Balkun Brothers – Balkun Brothers | Album Review

Balkun Brothers – Balkun Brothers

Dixiefrog Records

www.balkunmusic.com

12 tracks / 63:48

The Balkun Brothers out of Harford, Connecticut are a breath of fresh air in today’s music landscape with their varied influences that include artists such as Johnny Winter, Jimi Hendrix, Primus, Black Sabbath, and Led Zeppelin. Steve and Nick Balkun are young guys, but their sound is mature and the blues-rock they crank out is hard and true. They have gained a lot of notice with numerous awards to their name, have toured the world and played major festivals, and last year’s debut album, Redrova, is simply amazing.

Their eponymous second album is just as good; it was done as a duo, with Steve playing the guitar and singing the lead vocals, and Nick taking care of the drums and background vocals. The brothers wrote eleven of the dozen songs in the set, with over an hour of material for their listeners to enjoy. They got some extra special help at Serpentine Studios in Central Valley, New York, as none other than Popa Chubby recorded, produced, and mixed Balkun Bothers. You could not ask for a better mentor!

Here are a few highlights from Balkun Brothers:

- Steve and Nick start things off with “Been Drivin’” and this tune hearkens to the hammering feel of Golden Earring’s Radar Love, one of the greatest road songs ever. Steve and Nick do not waste any time showing off how much talent they have, as their work on guitar and drums is top-notch, and the vocals are strong with a nice weathering around the edges.

- They changed up the sound a bit for “Jail Bird” and brought in Dave Keyes to play the piano. This is a slow-tempo blues-rocker, and the Robby Krieger style keyboards add a little smoke to the mood. It starts with the components of a conventional blue rocker, but then it morphs into an awesome jam with an extended guitar solo over tricky drum rhythms.

- The sole cover on this album is Johnny Winter’s “Mean Town Blues” and this up-tempo romp is one of my favorite songs on the album. Nick sets up a mean drumbeat and Steve does a killer job of mimicking the guitar riffs as he howls out the lyrics. Apparently the brothers have shared the stage with Johnny before, and I cannot imagine that he would have any troubles with their interpretation of his song as is it freaking incredible.

- This disc finishes up with “Rainy Day Front Porch Blues” and with this Delta-inspired piece the brothers show that they have done their homework and have studied the classics of the blues genre. There is just a Dobro and a kick drum (plus a little rain sound effect) to accompany the sad story of a fellow who has lost his lady. Steve’s vocals are spot-on and this turns out to be is an excellent way to bring things to a close.

The Balkun Brothers are hot and it is no accident that they were named the best band in Connecticut or that they made it to the finals of the IBC. Their latest album is worth your time, and be sure to head to their website to see if they are gigging near you. Their live show comes highly recommended, and I am going to follow my own advice and see them as soon as I can!

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!

Blues Blast Magazine Album Review: Sidney Green Street Band - SGSB

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This CD review was originally published in the February 12, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The Sidney Green Street Band – SGSB | Album Review

Self Release

www.reverbnation.com/thesidneygreenstreetband

11 tracks / 51:08

The Sidney Green Street band is promoted as a New Jersey bar band, but don’t let that description fool you into thinking they are amateurs – these guys are the real deal. But you do not have to travel to the Garden State to appreciate their brand of blues-rock, as they have recently issued their sophomore CD, SGSB.

Though they have only put out two albums, this quartet has more than enough experience to get the job done no matter where they are playing. Lance Doss (guitar and vocals) toured the world for over six years with John Cale, and guitarist Justin Jordan has over 20 years of professional experience, touring and appearing with artists as diverse as Sean Fleming, Shirley Allston Reeves and Gary US Bonds. Bassist Paul Page toured with John Cale too, and appeared with some really cool acts including Dion, Popa Chubby, Gary US Bonds, Bo Diddley, Del Shannon and Ben E. King. And rounding out the group is drummer Steve Holley whose resume includes work with Paul McCartney, Joe Cocker, and Chuck Berry to name a few.

The Sidney Green Street Band has a few things going for it that most North Jersey bar bands do not, and the first thing is original material: Lance wrote all eleven guitar-heavy tracks for this album. Another plus is a high level of musical ability, and the last piece is their take on Southern blues-rock. Apparently, Doss picked up a good dose of this from his home state of Alabama, but their vibe is still original with just a touch of Skynyrd here and there.

