Mississippi Bigfoot – Population Unknown | Album Review

Mississippi Bigfoot – Population Unknown

Silver Tongue Records

www.mississippibigfoot.com

9 tracks / 46:00

Mississippi Bigfoot formed in 2015, but they have not wasted any time getting moving and have already released their debut album, Population Unknown, and it is a kick! Their sound is a refreshing blend of swamp blues, rock, rockabilly, and funk that has to be heard to be believed.

The band includes Christine Vierra on lead vocals and ukulele, Johnny Holiday on lead guitar, Ashley Bishop on guitar, Cade Moore on bass, and Doug McMinn on drums and harmonica. This quintet formed the band after a show in Clarksdale, Mississippi, but most of these folks hail from the Memphis, Tennessee area. This disc is a sweet piece of work that was recorded at the famed Ardent Studios in Memphis; it includes eight originals that were written by the band and one really awesome cover.

They kick off this set with “Burn That Woman Down” a heavy does of swampy blues rock that highlights Vierra’s ultra-strong vocal abilities and plenty of smooth slide guitar work. The guys pitch in on backing vocals (“Whoa-o-o-o!”) as McMinn keeps the beat with a heavy snare. Things switch up right away with “Mighty River” which has cool uke chords from Christina and hard rocking layers of guitars from Bishop and Holiday, as well as a slick solo break. Then they throw out “Wag the Dog” a fast-driving rocker which features some righteous cigar box guitar from Bishop and harp from McMinn. This is how the whole album goes – every track is different than the rest!

A perfect example of this is “No Flesh in Outer Space” which is a funk tune that is held in place by the stellar backline of Cade and McMinn. Vierra digs deep on the vocals, and there are multiple levels of heavily processed guitars from the two guitarists. This track, with its complex sound and fun lyrics, ends up being one of my favorites in the set.

They also grabbed a really cool Albert King song for the lone cover, and “The Hunter” ends up being totally different than King’s or any of the other versions I have heard of this tune (by the way, Ike and Tina Turner’s blues version is terrific, too). Mississippi Bigfoot took this one into the Texas boogie realm, which has some rough and ready harmonica from McMinn and great solos trading back and forth between Holiday and Bishop.

”Tree Knockin’” finishes things off with a little roadhouse blues, and we get to hear a little bit about the band’s namesake. Listen closely, or you might miss something…

In a world of bands that play Muddy Waters covers and throw a Hammond on every other track, Mississippi Bigfoot stands out and Population Unknown is a fantastic way for new fans to get to know them. They are on to something here, and they have plenty of festivals and shows booked in the United States and Europe this spring. Head over to their website and see if they will be playing somewhere near you as I think their show will be quite the experience!

Blues Blast Magazine Album Review: Riverside Jr. – Would You, Baby?

This CD review was originally published in the October 30, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Riverside Jr. – Would You, Baby?

Blueshine Records

www.riversidejr.com

www.blueshinerecords.com

11 tracks / 39:00

Solo acoustic blues brings the genre down to its most basic form, and if done well the singer and their guitar can tell a powerful story. Riverside Jr. has made just such a statement with Would You, Baby?, his debut release on the Blueshine Records label.

Riverside hails from the Netherlands, where he plays out as a solo, duo, or trio act which performs under the monikers of Riverside Jr., Big Will & the Bluesmen, or Riverside Jr. & Co., respectively. One of his partners in these endeavors is Blueshine’s founder (and killer guitarist) Peter Strujik from The Hague, who helped record and produce this album. It contains 11 roots and blues tracks, with Riverside taking the writing credit on five of them. This record had a distinctively American feel and tone -- it is obvious that Jr. has made great efforts to master the genre and make his sound as authentic as possible.

This set starts off with the traditional “Make Me a Pallet on your Floor” which has been recorded by many heavyweight artists, including Mississippi John Hurt and Bob Dylan. Though it maintains its original blues structure, it comes off as more as a folk song with clean acoustic finger picking accompanying his growly voice. This is followed by the original tune, “Ain’t that the Blues?” a song of lost love that is underscored by a slick ostinato on his resonator guitar.

