Blues Blast Magazine Album Review: Delta Generators – Get on the Horse

Good day!

This CD review was originally published in the May 15, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Delta Generators – Get on the Horse | Album Review

Self Release

www.deltagenerators.com

13 tracks / 50:07

Boston is an incredible city with a rich history, a diverse population and the best restaurants on the east coast. But it is also has a thriving arts scene, and it has launched bands that are revered in most every genre, including Aerosmith, The Pixies, New Edition, The Cars, J. Geils Band, The Dropkick Murphys and James Taylor. The Delta Generators could well be their best representative of the modern blues scene.

The Delta Generators were founded in 2008 and they hang with a heavy crowd, having shared the stage with Robert Cray, Three Dog Night, James Cotton, Jimmie Vaughn, The Fabulous Thunderbirds, Johnny Winter, Walter Trout, Candye Kane, Michael Burks and Sonny Landreth. Heck, Brad Whitford from Aerosmith has sat in with them before. Through endless touring throughout New England and the tri-state area they have garnered their fair share of loyal fans, and it is these fans who financed their latest album through pledgemusic.com.

Get on the Horse is their third release, and their sound and has evolved a lot since their last album. This is in part due to the team they brought on board to fine tune their recordings from Barn #81 in Hopkinton, Massachusetts. Their fans’ pledges helped pay for mixing by Grammy winner David Z (Prince, Eric Clapton, Buddy Guy, Etta James, and Gov’t Mule), and mastering by Dave McNair (David Bowie, Bob Dylan, Los Lobos, and Derek Trucks). The band’s line-up is familiar, with Craig Rawding on vocals, harmonica, and acoustic guitar, Rick O’Neal on bass, Jeff “J.J.” Armstrong on drums and piano, and Charlie O’Neal on guitar and banjo.

The music for all thirteen tracks was written by the band, with Rawding penning the lyrics. They recorded this album mostly live with just a few overdubs so there is a vibrant mojo that is very hard to get with a traditional studio album. This is very apparent on track one, “Whole Lotta Whiskey” which hits hard right out of the gate with Charlie O’Neal’s driving electric slide guitar. Rawding is up front with his extra-strong vocals, and it only takes a listen or two to realize that their lyrics have improved as much as their production. This tale of two old friends who took different paths in life in life is well-told and is an omen of what the rest of the album holds in store. By the way, there is the added bonus of some tasty organ work from guest artist John Cooke on this song.

Setting the mood in a tune full of painful lyrics, “It’s Been Hard” kicks off with “Driving drunk and singing out of key / Down your street / Spinning out and crashing at your feet / You don’t see me.” This is a beautifully personal song of loss that showcases Rawding’s versatility and features lovely harmonies and backing vocals from Keri Anderson. This blues-tinged ballad is definitely one of the standout tracks of the album.

No genre is taboo for the Delta Generators, and heavy English blues rock is represented by “Spider Bite” -- sort of a Deep Purple or Led Zeppelin vibe. Accompanied by heavy ride cymbal and a thunderous snare, Rawding howls the vocals while Charlie O’Neal does his best Ritchie Blackmore imitation. This is quite a contrast with ”Night of the Johnstown Flood” which is a slow blues song that memorializes this 1889 Pennsylvania disaster while drawing parallels with the biblical story of Cain and Abel. Charlie O’Neal gets to tear loose on the guitar over a foundation of John Cooke’s sublime organ work in a gorgeous interlude. This is seven minutes of incredible music, and it should not be missed.

“Diablo Rock” is completely unexpected and shows that the Delta Generators have a sense of humor. This is a rocker with crunchy guitars and heavy toms that describes a night of God and the Devil drinking accompanied by a few Gary Glitter “Rock and Roll Part II” interludes. This leads straight into “Blood Sugar Baby,” a danceable funk song that features Prince-styled falsetto vocals. These guys are not reluctant to mix things up, and this album never gets dull.

The band closes out the CD with “The More I Find Out (The Less I Want to Know),” a sad tale of a man who opens his woman’s closet and is dismayed by all of the skeletons that fall out. This is a slow-burning blues song that has Latin and jazz elements courtesy of Armstrong’s innovative percussion and Rick O’Neal’s Spartan bass lines. O’Neal’s brother has a great touch with his electric guitar and uses phrasing and silence to create drama galore, making this the perfect song to end the disc.