The band took a chance by opening the set with a slow song, “Bye, Bye, Bye,” but this burning rocker paid off for them. Jordan and Doss’ smoking hot guitars are run in stereo and Lance knocks the vocals out with his diverse style, which can be described as a rough on one side and smooth on the other -- kind of like a sheet of A-C plywood! This leads into the almost-pop “Sadie,” a play on the original Sadie Hawkins story as introduced in the Li’l Abner comic strip back in 1937 (in case you were wondering).

This change of genres is not unusual for the Sidney Green Street Band. “Some Things Ain’t Never Gonna Change” is a soft rock tune, but with hard hitting rhythm guitar work over the awesome backline of Page and Holley. It has a few unique guitar breaks, including a standalone dry solo and a heavily processed Wah pedal solo. Also, the modern boogie of “Number” is a jaw-dropping bit of guitar fun.

There are also a few standout tracks on the album that should be pointed out. The first is “Divine,” which has a catchy hook and an acoustic rock foundation. It shows mature songwriting, though it is uncertain if comparing your lady to a “good Southern Whiskey” will get you in her good graces. Doss’ voice is in fine form here with a surplus of emotion, and his harmonies with the other members are spot on. The other winner track is the country rocker, “Payin’ the Price” which is carried by its clever lyrics, an infectious rhythm guitar line, and some truly tasteful solo work.

SGSB ends with a really cool tune, “Consumer,” which has a lot going on. The rhythm section builds a sweet Boz Scaggs riff on the bottom, there is a smoking twin guitar attack on top, and a fun vocal history cuts through the middle. This track would be a good set-closer, and that is exactly what the band does with it on this disc.

The Sidney Green Street Band’s new album is a solid collection of original blues-rock with a Southern flavor. If you are a fan of heavy guitar blues with a killer beat this will be your cup of tea. And if you ever find yourself on US 46 between the Del Water Gap and NYC, make sure you stop in at the Great Neck Inn – they might just be on stage!

Mahalo!

Tweed Funk – Come Together | Album Review

Tweed Funk – Come Together

Self Release

www.tweedfunk.com

10 tracks / 39:08

Tweed Funk brings a Memphis sound to their unique blend of soul and blues, which is partly due to their frontman, Joseph “Smokey” Holman, who worked with Curtis Mayfield in the early 1970s. This Wisconsin based six-piece group formed in 2010 and a few months ago they released their fourth album, and you will find that Come Together is a sweet piece of art. These guys are doing everything they can to succeed: they have earned five Wisconsin Area Music Industry (WAMI) awards, they play all the right festivals, and they are getting great media coverage. It is all well deserved!

For this project, Holman sings the lead vocals, and he is joined by Eric Madunic on bass, J.D. Optekar on guitar, Dave Schoepke on the drums, Andrew Spadafora on sax, and Roomful of Blues’ Doug Woolverton on the trumpet. Chrissy Dzioba and Sara Moilanen contribute backing vocals on half of the tracks. All ten of the tracks on this disc are originals, and it was cut at Makin’ Sausage Music by Steve Hamilton.

Tweed Funk kicks off Come Together with “Light Up the Night,” and this is some extremely tight funk blues. From the intro the listener knows what the band is all about as the horns are popping over Madunic’s killer bass line that is perfectly in time with Schoepke’s drums. There is a lot going on here: Holman’s smooth tenor lyrics use Alice in Wonderland metaphors to spread the message of overcoming your troubles, Spadafora and Woolverton trade splendid riffs, and Dzioba and Moilanen’s backing vocals add just the right amount of soul. This is righteous stuff!

After this, the band shows that they are versatile as they run through different sounds, though the funk and the horns are never too far away. Here are a few examples:

-“Muse” has a light-hearted beat with Latin flavor, and Optekar does a stand-up job of setting the mood with his syncopated guitar chords. This is probably the best example of Smokey’s vocal style as this love song is right in his wheelhouse, both in range and style. This is the shortest song of the set, and I wish it were just a little longer!

-“Who is This” is a stone-cold funkfest, and this instrumental would be a great calling card for any of the musicians involved. Schoepke works the skins hard, and there are standout solos from Woolverton, and Spadafora.

-“Bullet” is an emotional and slow-tempo ballad with muted trumpet and reverb-soaked guitar. The message is somber, as it deals with a friend who chose to leave us too soon.