It is notable that Would you, Baby? is a very well recorded disc. The vocals and guitars are balanced and all of the instrumental parts are crystal clear. Whether listening to it through speakers or headphones it is like Riverside is sitting in your living room, and every detail can be heard perfectly. His guitar playing is dynamic and percussive enough that drums and bass become unnecessary. Strujik did a fantastic job of putting together such a natural-sounding release.

Riverside’s love of classic blues recordings is shown in his inclusion of “Trouble in Mind” a tune that was written in the 1920s by Richard Jones, the fabulous jazz pianist. This could possibly be one of the slowest versions ever recorded of this tune, and its leisurely pace takes his voice to the lowest limits of its register. He was definitely not copying the Bob Wills and his Texas Playboys recording of this song! Jr. also takes a run at the granddaddy of blues songs, Robert Johnson’s “Traveling Riverside Blues,” and does not try to make it into something more than what it is – a short and bare bones blues classic.

The standout of the covers is Son House’s “Sundown” which is not a song that artists usually choose to re-do. It features terrific slide work on the resonator guitar, and Jr.’s voice is loaded with grit and emotion. If the production values were not so high, there would be no way of telling whether this was recorded today or in the 1930s; the way this Delta song is performed is as pure as the blues gets.

But his original songs are also very good, and it was easy to pick out two favorites, and possibly they are so special because they are personal to Riverside. “Let’s Ride” has some country overtones, and was inspired by a cross-country trip that Jr. took with his son across the United States a few years back. It is neat that his son, Jonah Konijnenburg contributed the 2nd guitar parts on this track, and he is quite an accomplished player too! “Olivia” is a heartfelt ode to his young daughter that plays out like a folk song, and it gets a little extra character thanks to sublime slide guitar work from Peter Strujik.

All too soon, Would You, Baby? draws to a close with the original title track, a pretty ballad with an uncomplicated structure that conveys a powerful message of love. It provides an appropriate closure to Riverside Jr.’s first release, as it maintains the consistently positive and tasteful tone that started with the first song and continued throughout the rest of the album. Riverside Jr. is the real deal, and fans of acoustic blues and roots music will not be disappointed with what they will find here!

Dave Weld and the Imperial Flames – Slip Into a Dream | Album Review

Dave Weld & the Imperial Flames – Slip Into a Dream

Delmark Records

www.daveweld.com or www.imperialdave.com

www.delmark.com

13 tracks / 65:44

There is nothing like an album of raucous west side Chicago blues, and that is exactly what Dave Weld and the Imperial Flames deliver. Dave is a homegrown Windy City fellow who took a break for a while in New Mexico where he studied under famed New York jazz guitarist, Kurt Black. But the call of the city was too great, and Dave headed back to town where he played endlessly at west side clubs under the watchful eye of his mentor, J.B. Hutto.

After playing with a plenty of folks from the “Who’s Who” book of Chicago blues, in 1988 Dave formed his own band, the Imperial Flames. Slip Into a Dream is their fourth album and their second for the venerable Delmark Records label. Dave handles the guitar and some of the vocals, and is joined on the leads by the amazing singer, Monica Myhre. A few long-time bandmates were there in the studio, including Dave Kaye on bass, Jeff Taylor on drums, and Harry Yaseen on piano. There were also a few extra special guest musicians, as you will soon see.

This album has twelve original tracks and one cover, with eleven of the songs written by Weld and/or Myhre. The title track kicks things off and right away it is obvious that this is going to be a rocking party with a heavy west side sound. Dave howls his lines with gusto, sounding like a much more soulful version of Clapton, and when Monica takes over the vocals she nails them with her blues diva aura. The spooky chords of guest artist Graham Guest’s organ set the overall mood, and Weld’s guitar playing is spot-on (of course). This man has tone for days.

