Crawford on drums, percussion and mandolin and Henrik Silver on sousaphone and piano.

This self-produced CD was recorded and mixed by Crawford and Foldberg at locations around Denmark, and these two gentlemen were able to capture the essence of the band, which can be smooth and ethereal or raw and gritty. The band calls it “Northern Flat Land Blues” and they get this unique sound by eschewing the bass and focusing on vocals, two guitars and drums, with a few instruments used as needed to fine-tune their tone.

The listener gets a taste of this right from the first track, “Chicago Stage.” This song has the blues sound and lyrics down, but uses a spooky syncopated guitar ostinato to set the mood and the overall product is more laid-back vibe than most band would have the guts to kick off their album with. It works in this case, drawing the listener into the lyrics which are quite visual as they paint a picture of the pride that only a lead singer can have. It should be pointed out that though these guys are Danish they have worked extensively with the words of their songs so that there are just a few awkward half-English phrases that are well-masked by the poetic structure of the lyrics. Also, Morten sings with a light hill country twang, so there is no hint that these guys are from overseas.

The diddley bo is featured on “One String Love” a song that captures the southern roots sound perfectly. Thee unique sound of this single-string instrument is overlaid with mandolin, guitars and only the barest amount of percussion. Foldberg contributes a sweet harmonica break midway through, and his smooth technique works well with Lunn’s subdued vocals.

It is hard to think of another blues band that uses a sousaphone in its backline, and it is surprising to hear the instrument featured on the introduction to “I Tried.” This is not polka-style tuba, as Mr. Silver uses it to take on the role of the bass guitar, and his round tone adds a texture that is not found in harder-rocking blues like this. He meshes well with Crawford’s drums resulting in a rock-solid rhythm section. The lyrics of this track are simple but effective: “I don’t know just who to blame / But I believe in sharing the blame…”

The standout track from this CD is “Fake Rag Okra,” which is a straight-forward roots track with catchy lyrics. Lunn’s voice is in fine form here, and his words cleverly describe the feelings of a man who has been distracted from doing the right things. This song epitomizes The Fried Okra Band’s sound, and the mixture of clean and distorted guitars, mandolin, tuba, and unconventional percussive elements all contribute to their unique “Northern Flatland Blues.”

The band’s songs are not limited to usual blues subjects of failed relationships and problems with the bottle. They examine growing older in one’s hometown (“Shopkeeper”), and dive into the deep end of the fantasy pool with “Copenhagen Coppola.” This descriptive dream sequence is set against a sparse backdrop of a few spooky guitars and synths that is punctuated by a single harmonica riff at the very end. This is a powerful tune, and is a fitting way to bring the album to a close.

With There’s a World Outside My Door, The Fried Okra Band has set the bar high by writing a dozen solid original songs and recording them with a sound that is all their own. This CD is a keeper, and if they maintain this momentum their fourth release should be astounding!

Mahalo!

Blues Blast Magazine Album Review: Hank Mowery – Account to Me

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This CD review was originally published in the February 13, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Hank Mowery – Account To Me

Old Pal Records

www.hankmowery.com

10 tracks / 38:07

Many musicians record tribute albums that include material made popular by artists that have inspired them or touched their lives. Most always, the muse is a nationally or internationally known artist that has been active in popular culture for decades. Then there is Hank Mowery, who just released Account to Me, an ode to Gary Primich -- a blues singer and harmonica master who left us too soon, and who has not gotten the recognition he deserves.

Gary Primich was a Chicago native who moved to Austin where he made a name for himself with his blues harp and his voice. Over the course of his career he played with a lot of great groups, cut nine of his own records, and produced a very good instructional CD on how to play the harmonica. Primich passed away in 2007, just short of his 50th birthday, but not before he had the chance to touch Hank Mowery’s life. Hank ran the Rhythm Kitchen Café in Peoria, Illinois where his band, The Hawktones, played, and Gary was one of the acts that was invited to join the action on stage.

Hank Mowery is no slouch on the harmonica either, and it was natural that he would be the one to record this album, especially as he had the blessing and participation of Gary’s father, JV Primich, the executive producer of Account to Me. Hank took care of the harp and vocals on this project, and was joined by Patrick Recob on bass (Primich’s bassist, by the way), Troy Amaro on guitar, Chris Corey on the keys and John Large behind the drum kit. This disc includes five songs that were written by Primich, and two of them had not been previously released.

“Spend a Little Time” is the first track up, and it is an original that was penned by Mowery and Recob. This is fast-paced rocker with a hammering piano line and a heavily distorted organ that takes the place of the guitar. Mowery proves himself right away with his throaty voice and wailing harp. One thing to note is that he chose to record this project at Grand Rapids’ Goon Lagoon Studios in an analog format (instead of digitally), giving this album a rich vintage tone.

The next song up is the title track, a previously-unreleased Primich number that JV brought to the studio. “Account to Me” is a lovely ballad that features Amaro’s tremolo-soaked guitar with a sparse backline and Recob on the acoustic guitar. As this is a plaintive story of love and honesty it is all about the words and vocals, and the harmonica’s interplay with the guitar is just the icing on the cake. This is followed up by “Put the Hammer Down,” a snappy rockabilly song that Gary wrote about life on the road and his desire to get back home again.

Junior Valentine contributed his guitar talent on three of the songs that were written by Primich including “My Home,” which is one of the standout tracks on Account to Me. This shuffle is what the blues are all about, and this will be heard in both the melody and the lyrics. The extra guitar gives this a real barroom feel, and Mowery is at his best behind the microphone. You just cannot beat lines like: “Our bedroom looks like it’s been through a war since you made tracks and walked out that door.”

The two covers on Account to Me are both the kind of songs that Gary loved and made his mark with. Memphis Slim and Matt Murphy’s “Banana Oil” is a groovy Latin-influenced instrumental with a generous dose of Hammond B3 from Corey and plenty of edgy harp from Mowery, and at only 2 ½ minutes it leaves the listener wanting more! The other re-do is Reverend Robert Wilkins’ “That’s no Way to Get Along,” and guest artist Jimmie Stagger’s voice and National guitar join Mowery’s harmonica for this hill-country blues track. This bare-bones acoustic piece provides a marked change of pace and vibe, and is a wonderful way to bring the album to a close.

It should be pointed out that if you buy this CD it includes a terrific booklet of liner notes that were put together by Mowery’s friend Tad Robinson, who is also a fabulous vocalist and harmonica player. It contains a nice write-up of Primich’s harp style, and detailed notes about each song on the disc. This added bonus is something that used to be commonplace, but sadly has become quite rare in recent years.

Account to Me is a nice piece of work, and goes beyond the scope of most tribute albums as half of its content is made up of originals and covers that also celebrate the subject artist. Any musician would be overjoyed to have such a well thought out and produced album as their legacy. If you love the blues, rock and roll or rockabilly, Hank Mowery and his friends deliver the goods, and you should give this CD a listen.

Mahalo!