Coming in at 40 minutes long, this set goes by pretty quickly and before you know it things wrap up with “Soul Rockin’.” This is one last chance for the band to cut loose, and they build a brick house on top of Madunic and Schoepke’s foundation. Smokey’s voice is pleading as he expresses the need for some soul rockin’ from his lady. And, for one last time, the horns are off the hook and tightly hooked up -- this was a wise choice to close with.

Each new album that Tweed Funk has released has better than its predecessor, which is a tough task as their debut was pretty darned good. Come Together has solid songwriting and musicianship, and as a bonus it has a super positive vibe. This is a collection of wonderfully funky and soulful horn-driven blues, and it is a “must buy” in my book!

One last thing - on a more personal note, please keep Smokey in your thoughts as he was diagnosed with multiple myeloma after this disc debuted. The band is taking a break as he gets treatment, and will hopefully pick up again in October. Thank you for your support of him and the rest of Tweed Funk.

Chicago Blues Guide Album Review: Mississippi Heat - Warning Shot

This review was originally published in Chicago Blues Guide on November 5, 2014. Be sure to check out their website at: www.chicagobluesguide.com

Mississippi Heat - Warning Shot

Delmark Records

By Rex Bartholomew

Since 1991, Mississippi Heat has been churning out a unique brand of blues from their home base of Chicago. The band has gone through a few line-up changes over the years, but it is still led by Pierre Lacocque, a masterful harmonica player and first-rate songwriter. They have a big and fun sound, and are not afraid to record original material or bring their show to the stage. They have a heavy gigging schedule and a legion of dedicated fans that come out to see their wonderful high-energy shows.

Mississippi Heat recently released Warning Shot, their 11th album and fifth release from Chicago’s storied Delmark Records. It is a hearty serving of Chicago blues (with a few other flavors added), coming in at over an hour and containing 16 tracks. 14 of these tracks are originals that were written by the band members, with Lacocque getting credit on ten of them. There is a killer line-up of musicians for this disc, with Inetta Visor on vocals, Neal O’Hara on keys, Brian Quinn on bass, Sax Gordon on the saxophone, Kenny Smith and Andrew Thomas on drums, and Michael Dotson and Giles Corey on guitar. A true Windy City legend, Ruben Alvarez, also lends a hand with his tasty percussion work.

All of the songs on Warning Shot are very good, and the band placed one of the best up front! “Sweet Poison” has a frisky bounce right from the intro, with Pierre waging a harmonica battle against the guitar and holding his own. Then, when Inetta starts singing, this track is propelled to the next level with her throaty pipes tearing into her old man for his philandering ways and ruing that his love is still so sweet. There are high production levels to be found here, with crystal clear recording and a spot-on mix that will be found throughout the rest of the album. It is amazing that this disc only took two days to record!

“Alley Cat Boogie” is another peach of a song, a rocking boogie with hammering piano from O’Hara and Sax Gordon trading solos with Pierre. The backing vocals of Mae Koen, Diane Madison and Nanette Frank are a nice touch and make this track complete. You may also know them from their work on guitarist Giles Corey’s Stoned Soul album, which was released by Delmark earlier this year. This track is backed up with the Calypso stylings of “Come to Mama,” which includes some fun percussion work from Alvarez and is also notable change from the pell-mell boogie that came before -- Mississippi Heat never gets stuck in a rut on Warning Shot.

Guitarist Michael Dotson takes the vocals on the three tunes that he penned, and his voice is hearty and could possibly even be described as tortured. “Yeah Now Baby” has driving tempo that is held in check by the masterful backline of Quinn on bass and Thomas on drums, and “Swingy Dingy Baby” brings a little vintage swing fun into the mix. But the standout is “Evaporated Blues,” a funky Delta-tinged blues-rock song that only a guitar player could have written. Kenny Smith also wrote one of the tracks, “What Cha Say,” and we get to hear his lead vocals on this slow grinder as well as his fine work behind the drum kit. This quartet of songs fits in well with the rest of the material on this CD and provides even more variety to what is already a diverse collection of music.