There is plenty to like about “Looking for a Man” whether you are searching for a slamming beat, sultry vocals from Monica, a searing solo from Weld, or killer harmonica from none other than Bobby Rush. And “Take Me Back” is also chock full of good, thanks in part to tight work of the The Heard horns: Parris Fleming on trumpet, Bryant Smith on trombone, and Rajiv Halim on saxophone. Dave also sourced a prime horn section for “Sweet Love (Dulce Amor), and that would be the Chicago Horns -- Kenny Anderson on trumpet, Hank Ford on sax, and Bill McFarland on trombone.

Weld and Myhre did not write all of the originals, though. Jeff Taylor penned “Dorothy Mae” and got the nod on its lead vocals, too. This is a righteous funkfest and Taylor’s vocals are definitely up to the task. Guest brings his organ back for this track, and we get the joy of hearing Sax Gordon solo on his horn, plus a pretty neat lead guitar break from Weld.

”Too Bad, So Sad” features Myrhe on vocals and rocking guitar pyrotechnics from none other than Greg Guy (Buddy’s son). Like the other tunes on this disc, this one has its own sound, with a fat bass line from Kaye and snare-heavy drums from Taylor. This is one of the standout tracks on the disc, and it has earned a place in my next party mix.

Before the band reworked “Slip Into a Dream” as an gnarly instrumental (with a little doo-wop) to close out the set, they slipped into a J.B. Hutto cover, “20% Alcohol.” Dave digs down deep for the vocals on this one, and there is some very sweet harp (including a cool solo) courtesy of Mr. Bobby Rush. Weld has done a fabulous job of honoring his mentor on this song.

Slip into a Dream is the best album yet from Dave Weld and the Imperial Flames, and that is saying something as their other albums are very good. It is significant that they were able to write so many new songs that sound good and sequence so well with each other. This disc is a must buy, and while you are at it check out their website to see where they are playing next – you will be glad you did!

Blues Blast Magazine Album Review: Harlis Sweetwater Band – Put it in Dirt

This CD review was originally published in the October 23, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Harlis Sweetwater Band – Put it in Dirt

Self Release

www.harlissweetwater.com

11 tracks / 51:37

Blues music can be found almost anywhere you look in the world, even in Surf City USA! Also known as Huntington Beach, California, this is home base for the Harlis Sweetwater Band, a group of guys you should get to know as they churn out their own brand righteous blues and rock.

Harlis is an Orange County native who received his love for music from his mom when she introduced him to Chuck Berry and Elvis Presley, two of the most engaging performers ever. He has been playing out for a long time, founding Barrelhouse O.C. in the early 1990s and producing high energy shows and sounds that even the critics loved. They completed three albums and broke up in 2001, leaving Sweetwater free to pursue the music he was really interested in: greasy, funky, Southern blues. To create the music he loved, he put together the Harlis Sweetwater band in 2012 and released a well-received disc, Lights Goin’ Down.

Put it in Dirt is their follow-up disc, and it expands on what they accomplished with their debut. With a full horn section the magic of their live show is captured so it can be enjoyed whenever you need a pick-me-up. On this record, Sweetwater fronts the band and handles the vocals and guitar work, as well as acting as co-producer with Mike Troolines. He is joined on this project by Jason Hosler on bass, Jimmy Sena behind the drum kit, Geoff Yeaton on saxophone, Ken Shaw on trumpet, and Jed Thurkettle on trombone. Special guests include Eric Von Herzen on harp, Gary Brandin on pedal steel, and Sasha Smith on piano, Hammond organ and keys.

All of the songs on this album were penned by Harlis, and his songwriting skills are quite mature. The first song in the set is “Goin’ up the Mountain” and it has a huge sound and a frenzied southern rock feel. The most obvious component of the mix is Sweetwater’s tortured voice, and also prominent are the well-arranged horns that include a tremendous lead from Yeaton on the sax. The band takes things down a few notches for the next track, “Anna Lee,” a ballad that is ode to the woman (or is it women?) that Harlis left behind on his life’s journey. This song could have ended up with a Motown feel, but it hits a little harder and it comes off like a Marvin Gaye/Joe Cocker hybrid.