Get on the Horse is the Delta Generators best album to date and it has well-written original songs that cross genres and are performed admirably. When you throw in first class production values from start to finish, buying this modern blues collection is a no-brainer. Of course an artist is only as good as their next album and because they set the bar high this time there will be great expectations for their next project. They are certainly up to the task, and hopefully the wait will not be long!

Mahalo!

Kern Pratt – Broken Chains | Album Review

Kern Pratt – Broken Chains

Gigtime Records

www.kernpratt.com

13 tracks / 44:42

Kern Pratt has got to be one of the hardest working singers and guitarists in the blues business right now. The Mississippi Delta native has a pretty heavy gig schedule within the Magnolia State, and he plays festivals like a madman, having hit most of the ones within driving distance, and he even plays at the Mississippi Picnic each year in Central Park. This is in addition to having a history of opening up for blues heroes such as Elvin Bishop, BB King, Dr. John, Bo Diddley, Johnny Winter, Delbert McClinton, Eddie Cotton, Bernard Jenkins, Dorothy Moore, Bobby Rush, and Bobby “Blue” Bland. Some of these folks are no longer with us, and what a great honor it must me to have shared the stage with them!

Broken Chains is Kern Pratt’s new album, and he wisely chose to fill the studio with first-rate talent to back him up. The core crew includes Denise Owen on some of the lead vocals, David Hyde on bass, Nelson Blanchard and drums and keys, and Sam Brady behind the Hammond B-3. There is also a killer horn section of Lacy Blackledge, Rob Henderson, Pete Verbots, and Chris Bellleau.

This 40 minute CD (or download, if you are an iTunes person) has twelve tracks with five Pratt-penned originals and some well chosen covers. The album is bookended by a pair of cool resonator guitar Delta-style instrumentals (“Delta Mourn’” and “Broken Chains”) courtesy of guest artist and roots music master, Wes Lee. These songs help to set the mood and remind the listener where Kern is coming from.

The originals are all good, but there are a couple of standouts that should be mentioned. “Greenville Mississippi Blues” checks all of the boxes with well-placed horns, special guest Eden Brent on the piano, and some excellent slide guitar work as Pratt howls out the vocals. And “Cotton Pickin’” is a upbeat electric blues instrumental with tight integration of horns into the guitar leads. The only thing wrong with this song is that it should have been twice as long – three minutes is just not enough.

The covers are a cool bunch too, and reflect Kern’s love for all of the blues sub-genres, spanning more than half a century. The oldest of the bunch is the Mel London 1940 blues standard, “It Hurts Me Too,” which was covered by Elmore James and Junior Wells. This take on it is just vocals and acoustic guitar, with some tasty harp work courtesy of Luc Borms. Moving forward to 1969, there is “Soulshake,” which was originally recorded by Peggy Scott and Jo Jo Benson. Denise and Kern share the lead vocals on this one, which shares the bouncy feel of the original, but with the benefit of way better musicians and recording practices. But, the standout of the covers is Albert Collins’ “Lights are On, But Nobody’s Home” from his Grammy-nominated Cold Snap album (Alligator Records). Pratt tears the strings off his guitar and sings the lyrics with true feeling.

Kern Pratt did a great job with Broken Chains, and he should be proud of the work he and his friends did in the studio to bring each of the songs alive with their slick blend of blues, soul, and rock. So, head over to his website and give It a listen, and while you are at it check out his gig schedule. If you are anywhere around Mississippi before the end of the year you have to get out and see his live show!

Mick Kolassa – Ghosts of the Riverside Hotel | Album Review

Mick Kolassa – Ghosts of the Riverside Hotel

Swing Suit Records

www.mimsmick.com 12 tracks / 50:29

Mick Kolassa has lived and breathed the blues for the past 50 years and he is not only an accomplished singer, songwriter and guitarist, but he is also on the Board of Directors of the Blues Foundation. Taking this a step further, the proceeds from his new CD, Ghosts of the Riverside Hotel, are going to the HART Fund and Generation Blues charities that are administered by the Blues Foundation. If you are not familiar with these organizations, please look them up as they help artists in need and kids that are getting into the blues.

