New Blues Reviews

Los Lonely Boys' "Sacred"

2006-11-15T02:14:00.000-08:00

Epic Records

2 out of 5 stars

Blues-iness
On their sophomore studio album, Los Lonely Boys have seemingly hit their stride in the popularity department with "Sacred." On the strength of their recently released single "Diamonds," a tune with hints much like their first mainstream success "Heaven," they look to be on their way. However, it seems that promotional purposes have marketed this Mexican Rock band as a blues album, which has, well...its repercussions.
The album kicks off with a Los Lobos-of-old flavored rocking number called "My Way" explaining the boys' ways of staying true to themselves and their music, answering any critics' notions of their selling their souls to the big label demons for commercial popularity. However, the real blood and guts of the album is highlighted about five tracks in on a flamenco-tinged, almost slow blues ballad called "I Never Met A Woman" which lends itself to another band of the Texican element called Tito and Tarantula. It has a slow burn feel to it, with just enough spice to definitely hint at the Stevie Ray Vaughan Texas roots of guitar player Henry Garza. The Garza Brothers, though lacking in lyrical content, don't lack in talent. Lush harmonies by all the brothers flourish throughout the disc, reminiscent of their Mexican roots from the mariachi tradition. The Garzas also call on their musical influences in the song "Outlaws" paying homage to Johnny Cash and the Texas Blues traditons. It is obviously that this fantastic band, especially in elder brother Henry's guitar playing, that these guys are rooted in blues but definitely do not produce a blues album.
It also obviously detracts from their previously released live disc which is just drench and flooded with the influence of Los Lobos, Vaughan, the Fabulous Thunderbirds, Tito & Tarantula, amongst others in the Texas Electric Roadhouse Blues tradition. With better marketing and experience on the road, the boys from Southwest Texas will make for a real good band blessed in the Texican spirit that they harmonize in the lyrics of the album

Ben Cox

Rod Cook and Toast: Troublemaker

2006-11-05T02:49:00.000-08:00

From the openng notes of "Beautiful Delilah" to the shimmering cadenza of "Come together", Troublemaker, the latest release from Rod Cook and Toast just erupts, one explosion of texture and color after another and never seems to pause for air. Cook is a great slide player, comfortable exploring the complicated soundscape that can be created by blending acoustic and electric instruments, some taken far outside their normal tonal range. But enough guitar speak....

There's some great songs, both well-chosen covers and originals. Beautiful Delilah, the opening track is an old Chuck Berry Chestnut that gets a full fledged make-over thats like a cross between that Duane Eddy low-pitched rumble and an overdue express train. My favorite track on this disk is 'Up the Line", an old friend of a blues standard that sports a driving, almost latin groove. But really, to pick a favorite is a tough choice, because there is simply some brilliant playing here- "the Chasm" has been rotation in my player for weeks, for the simple beauty of the acuistic guitar lines and vocal harmonies. With a disk like this it's not hard to understand why Rod Cook and Toast as one of the Pacific Northwests stronger bands.

Highly rated! Check the band out at their web site site: www.rodcookandtoast.net

Reviewed by Henry Mann

Aynsely Lister's "Everything I Need"

2006-11-04T17:02:00.000-08:00

About 8 Years Too Late
3 out of 5 stars

Ruf City Records

He sounds like he's from Texas on guitar, his voice reminiscent of Jamie Walters of "The Heights" early 90s TV fame; Aynsely Lister's album "Everything I Need" is running about eight years too late. When you put on the album, you'll understand that this is one of those good albums but not a great one. Hearkening everyone from ZZ Top to Stevie Ray Vaughan in his Texas-sized guitar sound and playing, Lister throws a long shadow of a flashback on the then encouraging blues-rock scene of the late 90s with the likes of Kenny Wayne Shepherd and Jonny Lang. Though those two eventually went on to sell their souls to the Big Label demons, Lister seems to make no apologies about who he is or where he comes from. When you get midway through the album, after being attacked with and loosed in the shuffle of your blues-rock mind, you hear an overly acoustic track called "As the Crow Flies," one of only two non-penned tracks by Lister himself that just grabs ahold of you and gives you a good shock. Then, four tracks later, you can close your eyes and envision Albert Collins ripping into one of his iconoclastic instrumentals, but its Lister delivering the punch with "Quiet Boy!" Finally, the last two tracks of the album will sell you, when Lister rips into a song reminiscent of SRV's classic "Tin Pan Alley" called "Need Her So Bad" that introduces you to some of the most dynamic playing on the whole album. Then, finally, Lister pays the ultimate tribute to SRV when he mimicks "Little Wing," the Jimi Hendrix classic, but unlike Vaughan's instrumental gem, Lister sings with that Walters-esque voice of his, adding a separate dimension to the song that is both haunting and captivating. If you can separate Lister from all the blues-rock warble of wannabe Stevie Ray's and the next Kenny Wayne's you might let this album find its way into your collection.