From there the band digs deeper and “Coolant Blues” checks all of the right boxes. The intro of this slow-paced dirty blues song is marked by trippy-sounding out of phase bass guitar from Hosler which is soon joined by a Von Herzen’s gnarly distorted harmonica. The lyrics are funny as the Harlis describes that his lady is possibly trying to poison him (literally). Then the rest of the band is stripped away for “Cornbread Blues” which leaves Sweetwater’s voice and resonator guitar out there for everyone to judge. He nails it, as his slide work and picking are fluid and natural, and he sings with true conviction. “Muddy Water” is another solo acoustic piece, but this time it as a folk rocker with more emphasis on Harlis’ singing, and his vocal strength is astounding.

The standout track comes near the end, and “Evil Spirit” has a cool honking harmonica intro that quickly morphs into a slick hard blues rocker. It has a stomping beat that almost overshadows some nifty work from Sasha Smith on the piano. Sweetwater also cuts loose with a heavy electric guitar solo that shows that he comfortable playing all types of the rocking genres.

Closing out the album is “12th Street Lonely Blues,” and this song makes for a strong finish. It goes pretty far towards the country edge of the blues spectrum with sweet pedal steel, honkytonk piano, and a pretty melody. Though this tune is relatively short compared to the other songs on this disc, they were still able to fit in tasty solos from Brandin and Sweetwater. Taking it in context, the softer sound and mood of this track present a suitable coda for a set that refuses to be confined to any single genre.

Put in in Dirt is strong sophomore effort from the Harlis Sweetwater Band with not a weak track to be found. They have their own sound that is a unique blend of greasy electric blues and soul that makes this album worth your time. Also, this is a hard working band with an exciting live show, so if you are in the Orange County make sure to take the time to check them out -- you will not find anything else like it in the Southland!

Berndon Kirksaether and the Twang Bar Kings – The Voodoo Sessions, Live at Down Under | Album Review

Berndon Kirksaether & the Twang Bar Kings – The Voodoo Sessions, Live at Down Under

Roller Records

www.rollerrec.com

4 tracks / 20:49

I do not get very many blues albums to review out of Norway, but the few that have made it to my desk have been very good. One of these is the latest disc from Berndon Kirksaether & the Twang Bar Kings, The Voodoo Sessions - Live at Down Under. This EP is their fourth release, and it is a healthy dose of burning and moody blues-rock.

Three members of this group are from CIA, a solid blues band that hit the Norwegian scene in the early 1990s. On The Voodoo Sessions Live at Down Under you will find Berndon Kirksaether and Erik Gabrielsen on guitar, Stein Tumert on bass, and Roy Hanssen behind the drum kit; everybody gets credit for vocals on this effort.

This four song EP was recorded live at Down Under in Mjondalen, Norway and it includes three originals and one awesome cover tune. It is apparent that these guys are fans of 60s and 70s AOR swampy blues-rock, and this sound seems to be working for them. You will hear a bit of this when the band kicks off this set with “Mama Roll Over” which builds slowly into a powerfully dark anthem. The sound is very clear for a live album and it is mixed well so that none of the instruments are buried. The vocals are throaty and the lyrics are in English with no trace of an accent, in case you were wondering – they are from Norway, you know…

Next up is another original, “Some Kind of Voodoo,” which is six minutes of psychedelic fun. Berndon and Erik are able to coax synth-like sounds from their highly processed guitars, and there are neat vocal harmonies in play here. Hanssen shows great restraint and lays back on the drums throughout, mostly hitting the toms and adding cymbals in as needed for effect.

