Blues Blast Magazine Album Review: Barry Big B Brenner – Keep It Clean

Good day!

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

Barry Big B Brenner – Keep It Clean

Self Release

www.bigbbrenner.com

10 tracks / 35:16

In the last half of the 20th century there was a fundamental change to blues music as electric guitar, electric bass and keyboards breathed new life into this age-old genre. But, there is a still a primal allure to the purity of pre-electric blues, and this is where Barry Big B Brenner excels.

Barry Brenner grew up on the south side of Chicago where he taught himself to play the guitar and sing. Although he became more than proficient with the electric guitar, he decided that his career would be centered on a more acoustic sound. After being in bands and playing along such notable musicians as Albert King and Eric Burdon during his 30 years on the stage, he is now on his own playing a seemingly endless series of solo acoustic club gigs near his new hometown in the Verdugo Hills area of Southern California.

His third self-released CD is Keep it Clean, a collection of ten original and traditional blues and folk tunes. If there is anything you do not like about this release it is all on Barry, as he pretty much did all of the work on this disc. He took care of all of the vocals and instruments (including acoustic six-string, twelve-string and National guitars), as well as all of the production and arrangement. That being said, chances are good that you are not going to blaming Brenner for anything, as this album is a neat piece of work.

The album starts off with “Follow the Drinking Gourd,” a song that begs more research. The exact history of this song is unclear before it was first published in the 1920s, but it is rumored to have connections with the Underground Railroad. Legend has it that the gourd that is referred to is The Big Dipper constellation that slaves used to help to navigate their way to the north. It is a somber folk tune sung in Brenner’s distinctive whiskey voice and accompanied by a few layers of strummed and fingerpicked guitars.

This recording project uses overdubs that allow Barry use vocal harmonies and have more than one guitar on each track, but there is none of the usual big-label polish here. There is a vibrant feel that carries over from his live show (I have attended one of his gigs), and there is a great variation in volume and presence within each song that that adds drama and interest to tunes that have inherently simple words, as well as his amazing instrumentals.

The three instrumentals each have a unique feel, letting the listener know that Brenner is not a one-trick pony on the guitar. “Reap what You Sow” is a slow blues song with heavy National guitar, “Cochinonas” has a jaunty Latin feel and “St. Elmore’s Fire” is a folk blues. They are all very good, but the last one on the list is the standout of the instrumentals, as it has the most interesting melody and harmonies, as well as exceptional slide guitar work.

Some of the tracks are more folk-oriented, but their lyrics carry the spirit of the blues down deep in their soul. These include “The Back of His Hand,” a song that implores the listener to appreciate what they have and to remember that fortunes can change in a heartbeat -- this is not the Dwight Yoakam song, in case you wondering. The other is “Stack O’Lee,” which was a #1 hit for Lloyd Price in 1959, though the best version is the one that Mississippi John Hurt cut in 1928. The lyrics are an the intriguing story of Billy Lyons’ murder on Christmas day of 1895 by notorious St. Louis pimp “Stag” Lee Shelton. Brenner brings both of these songs to life with his pleasant voice and harmonies, showing that his guitar is not the only thing he has mastered over the last three decades of his career.

The strongest track on Keep it Clean is Blind Boy Fuller’s 1938 song “Pistol Snapper Blues,” and you may be familiar with the version that was recorded by the Irish blues guitar legend, Rory Gallagher. Barry kept a traditional country blues sound for this song, and when listening to it there is no way to tell that it was not recorded during the 1930s: it is that timeless.

The album ends on a happy note with the title track, which was a hit for Charley Jordan in the 1930s, and more recently covered by Lyle Lovett while Barry was in the process of recording Keep it Clean (bad timing, I guess). Big B’s version benefits from sweet upbeat fingerpicking and the fun lyrics that make it seem more like a good-time summer tune than the southern blues that it actually is.

Keep it Clean is a solid album, and Barry Big B Brenner did a good job of keeping this project on track and arranging a collection of well-matched roots and blues songs that can stand by themselves or work together as a whole. If you like this CD, you should check out his live act, as he has plenty of shows around So Cal, including regular gigs at South Pasadena’s Firefly Bistro for the weekly Burgers, Beer and Blues show and their Sunday Blues Brunch.

Mahalo!

Album Review: David Michael Miller – Same Soil

David Michael Miller – Same Soil |Album Review

Food for the Soul Records

www.davemillermusic.com

11 tracks / 54:56

Hi!

I do not get a lot of new Blues music out of Buffalo, New York, but apparently there is some pretty awesome stuff going on there judging by the CD from David Michael Miller, Same Soil. Miller grew up just south of there the Buffalo, where he started his musical endeavors by playing at church, while still getting a wonderful education into the ways of blues, R&B, and soul. After years of playing gospel music, he formed a few bands to explore the world of blues and soul music: Beautiful Bones and Dive House Union.

A few years ago he started recording solo projects, and Same Soil is his sophomore disc. David crammed the studio full of vintage equipment, and put his voice and guitar to work. He was joined by plenty of awesome sidemen, but his core band included keyboardist Jim Ehinger (Bonnie Raitt and Albert Collins), drummer Carlton Campbell (The Campbell Brothers), and saxman Jason Moynihan (Buddy Guy). Martin penned all eleven tracks for the disc, and it clocks in at a respectable 55 minutes – that is a lot of music for the money!

The first track in the set is “All the Blues to You,” which is an encouragement to enjoy blues in all of its forms. This is a great intro for the album, as David walks the walk: there are no two songs that sound the same, and he leads the listeners on a journey through many of the sub-genres of the blues. His voice is marvelous with clear and consistent tone, great intonation and outstanding diction. You will not need a lyrics sheet for this one!