The two covers are quite unexpected. The first is a fairly faithful revision of Ruth Brown’s “I Don’t Know” from 1959. This Brook Benton and Bobby Stevenson jazz song stands the test of time well, with Inetta taking the role of chanteuse and Lacocque’s harp and Corey’s lead guitar edging the tone a little towards the bluesier side of things. The other is completely out of left field: an instrumental take on Hank Williams’ “Your Cheating Heart.” Pierre plays the lead on his harmonica and Gordon blows a gloriously raunchy solo on his sax. This may be the best version of this song out there, besides Hank’s (of course)!

Finishing up the set is “Working Man,” with the entire band back on stage and Visor featured on the soulful lead vocals. This brand of fast-paced Chicago blues is a fine way to bring things to a close, as it is a fun reminder that this is where it all started for this top-shelf band.

Warning Shot is a well written and masterfully played album of new blues tunes that integrates all manner of influences to keep the listener entertained from beginning to end. Mississippi Heat delivered the goods with this record, and their live show is also a treat to see. They are gearing up for the Lucerne Blues Festival in Switzerland right now, but they will soon be heading back for plenty of shows around Chicago, and then on to other points in the US and Canada. Check out their website at www.mississippiheat.net

Chicago Blues Guide Album Review: Jarekus Singleton - Refuse to Lose

This review was originally published in Chicago Blues Guide on June 22, 2014. Be sure to check out their website at: www.chicagobluesguide.com

Jarekus Singleton - Refuse to Lose

Alligator Records

By Rex Bartholomew

As he hails from Mississippi, it would be natural to assume that Jarekus Singleton would be another in the long line of Delta bluesmen, but the scope of his music goes far beyond the borders of the Magnolia State. His original songs are blues-based, but he calls upon many genres to achieve a unique mood, including rock, jazz, funk, hip-hop, and maybe even a little country. This contemporary blues sound caught the ear of Alligator Records’ Bruce Iglauer, who helped Jarekus produce his debut album for the label, Refuse to Lose.

Though Singleton is barely 30 years old, music has been a life-long passion for him, and he started playing bass at the age of nine in his grandfather’s church. After switching to guitar and discovering his voice he fell under the spell of the blues at the age of 15. He showed impressive athletic prowess during college, but he always stuck with his music. This was fortunate for him (and us) as his basketball career was cut short in 2009 by injury, just as he had caught the eye of the NBA.

That same year, Jarekus formed his own band that self-released an album in 2011, and some of its tracks received regular airplay on satellite radio. He won the first of many blues awards in 2012, and it was only a matter of time until he signed with a label that could get his music heard across the country and around the world. His decision to work with Alligator worked out well -- Refuse to Lose is 53 minutes of exceptional art that is broken up into 12 self-penned tracks, and it is getting him the attention he deserves. Singleton takes the guitar and vocal parts for this project, and he is joined by a more than capable crew that includes James Salone on organ, Ben Sterling on bass and John “Junior” Blackmon behind the drum kit.

This set kicks off with “I Refuse to Lose” and the first impression is that this project has a very live sound. The guitar, bass, drums and organ on this blues rocker have a natural tone and blend, so that it is almost like being at a perfectly mixed blues gig. Credit for this vibrant mood goes to Pete Matthews of Nashville’s PM Music, who puts together a consistently tight product. Jarekus’ voice ranges from a spoken-word style all the way to a throaty roar, and if you listen to the words you will get to learn a bit of his life story.

Not knowing all of Singleton’s history, it is easy to assume that many of the songs are autobiographical as the lyrics are written in a very personal manner. Both “Hero” and “High Minded” sound like the voice of experience, taking to task folks that are haughty and egotistical, or possibly just too big for their britches. Also, “Crime Scene” and “Suspicion” are full of worldly wisdom that can only come from having a few relationships go sour. These subjects have been staples of the blues since day one, but Jarekus’ use of modern language and pop culture references brings his songs into the present day and makes them accessible to a new generation of listeners. He is a masterful storyteller!

In the same self-revealing vein, “Keep Pushin’” describes his motivation as well as specifics about his athletic history and the path to his new life in the blues spotlight. This hard-driving rock song uses a killer walking bass line, hammering drums and superb organ work to give it a rock feel that contrasts well with his rap-like lyrical delivery. It makes for a catchy package that results in one of the standout tracks on Refuse to Lose.