This new disc is 50 minutes of solid entertainment, with eight Kolassa originals and four really cool covers. This project was recorded in Memphis and was produced by Jeff Jensen; it features a retinue of Mick’s friends, including Jensen, Brandon Santini, Victor Wainwright, Annika Chambers (yay!), Watermelon Slim, Reba Russell, and a whole bunch more. The album title honors the Riverside Hotel in Clarksdale Mississippi, which has hosted a passel of fine musicians over the years, including Ike Turner, Duke Ellington, Howlin’ Wolfe and Sam Cooke. Bessie Smith passed away there back when it was a hospital, and even John F. Kennedy stayed there. Those are some pretty amazing ghosts!

The cover tunes were chosen well, and prove that Mick loves the blues – all kinds of blues. There is a spooky blues-rock take on Hank Williams’ “Ramblin Man” that could re-define what the song means to you. The band took the depression-era “One Meatball” and turned it into a lounge act with Mick channeling his inner Cab Calloway and Reba doing the Andrews Sisters part while Wainwright plays the ivories. But the standout of the covers has to be “Mama Told Me Not to Come.” This is nothing like the Three Dog Night version, but instead it is straight-up blues with the amazing Santini howling on his harp and Chris Stephenson holding things together with his organ. By the way, Randy Newman originally wrote this song for Eric Burdon, which might help you win a trivia challenge some time.

The covers are awesome but the originals are special too, as Kolassa shares his love for all kinds of blues. One of my favorites is the closer, “Delta Town,” which has a crazy beat and some gnarly style changes. Mick growls out the lyrics as Watermelon Slim does his job with the harp and dobro and Walter Hughes plays his mean slide guitar. Before I forget to mention it, Bill Ruffino and Robinson Bridgeforth hold down the backline throughout, and one could not hope for a better rhythm section.

The most poignant track on his album is “Nothin’ Left to Lose (Robin’s Blues), a tribute to the late comedian and actor, Robin Williams. This slow blues song features wonderful sax work from Kirk Smothers, which almost approaches the realm of jazz. But the lyrics are what really make the song, as they recount the feelings of a man who is putting on a happy face for the world while he is falling apart inside.

Mick Kolassa’s Ghosts of the Riverside Hotel is a fantastic album that is chock full of first call musicians and good production values, which are reasons enough to buy a copy. But, when you throw in the fact that the proceeds will further blues music education and help out musicians in need, this CD should be at the top of your list. Maybe it is a good idea to start your holiday shopping early!

Blues Blast Magazine DVD Review: Chaz DePaolo – Live In Iona

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This DVD review was originally published in the June 5, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Chaz DePaolo – One Night Live in Iona | DVD Review

Smoke Tone Records

www.chazdepaolo.com

www.smoketonerecords.com

11 songs / 1:20:36

Chaz DePaolo is not only an extremely talented blues and rock guitarist, he is also one of the hardest working men in show business. He has been on tour for ages, playing 150 shows a year all over the U.S., Canada and Europe, sometimes barely making ends meet, but plugging along for the love of the music. Along the way he has earned a loyal cadre of fans and caught the ear of some fine artists, and has shared the stage with the likes of Buddy Miles, Jose Feliciano, David Maxwell, Blue Lou Marini, and Blues Blast Magazine perennial favorite Michael Packer!

Besides releasing four solid albums, he can also be heard on projects from Little Milton, Kim Wilson, Rory Block and Charlie Musclewhite. One Night Live in Iona is Chaz’s first DVD, and this disc provides his fans with something fresh as he has not released a new CD since 2009. This is a recording of the March, 2013 show at Lebanon, Pennsylvania’s Zion of Iona Methodist Church. DePaolo handles the vocal and guitar chores, and he is joined by Hank Kaneshige on bass, Cliff McComas on drums, and Rob Chaseman on the sax.

This DVD is set up so that it can be watched in its entirety, or individual songs can be selected from the main menu. If the entire show is watched there are no pauses between songs, and all of Chaz’s interplay with the audience is included. Up front there is an intentionally grainy introduction that shows the stage being assembled and the arrival of the band. At the end of the disc there is a bonus five-minute question and answer session with DePaolo, in which he sits with an acoustic guitar perched on his knee while he candidly talks to the interviewer.

This is no ordinary church performance -- they made up for a relatively small stage by bringing in a full lighting truss and a fog machine, and visually it is appealing. The image quality is clear (this was shot in HD) and they did not skimp on the cameras, with at least four in play for this performance. Also, the audio portion is very well recorded and mixed, and as far as live recordings this is about as good as you could hope for. This means that there is little to distract the viewer from the band’s performance, and is electrifying.