Miller is also a very talented guitarist, and he lays down respectable acoustic and electric riffs throughout. His choice of vintage instruments was worth the effort as his tone is amazing. Likewise, Moynihan does a marvelous job of arranging the horns, Campbell has a heavy beat, and Ehinger is the master of the keys.

There is a little bit of most everything related to blues going on here: roots, rhythm and blues, soul, rock, blues rock and southern rock. There is even a killer live track, “Got Them Blues,” which was recorded at Buffalo’s bastion of the blues: The Market Bar. One of the standout tracks is “Doing Me In, Doing Me Wrong,” a killer stop time blues song with only riffs to die for.

This collection of diverse music all fits together into a cool package and none of the songs stand out or do not fit in. David Michael Miller turned in a solid performance on Same Soil with mature songwriting, good musicianship, and excellent production values. It is totally worth your time, so check it out if you get a chance!

Mahalo!

Review of Musical Theatre West’s Singin’ in the Rain

Greetings!

I have been a season subscriber to Musical Theatre West for a few years, and they are one of the best entertainment values in town. They put on very good shows for a modest price, and though I gripe about minor things, overall I am a big fan of what they do. So, I was beside myself when I saw that Les Miserables, one of the most popular musicals of all time, was on their schedule for the 2014-2015 season, and I was a little disappointed to see Singin’ in the Rain on list. I was completely wrong – Les Mis was so-so, and Singin’ in the Rain was fabulous! It even rained when we went to the show, which is no small feat in a Southern California summer.

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located $5 parking. And only two bathrooms...

The Singin’ in the Rain stage show is based on MGM’s 1952 hit film that starred Gene Kelly and Debbie Reynolds. The show was adapted with a book by Betty Comden and Adolph Green, lyrics from Arthur Freed, and music by Nacio Herb Brown. It stays fairly true to the movie version, and it includes your favorite songs from the movie, including the title song, “Good Morning,” and “Moses Supposes.” The show originated in 1983 in London then made its way to the states where it premiered on Broadway in 1985, with a run of 367 performances. Since then it has been revived regularly, as it is still a popular show.

It is a fun story, and if you are not familiar with it, here is the skinny. The play is set in Hollywood in the transitional era from silent films to talkies. Don Lockwood (Leigh Wakeford) and Lina Lamont (Rebecca Ann Johnson) are an on-screen couple who run into trouble because Lina has a voice that can make little kids cry and old ladies faint. Don falls for a nobody actress, Kathy Selden (Natalie MacDonald), and his old pal Cosmo (Justin Michael Wilcox) brings a bit of hilarity to the action. There is a little bit of everything in the story, but the guy gets his girl in the end. Of course.

In the Musical Theatre West version, the leads are very good, with a standout performance by Leigh Wakeford. This man is an excellent singer, a gifted dancer, and a pretty good actor too. Rebecca Ann Johnson is perfect as Lina, and her shrieking voice is still rattling around in my head a few days later. Wilcox almost stole the show with his comic timing, and MacDonald is a very convincing Kathy, though her hair was done terribly -- this show is set in Hollywood, not some mousy-haired east coast city (or Detroit). The rest of the leads and the chorus also do a fine job and this is a huge show, with over thirty on-stage characters. They were ably led by Jon Engstrom who takes care of both the director and choreographer roles.

MTW also provides a very good orchestra for Singin’ in the Rain, with more than twenty musicians in the pit. John Glaudini is the musical director, and he does a great job of bringing Brown’s music to life. As always, it is disappointing to see that the musicians get no credit in the program, and there is no indication of whether they are union members or not. Shameful.

Making up for the terrible job they did on the sound for Les Miserables, the production staff really step things up a notch for this show by bringing on a new sound company. There is none of the previous confusion about which microphones were supposed to be turned on, and everything is easy to hear with a good balance between the orchestra and the cast. There are no problems with the rain sequence, though there is a bit more noise from the umbrella than I would prefer – but that is an almost impossible task for live theatre. They even tape microphones to Wakeford’s tap shoes, so the audience gets the full Gene Kelly cinematic effect.

Karen St. Pierre’s costumes certainly seem authentic, and Dan Weingarten’s lighting is spot-on, but the real props have to go out to Michael Anania for his set designs (pun intended). The show takes up a huge amount of stage, and it is full of wonderful elements that really make the show pop. Of course, the most impressive element is the rain scene at the end of Act 1, which is really quite astounding. The water from the show is supposedly recycled, an important note in the drought-ravaged Southland.

Of course, I always have a few things to complain about. For starters, this is a long show and this time it did not start on time, which was compounded by about 15 minutes of speechifying from Mr. Garman. They do not do this sort of thing on Broadway or anywhere else I go to see a show, so I am not sure why there is the need to tell the audience business that could easily be handled on their website or through an e-mail. The acts of the show are unevenly broken up with two hours (counting the late start and the speeches) before the intermission and about a half hour afterwards. If they started on time the intermission would hardly be necessary.

The last thing is pretty much the fault of the show’s writing, and that is that the love story between the Don and Kathy is not believable or compelling. It is one element too many in a show that was already pretty crowded. I am not sure how to fix this, as a musical needs a love story…

Despite these few things, all of the other pieces came together in a wonderful way. Singin’ in the Rain is a solid show with good performances and it is 3 hours of fun – trust me on this one! The show will be playing through July 26, so there is still time to see it, but tickets are running low and one of the shows is sold out. Ending the season on a high note, now is the time to make plans for next year’s season, which will include My Fair Lady, West Side Story, Dirty Rotten Scoundrels and Sister Act. You can’t beat the value!

Mahalo!

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

Good day!

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!

Hello!

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

Hello!

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!