When looking for songs to cover, it is hard to go wrong with Robin Trower, so “Mad House” is a pretty good choice for the number three spot. This is one hell of a jam that lets all four members cut loose, and it is nice to hear Hanssen and Tumert go a little crazy. This is the standout track from the disc, and at 3 ½ minutes my only gripe is that it is not long enough!

Closing out the CD is “When the Moon is on the Rise” which gets even more out there in the guitar sounds department with tons of reverb added in. Hanssen keeps a steady beat on the high-hat which helps to create a tremendous sense of tension throughout as it sounds like the band will explode at any moment, though they never do. This song would have fit in well on any of The Doors’ albums, which is good thing in my book.

The Voodoo Sessions Live at Down Under is a fun release from Berndon Kirksaether & the Twang Bar Kings and it is good to hear what they can do live. We can only hope that they make it over to the states soon so we can hear them in person!

Keith Stone – The Prodigal Returns | Album Review

Keith Stone – The Prodigal Returns

Self Release

www.keithstonemusic.com

11 tracks / 50:36

I am rarely disappointed when I get new music out of New Orleans, and Keith Stone’s debut solo album, The Prodigal Returns, is no exception – this stuff is dynamite! Stone is the real deal, born and raised in the Crescent City, where he learned his craft and cut his musical teeth. After a successful stint on guitar with Willie Lockett & the Blues Krewe, Keith and his wife Cindi left town in the mid-90s so he could get his life in order and he found a place in the world where he could use his musical gifts as a ministry to help others.

But Keith and his wife could not give up on his old hometown and after Hurricane Katrina tore the city apart in 2005, they did what they could to help out. That was not enough for them, and they ended up moving back to The Big Easy a few years later to start a non-profit that recruited thousands of volunteers and raised millions of dollars to aid in the much-needed recovery. It did not take very long for Stone to renew old acquaintances and work his way back into the local music scene, and many of these friends pitched in to help out on this album. For the core band Keith handles the vocals and guitars, producer David Hyde plays the bass, Nelson Blanchard is on the drum kit (as well as backing vocals and keys), backing vocals are provided by Elaine Foster, and Lacy Blackledge and Mike Broussard play the horns. That is not all, as you will find that there are a lot more friends that stopped by the studio.

The Prodigal Returns is bookended by a pair of tracks that are the essence of New Orleans. Credit for this goes to the inclusion of the legendary Dr. John on piano, Joe Krown on organ, Bruce “Sunpie” Barnes on accordion, Doug Belote on drums, and a horn section that includes Tim Stambaugh (sousaphone), Kevin Clark (trumpet), David Phy (trombone), and Cale Pellick (saxophone). The way that “Prelude” and “Just a Closer Walk with Thee” are presented makes them timeless, and the sound is just right with the snare, accordion, and piano perfectly set in the mix. In between these two tunes there is a well-rounded selection of songs in musical styles that represent a lot of what the town has to offer.

These other nine tracks are all originals, with Stone getting writing credit on all of them except for one that Hyde penned. These songs all show mature songwriting with catchy rhythms and lyrics that show that Keith is not afraid to get personal. They are all good, and here are a few of my favorites:

-- “First Love” is a smooth and dramatic blues song with a lot of space in the bass line and tight horns from Blackledge and Broussard. Blanchard shows a lot of versatility by filling in some tasty piano and organ work as Stone wails on the guitar and belts out the vocals.

-- “Cindi Leigh” is a sweet ode to Keith’s wife, and it has a cool New Orleans feel thanks to Sunpie’s accordion, and a little frottoir (washboard) and cowbell from guest artist Andy J. Forest. As an added bonus, Broussard nails a solo on his sax and Blanchard provides vocal harmonies as needed.

-- You cannot beat a cool and jazzy instrumental, and “Buster’s Place” delivers. Stone has a different guitar tone on every track and this is one of the tastiest ones that you will find on The Prodigal Returns. It mixes well with the horns, including a crazy good trumpet solo from Lacy Blackledge.