Ben Cox

2006-09-24T05:10:00.000-07:00

Bullfrog Brown
Uncooked
KWAQ Records
2006
(23'53")

Let's have the same team and do it again. Even better. Indeed, after their excellent Snakes & Devils, already reviewed here, Bullfrog Brown seems to have improved their style, or maybe their blues simply has matured. Unless it's the extra time they spent together on the road, on stage and in the studio ? Nevertheless, here's the obvious result : country blues to die for. With both respect for the tradition and that inevitable modern sound due to the fact this was recorded in a studio of our time. The nucleus still consists of Alar Kriisa on vocals, Üllar Kärt on harmonicas and Andres Roots, the guy with a predestined last name on guitars (slide, reso, etc), composer and producer of every title on this little jewel. They added the talents of Peeter Pilk on doublebass and mandolin here, Raul Terep on drums there, and, as an icing on the cake, Marju Varblane on violin. Yes, a little jewel indeed, and that maybe the only flaw on this CD : less than 25 minutes, 6 numbers only, that's just enough to make one crave for more. Let's wish this gets reissued soon with the addition of as many songs of the same quality. This EP will be commercially available, it should be on Black Cat CD in the US, Woodchuck Guitars in Europe, and as mp3s on Green Bullet soon.

René Malines

2006-09-24T04:36:00.000-07:00

Jimmy "Duck" Holmes
Back To Bentonia
Broke & Hungry Records – BH13001
2006
(39'01")

What we have here is no less than the proof that the Bentonia style is alive and well, and very healthy too.
But what is Bentonia style may you ask ? To make it simple, let's say it's the blues as it was taught to Jack Owens by Skip James, then taught by Owens to his fellow Bentonian musicians. The genre lovers thought Owens passing could also mean the disappearance of the style. Not at all. Jimmy "Duck" Holmes, a Bentonian himself, who benefited Jack Owens lessons, maintains the tradition. Holmes is a heir, a carrier of the torch, and he holds it high as this CD testifies. He also inherited the Blue Front Cafe, a local juke joint his parents started in 1948., where most of these sides were recorded in last november, the rest being recorded in December at the au Delta Recording Studio in Clarksdale, Mississippi. By Jimmy Holmes side, harmonicist Bud Spires, an old sideman of Jack Owens, can be found on several numbers, including Your Buggy Don't Ride Like Mine he sings, and legendary Sam Carr on drums when Holmes leaves his acoustic guitar for an electric one. It's raw, it's sincere, it's authentic, it's the blues as it was played in the American Southern country side a century ago, and as it is still being played today as proven here. Essential to the genre amateurs.

René Malines

2006-09-24T04:29:00.000-07:00

The Sean Carney Band
Life Of Ease
Nite Owlz Records
2006
(68'59")

Despite quick appearances in France last July, first as a guest with trombonist Sarah Morrow at the Parc Floral, then at the One Way Cafe in St Ouen where he first performed solo, then with Jersey Julie's band (ex-Mudcat, the Vagabonds), then again with Julie at the Martin Pecheur in the Paris suburbs a couple of days later, Sean Carney is totally unknown our neck of the woods. That's a shame that must be repared as soon as possible according not only to these very few performances, but also to this dazzling CD.
Second effort by this young man under his own name (he also lead Teeny Tucker's band on the road as well as on the lady's most recent recordings), this is an accomplishment, a true masterpiece of finesse, concision, vocal and guitar perfection, construction, arrangements, everything ! Clearly ingfluenced by the great T-Bone Walker and his almuni Duke Robillard (he has the balls to admit he's a fan of the Bostonian guitarist when the fashion these days seems to be taking down this genius) Sean delivers an album that, if it unfolds but a few aspects of his multiple musical talents (you must hear him play country blues ! He got it perfectly figured out !) will fulfill any normal modern blues amateur's expectation. His shuffles are of the "in your face" quality, his sophisticated blues à la Charles Brown will make you melt, his slow blues will tear you up moaning with pleasure. And don't go thinking for a minute this just another review in which the writer pleases himself by adding as many superlatives as he can in some sort of a litteral onanism .No, this album truly is of exceptionnal quality. Everything in it is excellent, from recording to mix to every musician talent, from tightness to expression, not to forget great guests such as the late Joe Weaver (these probably were his last recordings) whom Carney was a sideman too, Willie Pooch, and Teeny Tucker, just to name the vocalists only, when Sean is an accomplished singer himsel. It's the perfect album any band with a little talent dreams of producing one day. No need to say this CD is highly recommended. Now we can only hope to see the Sean Carney band booked on a french stage soon, if possible on a big festival one. And not 10 years from now !