The other prize-winning tune is “Blame Game” which has a traditional 12-bars blues construction, but uses a sparse arrangement that is refreshingly different than what other artists are bringing to the table. Singleton changed things up for this song and brought in a different band to back him on this song: Ben Sterling popping out a very organic-sounding bass, Brandon Santini honking out a tasty harmonica lead and Robert “Nighthawk” Tooms playing a subdued piano accompaniment. This ends being a bare-bones shell that is decorated with Jarekus’ simple syncopated guitar chords and an all-too short solo. He really is quite a singer and guitar player, and the closer, “Come Wit Me,” arrives all too soon to end things on an upbeat note.

With its unique modern blues sound, wicked arrangements and heartfelt songwriting, Refuse to Lose is a winner in every way. Jarekus Singleton has made his own niche with his progressive sound and style, and he surely will play an important role in the future of the blues!

Blues Blast Magazine Album Review: Doug Otto and Hurricane Harold – Blues at Barkin’ Jack’s

Good day!

This CD review was originally published in the February 19, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Doug Otto and Hurricane Harold - Blues at Barkin’ Jack’s

Self Release

10 tracks / 36:53

A lot of new blues music has to be described in terms of the other genres that have influenced its sound, for example, blues-rock, country-blues, and the old standard: rhythm and blues. There is no struggle to figure this out with Doug Otto and Hurricane Harold’s new CD, Blues at Barkin’ Jacks. This release is mostly blues at its most basic level – guitar, voice, and harmonica, and all of it is played with a remarkable brilliance. No drums, bass or keyboard were needed to achieve their goals, and the effect is really cool.

Both of these gentlemen hail from the Twin Cities, and those long cold winters in the great white north have apparently given them the opportunity to hone their chops! Doug Otto provides the guitar and vocals for this project, but he also finds plenty of work with his own bands, the Getaways and North Country Bandits, as well as sitting in with the No Accounts. Hurricane Harold Tremblay is a master harmonica man (a mentor of Curtis Blake), and co-founder of Cool Disposition. He also hosts a weekly blues show on KFAI radio in Minneapolis and leads the All-Star Revue, which features some truly fine artists from Minnesota – he is a genuine renaissance man.

Blues at Barkin’ Jacks has ten tracks that are mostly covers of wonderful vintage blues tunes, along with three originals that were written by Otto. It was recorded live in the studio with no overdubs and no more than two takes for any song. Jeremy Johnson did a wonderful job of engineering and mixing the guys’ time in the studio, and the final product has a clean sound that makes it sound like these guys are playing in your living room.

After starting off the set with a slow-driving rendition of Howlin’ Wolf’s “Asked for Water,” the duo plays the first of the three originals, “Broken Thoughts.” Otto’s writing on these songs has more of a roots and country-blues theme, and all of them are well suited to his pleasant tenor vocal range (which makes him sound a bit like Eric Clapton). His songwriting is mature, with good imagery and phrasing, which can also be found on “Heart to Heart” and “My Time is Moving Slow.” The latter gives Tremblay a chance to sing harmonies, which is a cool effect as his voice lends a unique droning effect. This is the standout track in the album, without a doubt.

The rest of the songs are straight-up Maxwell Street blues material, as can be heard from Muddy Waters’ “Long Distance Call,” which uses subtle electric guitar chording with a heavy bass beat while Harold shows off his fine feel for the harp. Otto’s guitar tone is outstanding on Skip James’ haunting classic “Hard Time Killing Floor,” and he also delivers a surprisingly good falsetto vocal performance, which is a hard thing to accomplish for most singers.

The classics continue with Lonnie Johnson’s “She’s Making Whoopie (in Hell Tonight)” which would be a hard song to write today, but in 1930 there were no political correctness police to contend with. There are also a couple of well-done Robert Johnson tunes, “Hell Hound on My Trail” and “Kind Hearted Woman,” that are delivered in a wonderfully laconic style.

Despite the good craftsmanship these gentlemen showed on the cover tunes, the originals are exceptionally special, and are the highlight of this disc. A full-length album of Otto-penned originals would surely be a good listen, and hopefully this pair will have the chance to continue their work and head back to the studio to give us a bit more of this wonderful stuff.

There is a lot to like about Blues at Barkin’ Jack’s, and Doug Otto and Hurricane Harold really delivered the goods. Their bare bones live sound is clear, and the selection of tunes that they assembled works well together. There is no mistaking this album for anything but the blues, and you should certainly give it a listen!

Mahalo!