Chaz has a hearty voice with obvious emotion and his guitar work is complex. His command of electric blues is undeniable, and his playing is flavored with hints of jazz and funk. His technical skills are tempered by a genuine feel for the music, and Chaseman, Kanashige and McComas have a tight connection to DePaolo so that they work together as a single entity.

The band runs through two tunes from, Flirtin’ with the Blues, including the opener, “Chicago 101.” DePaolo starts this short instrumental with a classic 12-bar blues riff, and introduces each member of the band before trading solos with Chaseman. Kanashige and McComas hold down a solid bottom line and deliver the goods without showing off, which would be a temptation with such a small ensemble. The other song from this album is “Stormin’,” a blues rocker with a slightly funkier backline and an assortment of tones that show that his Stratocaster is not a one-trick pony.

Much of the evening was spent covering five songs from his most recent release, Bluestopia. A standout of these was “Woman in a Black Dress.” This is a sexy slow-rolling blues number that Chaz belts out with heartfelt emotion while never missing a cue on the guitar. DePaolo accepts this leadership role with ease and he is truly a bluesman of the highest order.

Chaz draws on his history with The Groundhogs, the English band that he fronted for 2 ½ years, by including two of their songs. “No More Doggin” is a fun rock and roll song that can also be found on his Bluestopia album. “Cadillac Baby” is of the same ilk, though on this evening he got the Iona audience involved with a little call and response (and they actually did it!).

Of course, Chaz is first and foremost a guitar player, and he proved it handily with “Voodoo Style Chazy,”his interpretation of Jimi Hendrix’s classic blues rocker. In this same vein, for the encore they pulled out a new song, “Slo Bite,” a tribute to the late Roy Buchanan. DePaolo shows off his chops on this slow-burning instrumental that is packed with innovative guitar pyrotechnics and a dynamic sax interlude from Chaseman.

One Night Live in Iona is a fun DVD that gives great insight into Chaz DePaolo’s live show that is always tight and entertaining. Rumors are that there will soon be a CD with just the audio portion of this show, but the visual part of this package is equally compelling and should not be missed. If you are a fan of electric blues go ahead and splurge for the DVD – chances are good you will watch it again and again!

Mahalo!

Dalannah and Owen – Been Around a While | Album Review

Dalannah and Owen – Been Around a While | Album Review

Quest Records

www.dalannahandowen.com

www.questrecords.ca

11 tracks / 41:58

I have the privilege of listening to a lot of new albums every week, and most of them fit pretty well into various categories – blues rock, Delta blues, Chicago blues, jump blues, and the list could go on and on. Every once in a while, I get something completely different, and sometimes that something is really special. Dalannah and Owen’s new disc, Been Around a While, breaks the mold and is very different and very special. This duo from Vancouver, Canada has re-imagined the blues and if you are a fan of the genre you are going to like what they have done.

There is plenty of experience that brought this pair to this point in their lives. Dalannah Gail Brown has been on the Canadian music scene for almost 50 years, and her blues, gospel, and jazz chops are astounding. Owen Veber, or “Owen Owen Owen” as he is credited in the liner notes, has been playing bass professionally for over 40 years. These two have only been working together for a year, but they already earned a trip to the 2015 International Blues Challenge in Memphis, Tennessee.

The self-produced Been Around a While is Dalannah and Owen’s debut album, and it is amazingly unique. All you are going to hear for the 42-minute playtime is Dalanna’s voice and Owen’s bass as they cruise through eleven blues originals and covers. No guitars, drums, keyboards, harmonica, or horns. You may be thinking that forty minutes of some guy playing the bass while somebody else sings could be tedious. But with the way that Dalannah and Owen do it, the music is very listenable and not the least bit boring.

There are five originals, including the title track which kicks off the album. “Been Around a While” is a cool story of being at a place in life where you are comfortable with yourself. Dalannah’s voice is as clear as a bell, and Owen’s bass work is fairly astounding. He does not just hammer 1/8 notes on a P-bass. It sounds like he is using a six or seven-string bass, and there are plenty of high notes and guitar-like chords to be found throughout the album.