René Malines

2006-09-18T13:46:00.000-07:00

Lance & Donna
The Sun Will Shine
Dog & Bone Records
2005
(59'29")

Or a recording come back by the sympathetic couple from Nashville, Tennessee. What could be said about these blues troubadours that hadn't been said already ? And yet, these two manage to surprise us again. First by writing 15 of the 16 songs on this album. Just when you thought there were more into covers, today they are so impregnated by the original models that their own writing wins the challenge of being both original and sounding like the old guys' blues at the same time. With the difference that Lance & Donna benefit of today's studio possibilities, which has the effect of giving their instruments, most of them acoustic here, that crystal clear tone. Donna is still as discreet with her perfectly mixed rainstick, giving her companion the right pulse when necessary, and she also sings, sometimes doing background vocals on the chorus, other times sharing the lead vocals in a tasty dialog with Lance. As for him, is it just an impression ? It seems that he has added different new aspects to his singing, thus colouring the several sides of the album with different tones, more than he used to. As for his playing, be it on an acoustic guitar, on a resonator one, on a lapsteel or on a ukulele, we know the man can do it. In the end, this is a CD filled with freshness and tasty lyrics, one of those little happy moments only such modern hobos can provide.

Lance Harrison Band
No Rest For The Wicked
Dog & Bone Records
2005
(57'43")

In France there's a saying that goes :"un bonheur ne vient jamais seul", which means litteraly "one happiness never comes alone" : Lance & Donna confirm by sharing the pleasure of their electric band, with a new album to add to the caddy. They took Paco Saval on keyboards, Manju B on bass, Ralph Schlaeger on drums, invited Ralf Grottian on harmonica on 3 sides, all of them excellent musicians, and there you go, here's the Lance Harrison Band ! As usual, Lance's inspiration as a songwriter, sometimes alone, sometimes with Donna's help, on 13 numbers out of 14, are American roots musics : some blues of course, but also ragtime, country, an inch of folk-rock, and here's about one hour of excellent music, tongue-in-cheek lyrics, but sometimes very tender too, always right on the spot. The experiment is a success : Lance & Donna in electric band mode ? "I'm down fo'it" ! Of course, it is still Lance & Donna, their trademark is right there, the CD is filled with their own musical personality, but with a different tone, a different groove. As pleasant as the duo, but it may also be Lance's chance to express himself in a context that allows him to explore new domains, things maybe more difficult to do by just the two of them in acoustic. Whatever the case may be, this is a perfectly cooked album, a musical main course that should satisfy the most hungry for authentic musics amateurs.

Get yourself both from : www.lance-n-donna.com

René Malines

Dan Treanor & African Wind

2006-06-28T02:53:00.000-07:00

Mercy
Plan-It Prod. PPCD 0015
(2006 – 64:10)

We knew about Dan Treanor thanks to the splendid album he co-signed with Frankie Lee : "African Winds", published by the Northernblues label. Here, Treanor, without Frankie Lee, selfproduces and conducts from A to Z (artwork included) an album by many musicians he's the conductor of. The multi-instrumentists surrounds himself with numerous talents : fifteen plus contributors, lead by a basis composed of she-drummer DJ Mrugala, singer Rex Peoples, bassist Christine Webb and (good) guitarist Randy Mrugala. The idea here is the same as on the record with Frankie Lee (to mix blues with African beats and instruments) and has spread quite a bit since, aside from African influences, Treanor adds those of barrelhouse, rock & roll, folk (listen to the violin tunes), vocals and fife and drums musics. As you might have guessed, what he's into is the "meeting" of popular, ethnics, or roots musics, pick the word that suits you the best. Dan Treanor doesn't suffer from the "white Zulu" syndrom, it is indeed the history of his own country, the United States, he tells. Almost a political committment in George Bush's days ! The music on this CD has nothing to do with a blunt lecture on "the blues roots are in Africa" à la Scorsese : it's alive, colourful, moving. The accent is on the rhythm, and a strong reference to Fred McDowell isn't vain : you'll often find yourself stomping your feet. Of course this album is a self production that could have been more focused : it suffers a little from its very generosity (there's even a bonus track at the end), but all we get is good music. Wish we could see them live !