Keith Stone has crafted a wonderful tribute to New Orleans with The Prodigal Returns, and it is a slick journey through the many types of roots and blues music that can be found in his hometown. He has proven that he is a very good singer, songwriter, and guitarist, and he not letting any grass grow under his feet as he is already working on a new project with plans for touring later this year. But for now make sure you check out his new CD, as it is a winner!

The Knickerbocker All-Stars: Go Back Home to the Blues | Album Review

The Knickerbocker All-Stars: Go Back Home to the Blues

JP Cadillac Records

www.jpcadillacrecords.com

13 tracks / 47:00

If you were around Westerly, Rhode Island in the 1970s and 1980s you may remember an outstanding Sunday night jam at the Knickerbocker Café. Duke Robillard, founder of Roomful of Blues, would share the stage with unknowns and fan favorites to put on the weekly blues show. Unless you were local you probably never chance to experience it, but thankfully Westerly native (and producer) John Paul Gauthier put together an outstanding band to recreate some of what you missed. The result is the Knickerbocker All-Stars sophomore effort, Go Back Home to the Blues, on JP Cadillac Records.

The personnel line-up for this disc was a bit different than their debut album, Open Mic at the Knick. The core band included Mark Texeira on the drums, “Monster” Mike Welch on guitar, Brad Hallen on the bass, Al Copley on piano, and a horn section of Doc Chanonhouse, Doug James, “Sax” Gordon Beadle, and Rich Lataille. Frontman duties for the 13 tracks were split up amongst up amongst Willie J. Laws, Malford, Sugar Ray Norcia, Al Basile, and Brian Templeton. If you were putting together your own jump blues band you could not ask for a finer group of musicians!

Most of the tracks on Go Back Home to the Blues are covers, and there are a also a handful of originals that fit in perfectly with that vintage Knickerbocker sound. With a run time of around 45 minutes none of them are terribly long, which means the focus is on the song and you will not hear any endless solos here. The set kicks off with Bobby Bland’s “36-22-36” with Sugar Ray behind the microphone and Copley killing it (in a good way) on the piano. Right away it is obvious that this is a band full of pros and the horns (including guest artist Carl Querfurth on trombone) are well arranged which really makes the mood. Norcia also takes the lead on an Al Basile original, “Brand New Fool,” and Chuck Willis’ “Take it Like a Man,” which is one of my favorite tracks on the disk thanks to some wonderful saxophone work.

Brian Templeton takes on Roy Brown’s “Cadillac Baby”, and his voice is just perfect for this tune which is set over the awesome backline of Hallen’s double bass and Texeira’s drums. He also gets the nod on two Basile originals: “Go Back Home to the Blues,” which conjures up a little Cab Calloway, and “Annie Get Your Thing On,” a song that lets Monster Mike stretch out a bit on his guitar over a cool Latin beat.

Al Basile was the music director for this project and he actually gets to sing and play his cornet on one of his original tunes, and “Don’t You Ever Get Tires of Being Right?” is the best of the bunch. It has a rollicking beat, witty lyrics, and super-tight musicianship, so there is pretty much nothing else to ask for!

The fourth vocalist on the album is Willie J. Laws, and he ends up with some great songs to sing, too. These include guitar-intensive versions of Freddie King’s “You Know that You Love Me” and Guitar Slim’s “Something to Remember You By,” as well as the blistering rendition of Larry Davis’ “I Tried” that closes out the set. His vocals are hearty and fit perfectly into the mix, and I find it hard to get “He Was a Friend of Mine” out of my mind, as this ode to the wedding tackle is really out there!

The Knick is not gone, and it has moved into the future as the Knickerbocker Music Center, a non-profit center that celebrates and furthers the blues (and other music) in the community by serving as a fine performance venue and music education center. Proceeds from this album go to the center, which is a certainly a good enough reason to buy a copy, but it is also a fine set of jump and urban blues, which makes it the bargain of the year. Pick up a copy of The Knickerbocker All-Stars’ Go Back Home to the Blues and see what you think!