The half-dozen covers span from the early days of recorded blues up through around the time that Nixon was in office, and they cover a lot of ground. The closer on this album, Son House’s 1930 song, “Walkin’ Blues” was made famous by Robert Johnson in 1936, and Dalannah makes it her own here. By interspersing conversational lyrics that are sweet or howled with emotion she creates a sense of drama that I do not hear in the originals. Owen cranks out a righteous solo for good measure.

The other cover tunes include Robert Johnson’s “Come on in My Kitchen,” “Early in the Morning” from Louis Jordan and his Tympani 5, Billy Eckstine’s “Blues Mother of Sin,” B.B. King’s “Why I Sing the Blues,” and Marvin Gaye’s “Inner City Blues.” These were all great songs when they were originally done, and nothing was lost when this duo re-did them.

By tearing these songs down to the bare bones, the stories of the lyrics come to the forefront, and Dalannah and Owen are master storytellers. Their original songs are poignant, and their re-working of tunes from the masters of the blues was done with great care. When you combine this with excellent musical ability and good production values, this make Been Around a While is a must-buy if you are a blues fan of any type. Trust me!

Blues Blast Magazine Album Review: Debbie Bond and the TruDats – That Thing Called Love

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This CD review was originally published in the May 8, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Debbie Bond and the TruDats – That Thing Called Love |Album Review

Blues Root Productions

www.debbiebond.com

www.bluesroot.com

9 tracks / 39:33

Sometimes you get something great when it is least expected, which is the case with Debbie Bond and the TruDats’ new CD, That Thing Called Love. This material was originally recorded in a big army surplus tent out in the hills near West Nashville as a live performance for the WRFN Radio Free Nashville’s Mando Blues Show. When the smoke cleared, it turned out that the music and chemistry were so good that OmegaLab Studio’s Rob McClain was able to mix and master the recordings into something very special.

Debbie Bond has over 30 years of Alabama blues experience and has toured the US and Europe with legendary bluesmen, including Johnny Shines, Little Jimmy Reed, Willie King, Eddie Kirkland, and Jerry "Boogie" McCain. Since 1995 she has mostly run her own crew, and released her debut album in 1998. Debbie gives back to the blues community and is the founder of the non-profit Alabama Blues Project, which is dedicated to the promotion and preservation of blues from the Heart of Dixie.

That Thing Called Love is Debbie Bond’s third release, and it was accomplished with the bare minimum of personnel. Debbie provided the vocals, rhythm guitar, and lead guitar, and she is joined by her husband Ric Asherson on keyboards, keyboard bass, harmonica and backing vocals. He also acted as producer for this project. Dave Crenshaw was the drummer for the majority of this record and guest saxophonist Tom Pallardy came on board to lend a helping hand. There are nine tracks, seven of which were written by Bond and Asherson, and three of them were previously unreleased.

The first track is a cover of Solomon Burke’s “You’re the Kind of Trouble;” you may have seen this Holmes Brothers song being performed on the Nashville musical drama tv series last year. There is almost too much to process while listening to this soulful pop-oriented blues tune: Debbie has a beautiful voice and can play a fine guitar, Asherson and Crenshaw are tight as brothers, and this is one of the best-mixed live albums you will ever find. It is hard to compare Bond’s voice to any contemporary artist, but in a nutshell her sound is equal parts throaty and melodic and she is spot-on with her intonation and phrasing -- there is nothing like decades of real-world experience to hone one’s craft.

The other cover is also from the Holmes Brothers and “Feed My Soul” is a soulful ballad that highlights Asherson’s bass keys and electric piano. Pallardy’s sax makes the mood on this track, and it is impressive how reserved and disciplined he is, playing only what is needed. Too often sax players get a little out of control in live situations and kill the vibe, but that does not happen here.

The logical assumption would be that “Steady Rolling Man” is an ode to Debbie’s husband, who she met when they were both touring with the late Willie King. It certainly is a good description of his playing style and Rick Asherson delivers the goods with his speakeasy piano in this New Orleans flavored song. Crenshaw lays back, grabs his brushes and mutes his drums to complete the picture. This is an ambitious tune as it is is a departure from the rest of the show and it is a vocally difficult song, but Debbie and the TruDats pull it off and it shines as the standout track of That Thing Called Love.