Eric Doidy in Soul Bag magazine #183 (June 2006) , translated from french by René Malines.

Duane Allman - in Memorium (bootleg)

2006-06-26T13:29:00.000-07:00

(Bugs Bunny was known to say, “If I dood it, I get a whuppin’. Okay, I dood it!” So “I dood it” too, and, let the whuppin’ begin, because this is a bootleg release. But Duane played for the love of music—and that’s why I wrote it.)

Duane Allman:

In Memorium 1946-1971

They say the best tribute of a musician’s legacy is the test of time. How does/did an artist compare against his or her peers? What influences did he or she contribute that still manifest today? And most important and vital: does the music hold up with the same fire, charisma, charm, and devotion that made us listen in the first place?

It is therefore a privilege, an honor, and with the strongest affection I bring as a dedicated and inspired fan that I acknowledge the 30 years this past October since Duane Allman left us with a chance to say how much he touched our lives with music. That’s quite a statement, but there is a wonderful reason to rejoice: an assignment like this marks a sacred anniversary. With three decades behind a loss as powerful as Duane, it is an effort of love and joy to write this in behalf of so many fans and musicians who played with or listen to him.

What more treasured a way to add a tribute and inaugurate our group effort in music publication than to give center stage to a rebel who embodied a musician’s visions in so many classic ways? With Duane, it seems afresh that he truly brought out the best of others in his studio and stage contributions, whether it was in blues, rock ‘n roll, jazz, or country influences. In deepest thanks and acknowledgement, this has now been enhanced due to the double-CD I recently added to my collection of Duane’s work: Duane Allman – In Memorium. As a new collection of Skydog Allman at his uncanny brightest, I’m lighting this one first. Besides, it has six funny photos in one small convenient place of that red-haired free spirit: Duane with Berry from the Ludlow Garage CD; Duane deep into his solo in the studio; playing an acoustic with total glee radiating in his face; defiant and proud with arms crossed; a marvelous side profile of those elegant chops; and outdoors at Piedmont Park.

Take it back to Muscle Shoals, back to 1969-70, and let the Hawk, Ronnie Hawkins, step to the podium for a few cuts of testimony. Ronnie is “Down in the Alley,” and Duane starts off with a chainsaw screech on bottleneck that captures the slow molasses pace of this song. It sounds like he double-tracked his slide solo, but when you’re playing alongside Roger Hood, Barry Beckett, Eddie Hinton, Roger Hawkins, and King Biscuit Boy, Duane had the company to strut his stuff. And off they go, as “Red Rooster” parties all night long behind Ronnie’s deluxe boogie, and you can hear him twice call out for Duane on cue to lay down that electricity.

Duane could also drop down solos with a sheer ferociousness that could make a mediocre song sound good. He does so with wild abandon on the next two tunes, buttressing up the Soul Survivors’s “Darkness,” and then Sam Samudio’s (Sam the Sham and the Pharaohs, y’all) “Relativity.” When that special ingredient was needed, Duane could season up anything and make it tasty. But for himself—that’s where Duane doesn’t get the support from his fellow musicians, and it’s not because he wasn’t trying. Vocally, Duane just didn’t have the range to comfortably front a song for an entire album’s worth of work, as shown by “Steal Away,” a psychedelic wailing cut from a project that was mercifully better left abandoned. Duane redeems his poor singing on “Dimples,” but that’s on Volume II. And when it came to singing, outtakes from the first Allman Brothers release shows why Gregg was the natural choice for a song like “Trouble No More,” which shows up here in a version that was found in a tape on Momma A’s kitchen shelf. Duane’s stinging treble slide really gets in tasty comments, and it’s also worth noting that Gregg really threw his heart and throat into his delivery. The brothers, at age19 and 18 years old respectively, knew their roots. The same goes for “Don’t Keep Me Wonderin’” and “Revival,” which can also be found on the bootleg CD Second Coming.

However, it was also with his extended family of friends that Duane found companionship (see Delaney Bramlett’s interview and comments in the Gritz archives), and DB and Friends had a party when King Curtis and Duane played in August 1971 in New York City at a radio-sponsored show. Showcasing the talents of their intimate close connection, the self-proclaimed “Three M’skeeters” added in Little Feat’s Sam Clayton and Kenny Gradney to party hearty on “12 Bar Blues.” Delaney does stand-up comedy bits, Curtis blows golden smoke rings, and Duane preens like a peacock with trademark slide guitar comic comments, chuckles, laughs, and quips that literally speak in a special language of his love for playing. And for all you roasted and toasted freaks, Bobby Weir and the rest of the Grateful Dead were thrilled to have Duane come onstage to join them in April 1971 (just after the legendary Fillmore Concerts shows) to fill in on second lead for “Sugar Magnolia.” The visual impact of so many wild and crazy personalities must have been worth the price of an acid tab. This song is worth hearing if only to have a second opinion as to who had more jazz influences: Phil Lesh or Berry Oakley.

The CD ends with two early versions of the Brothers themselves onstage in 1970, taking a spin on “Elizabeth Reed” (at the Warehouse in New Orleans, March 19^th) and “Stormy Monday” (at Swarthmore College, on May 2^nd). The recordings don’t do justice to the band’s performance, although they have been cleaned up from sonic distortion, hiss, and crackles, and that’s only because the Brothers hadn’t really explored the possibilities that these tunes would eventually become a year later on “Fillmore.” But it’s Duane’s commentaries about the audience (“There’s a pervert down here…if any of you young ladies would like to pick up on one…”) that would make a fan blush. This is not to ignore or overlook his lusty, leering introduction to Dickey’s epic composition: “I’ve Got Peanut Butter Caught In My Pubic Hair…Crunchy Peanut Butter!” What else can you do when the leader of your band has the cojones--and talent--(and love as a leader from his mates)--to make Eric Clapton ask for guitar lick ideas and support on a masterpiece compilation like Layla and Other Love Songs?

On side two, though, is when Duane really shows why he was the unparalleled master of both slide and lead in a style that continues to be learned today. “Statesboro Blues” and “Whipping Post” (from a 4^th of July, 1970 show) are as colorfully artistic as the liquid light displays that the band used, and even in a shorter version, the latter is still breath-taking and loaded with opportunities. But come on back to the Warehouse in September 1971, with a fated few short weeks of time left in that remarkable life, when Duane blazed like a comet on “Blue Sky” and “Dreams.” The recording quality is lacking, but they are the two most vital songs on the package. On the former, Berry finds his wings behind Duane’s songbird-in-spring outpouring, following his and Dickey’s lead notes like a trio of soaring eagles. This takes the studio version to a magical realm that only the Allmans could have imagined in their creative capacities.

It is on the latter song, though, where Duane’s abstract jazz themes traveled to new dimensions. In his solos on previous recordings, he always floated as effortlessly as the out-of-body night trips we have of flying, but on this recording, he dove to the bottom of the deepest ocean to prepare for his ascent. If you want to track it on the sonar scope, the missile he fired broke the surface with that incredible liquid bronze fuel-powered sound on slide approximately 12 minutes into the song.

Duane must have been as hard to control offstage as he was daring in concert, so Dave Herman (host of the WPLJ-FM show in August) of WABC-FM in New York had to verbally wrestle with his guest’s quicksilver outbursts that scurried like the surface of a pond with water bugs. The closest man I can think of as a similar uncontrolled terror to interview must have been the late Keith Moon. I’ll argue with my credentials as a middle/elementary schoolteacher that Duane was as hyperactive as any student I ever tried to control—and we label ‘em as ADHD these days. That doesn’t take away from the potential and enthusiasm that goes with that—and I’m an acknowledged candidate for that behavior label, too, as friends can testify. But coming in drunk on Jack Daniels didn’t make Duane any less inhibited--if anything, he was ready to raise holy hell, and there was nothing holding him back.