“Tarragona Blues” appears twice on the album, and the second version is sequenced as the final track in an extended re-mix that features Ray Robinson on drums (Crenshaw moved over to Latin percussion), and Jonathan Blakney on background vocals and additional percussion. The extra personnel is needed as this is a bossa nova tour de force. It ends up being a shout-out to Debbie’s Spanish fans who appreciate her jazzy blues stylings, and she treats them (and us) with hearty vocals that are specific to their land and she throws in a smooth Telecaster break for good measure.

Debbie Bond and the TruDat’s That Thing Called Love is a slickly-produced CD, but since it was recorded live it has a raw energy that is missing from most studio projects. It is a great example of Alabama blues and soul from the premier ambassador of the genre, and you should definitely make the time to give it a listen!

Mahalo!

Blues Blast Magazine Album Review: Charlie Owen – Worth the Wait

Good day!

This CD review was originally published in the May 8, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Charlie Owen – Worth the Wait

Self Release

15 tracks / 54:52

Vocalist Charlie Owen has experienced both coasts of the United, States, and apparently has decided that the eastern seaboard is home. Originally hailing from Birmingham, Alabama, he grew up in Washington D.C., where he started his music career. Charlie was a member of the house band at the Stardust Lounge in Maryland, which was a stopping place for many national acts during his tenure in the 1970s. In 1981 he headed off for the San Francisco area where he fronted the Dynatones and was the singer for the house band at Larry Blake’s Rathskeller in Berkeley.

Today he is living in Maryland again, but he brought a little of the city by the bay along with him this time. His new CD was recorded in San Jose, and Owen called on some of San Francisco’s finest sidemen in to the studio to join him. Charlie takes care of the vocals, and is joined by Todd Swenson on guitar, Steve Ehrmann on bass, Paul Ravelli behind the drum kit, Rob Sudduth and Johnny Bamont on saxophone, and Marvin McFadden on trumpet. Jim Pugh was the producer, and also handled the keyboard chores.

Worth the Wait celebrates the heyday of American rhythm and blues, and it includes 15 covers that are mostly from the 1960s and 1970s. The album starts off with Sam Cooke’s ”I Sowed Love and Reaped a Heartache.” The spirit of the 1968 version is maintained, and there is a lot going on in this song. There are horns, synthetic strings, a rolling bass line, and a pair of backing vocalists (Cary Sheldon and Kathy Kennedy). This all does a great job of supporting Owen’s vocals, and you will find that all those years of performing have not gone to waste. He has the perfect voice for vintage R&B – just a little rough on the edges and full of soul.

It is easy to tell from the playlist that Charlie has a few favorite artists. Sam Cooke must be on the list, because, besides the opener, you will also get to hear 1964’s “That’s Where It’s At.” This song features Curtis Salgado singing a heartfelt duet with Charlie, who also plays the trumpet on this one. Johnnie Taylor is also represented by the Sir Mack Rice penned “Cheaper to Keep Her” and “Hijacking Love,” which is pure super-sexy funk.

There are also a pair of Little Milton tracks: “So Mean to Me” and “We’re Gonna Make It,” which was Milton’s only top 40 hit back in 1965. The latter is an upbeat tune, and is the happiest thing you will find on Worth the Wait (there is a reason they call it rhythm and blues). This song is built around Swenson’s jaunty guitar work and Ehrmann’s round bass, and is supported by a much too short sax solo from the wonderful Frankie Ramos.

The standout track on the album is “No Pride at All,” a 1999 song by Jesse Winchester, a talented singer and songwriter who passed away this April. It has a conventional R&B format, but creatively uses electric piano, bells and Christoffer “Kid” Andersen’s electric sitar to set the mood. It might not seem like a good combination when you see it on paper, but it works well when it is coming out of your speakers.

The final track on the CD comes straight out of left field, as “Soft Place to Fall” is found on the soundtrack of Robert Redford’s 1998 film, The Horse Whisperer. Charlie rearranged Allison Moorer’s country version into a bluesy ballad, which works well with the bittersweet lyrics about hitting up an old friend while on the rebound. This was really the only place to put this song on the album, as it is completely different than the rest of the material, and it proves to be an interesting contrast and a good closer.

Charlie Owen has a sweet voice, good taste in music, and a group of fine friends that were willing accomplices for this project. If you are a fan of rhythm and blues, Worth the Wait will definitely be your cup of tea. Check it out if you get the chance!