This also included an endorsement to the audience to take off their clothes, which Duane cheerfully detailed in testimony for album covers, his views on the raw seething power of Dickey Betts as an unheralded musician, insights on the making of “Layla,” and nearly blurting out the private phone number for friend Johnny Sandlin. Oh, and he also encouraged a phone-in caller to meet him (obviously a female) for a potential X-rated rendezvous: “Say any dirty words you want…10:00 at your hotel…I’ll bring the whips and masks!” Dallas Taylor, drummer for Crosby, Stills, Nash, and Young, also present at the taping, must have been ready to dive for the fire escape to reach safety, as Duane was wired and ready to explode. To close the CD, Duane and his beloved band are back at the Fillmore for his gorgeous brief solo ending on the Eat A Peach and Concerts CDs, as “Will the Circle Be Unbroken?” gathers in the flock to safety. This song in its entirety (“Mountain Jam”) would be my vote for the last music I would wish to hear in my final moments on Earth, as it is a magnum opus of jazz, rock, blues, and gospel, built around a pop ballad.

As he was founder and inspirational father of the Allman Brothers Band, consider here that Duane inaugurated what I call the Allman Cousins (Berry, Scott Boyer, Tommy Talton, Pete Carr, Paul Hornsby, and Johnny Sandlin). They were more than just an extended family group, because they had been making music with him through so many precious moments, and deserve honoring their own category. Delaney Bramlett told me about how Duane and King Curtis and he were so closely bonded; I also saw fellow Domino Bobby Whitlock moved to tears when he finally viewed the photos of Duane’s gravesite. There is no denying that many men and women still grieve for their long-gone friend’s presence and spirit, and the years will continue to fall aside. As new generations of musicians and audiences explore the archives, and they will surely find themselves captivated by Duane’s extensive collaborations. With luck and personal negotiation, more material may yet surface. It would certainly be his way of spreading the joy of the music he loved, and in turn, our ways of giving it back. God bless you, Duane, for making it sound so beautiful and magnificent. Dedicated to a Brother.

Derek is Eric--and his mates

2006-06-26T12:34:00.000-07:00

If there has been anyone who carried the Olympic Flame of Guitar Heroes, Eric Clapton would have to be considered. He has matured as a musician who truly brings smiles to everyone onstage with him. Thank you, old friend, for these fireworks displays.)

Derek & the Dominos

In Concert (Polydor)

Live at the Fillmore (Polydor)

These packages are really fraternal twins of the same concert: two performances a night on October 23^rd and 24^th, 1970, at Bill Graham’s Fillmore East. If you love Eric Clapton (and not liking this phase of his career is like finding fault with a sunrise), then it’s a treat to own both CD’s, even though they carry the bulk of the same material on each set. However, the subtle nuances and slight alterations of Eric’s serpentine lead guitar and the athletic backup show of the Dominos (Bobby Whitlock on organ and piano; Jim Gordon on drums; Carl Radle on bass) make this a musical “would you prefer blondes, brunettes or redheads” type of opportunity! Just dig in and enjoy.

It always takes just one tune to make me reach for the In Concert disc, and that’s “Why Does Love Got to be So Sad?” Beginning with a loose exchange between Clapton’s wah-wah musings and Gordon’s ride cymbal/percussion prodding, the song shakes itself awake like a rearing stallion as Whitlock takes his cue on Hammond B-3 and starts to breathe fire. The band catches the momentum and everyone is cooking, and it’s especially interesting to catch Carl Radle’s fluidity if you use headphones. Underestimated as a bass player, he keeps himself nimble enough to make his partners give that little extra bit.

Okay, I’m a sucker for rock ‘n roll, so just juice it up with a “Bottle of Red Wine.” Eric and Bobby just have the time of their lives, and Clapton’s vocals and playing are pure enthusiasm, keeping tandem with Whitlock’s exhilarating background vocals and laser-beam organ lines. The guitar solo is crisp and punchy, and if your feet aren’t nailed to the floor, then you’ve probably moved the furniture and grabbed your favorite dancing partner. I’d leave things as they are: next up is a raunch ‘n roll, and someone needs to “Roll It Over.”—you can figure out that some groupie somewhere is patting herself on the back (literally) for the memories from this complement. The lyrics are bawdy and earthy, and Eric’s guitar reaches straight for the heavens like a beacon looking for an airplane at night.

There’s still room for a party, and Eric shows the way: he’s got “Blues Power.” Whitlock plays piano like a true percussion instrument, raining down chords to keep pace with Clapton’s voracious attack, and the ever-steady Gordon runs on nuclear fuel. One tune that appears as a before-and-after is a favorite of many from the Layla album: “Tell The Truth.” Stripped bare of the slide work of Duane Allman, this song has two incarnations, and each shows why this was a mandatory part of the set: the anguished, grievous singing of Clapton and Whitlock work like barbed wire to keep a sharp boundary marker that lets Clapton kick up his heels on Stratocaster like a scared rabbit trying to double back on its tracks, urged on by anvil choruses of piano and cymbal smashes. However, on Fillmore, Eric throws a nod to Skydog’s influence as he slips a bottleneck on his finger and whines and buzzes like an industrial saw on the jobsite.

A special serving of Layla tunes makes Fillmore a welcomed addition to your collection: “Key to the Highway, Nobody Knows You When You’re Down and Out,” and “Little Wing.” Clapton kicks off “Key” with a clarion blast of notes, then swings down on his chariot as Whitlock rocks him slowly. The lyrics are textured with a barroom smoky feeling, and Eric dreamily loses himself for a few brief moments, only to crack the whip again on his strings. Everyone successfully repeats this format for “Nobody Knows You…”, and Eric’s vocals stand as testimony to the original author’s shame and self-pity, and he puts out his best Freddie King tribute. With a touch of controlled lead mixed with wah-wah and steamy organ, Jimi Hendrix is saluted with the fireworks display of “Little Wing” as Eric pours out notes of 24-karat gold.

If there’s such a thing as British gospel, “Presence of the Lord” fits the bill. Eric’s voice is strained and fragile, but the melody is initially supported on the strong shoulders of Whitlock’s piano and backup vocals. Clapton gets his sea legs under himself—then he fills the sails with a mighty flurry, mixing string-bending with wah-wah effects. With optimism and recovery of sorts in mind, maybe it’s time to check out “Got to Get Better in a Little While.” Ominously direct and to-the-point with comments about Clapton’s battle with heroin (“Sniffing things that ain’t good for me”), Whitlock helps build a wall of driving piano with his mates to lay a foundation under Eric’s panoramic phrases. In songs like this, the rhythmic coordination of Radle and Gordon as counter-weights really shows why this team was so stabilizing in allowing Clapton his freedom to soar.

As a human dynamo, Jim Gordon kept a relentless pace on drums in a live set (ala Butch and Jaimoe), and he is turned loose halfway through “Let it Rain” to unleash a barrage of percussive fundamentals in his solo. Using a simple but effective kit, he pulls every inch of available space from his tom-toms, using their deep resonance to pull some bottom against the snare’s pistol crack and cymbal hiss and splashes. Whitlock’s Hammond shudders with fury, and Clapton again leaps for the upper atmosphere. When the others finally rejoin Gordon’s frantic pace (I have personal testimony that the boys were indulging right behind Jim, ignoring his warranted annoyance and “get up here and let’s play!” prodding), guitar and B-3 sprint home against him for the checkered flag, and Radle keeps them honest. On the Fillmore version, Clapton’s outburst at this point leaves the solar system at the speed of light.

So, maybe it’s time to slow things down—a whole lot. “Have You Ever Loved A Woman” lets everyone move like it’s 95 degrees in the shade…and the heat makes all the difference. His vocals rip apart his torment and Eric’s searing fingers perform open-heart surgery with a razor-sharp cutting edge. This is why they call it the blues—but this is really indigo-deep and to the core. With that in mind, turn back to Fillmore and let Robert Johnson’s “Crossroads” remind you of who caught Eric’s ear and soul with his own legendary bargain. Deliberate and crisp, everyone runs their routine like a gym boxing workout. For those of you who own the Crossroads compilation, this is the same version.

It really comes down to paying dues, and Derek & the Dominos put enough credit in their account to break the bank. As much as can be said about the excesses and emotional upheavals that were the detonating device and/or destroyer of their efforts, we can be thankful that they were so willing to live in this musical lake of fire. Clapton had the best team of commandos that ever strapped on, picked up, or plugged in during this timeframe, and for those who were lucky enough to have been there, seeing was believing. Hearing it again just validates what once was…magic…of the highest order from a man and his friends.

Mr. Lucky wins again

2006-06-26T12:32:00.000-07:00

Satisfied

Mr. Lucky (MRL Records)

After I laid this out for a listen, I am more convinced than ever that there is a kind of natural affinity of the coordinates of points South that creates material this good. A kind of a home-grown, musical Fertile Crescent has been nurtured for all these years for the industry--it must be the soil, or perhaps just good karma, but the talent is just getting better each year. There has always been good news available on the circuit from Nashville (which these men call home), Memphis to Muscle Shoals and over two steps to Georgia, but now it’s more exciting as new artists are taking themselves into distribution. With that in mind, these guys will melt the winter freeze in your home, and keep you in a groove that’s so deep it’s subterranean. “Satisfied” ain’t the word—I’m celebratin’!

Just dive right in to this mix, because it’s a split deck: either a hot, sweaty trek across a barren blues wasteland of pain and misery, or aged-in-the-wood vintage rhythm and boogie. Rick Moore’s grainy, hoarse vocals sound like a made-to-order mesh between Dr. John’s gravel and Gregg Allman’s soulfulness to lead the way, and Sam Stafford comes up with incredible, lion-sized claws of flesh-tearing lead and slide guitars or deliberate, muted runs. There’s stormy-nights-in-the-woods anguish that follows like a bad dream from Joe Warner’s B-3, only to shimmer like a rainbow when the clouds are gone; the pounding hammers of Tim Hinkley’s piano fall and jump like a gymnast’s routine, and the rhythm section of Nick Buda on drums, Jerry “Snake” King on bass, and Will Rhodarmor on harp send down some dangerous rockslides without any warning. Some special friends are also here: Jimmy Hall hoots briefly on sax and meets Doug Moffit’s horn and Wayne Jackson’s trumpet and arrangements, Jack Pearson lends a hand with lead licks on a tune, and Jimmy Nalls takes time for rhythm guitar on some cuts.

I always look for mojo to get things into circulation, and I found a heaping supply (on my favorite tracks): “Dark Before Daylight” has that slow burn that I crave, “Memphis Stripper” and “She’s Allright” are gonna be banned from my wife’s ears before she gets the wrong idea (and spoils my fantasies) about Southern women, and “Sell My Monkey” whips a slide guitar (disguised as a cat-o-nine-tails beating) behind a cruisin’ shuffle. However, the devil’s gonna getcha when Albert King’s “I Wanta Get Funky” comes through and claims your soul. There is also some great gospel here with “Hello Darkness,” a New Orleans stroll with a “Good Man Gone Bad,” and the best suggestion I’ve heard in years: “Take It Down to Memphis.” Just tell ‘em Mr. Lucky sent you—your ticket has been waiting at the gate.

Make yourself a New Year’s promise: you will make all efforts, superhuman or otherwise necessary, to see these guys play, and while you’re at it, insist that this CD is included in the show. I’ll tell my missus that I’m working late that night, and we can celebrate together afterwards. Guaranteed we’ll be “satisfied”!

Barbara Blue: Recoloring the blues

2006-06-26T12:31:00.000-07:00

(Friends said to me, “Do you know what you sound you’d like doing to her?” Damn right I do—but Barbara was very pleased with this. She told me so. Yes she did…very pleased. I know which side of the bread the butter goes…)

Sell My Jewelry

Barbara Blue (Big Blue Records)

The most impressive thing to see when you’re in Memphis is…the Mississippi River, right? Not even close—the tides and currents, they say, slow down, when Barbara Blue is on stage and doing a number. The lady may sing the blues, and some wicked funk, too; be warned, though, because she’s more infrared, and liable to make the Greenhouse Effect look like an afterthought on the thermometer. Barbara may say she’s blue, but I don’t know if there’s a measurement yet for this musical heat on the spectrum.

This is a new voice—one that would make that ol’ river go back for a second look—she commands, demands, and gets attention. It’s the kind of effect a vixen named Circe did for twelve months to a wandering sailor named Ulysses. She wove some potent spells, that woman. In another similar way, if friend and heartbreak E.G. Kight has the pipes of a brass horn, then Barbara is alongside with an alto saxophone for vocal cords, and you will follow her beckon and call. Why? Same as E.G. did: here’s another one who’s “Trouble with a Capital ‘T’”. Oh, Lord, this should have been a signal that I was about to beg for mercy, and Mike Finnegan’s chilling B-3 acts as Barbara’s high priest to draw you to your knees. That’s the Texacali Horns who weave and sway behind her (Joe Sublett and Darrell Leonard), and there’s no choice but to obey Barbara’s wishes. Joe sneers and jeers at your fate, but Barbara holds the power to be pleased: you can’t get away, and she’s also “Back by Popular Demand.” Those three snake charmers who serve their mistress so effectively are Larry Fulcher on bass, working alongside Tony Braunagal’s rhythmic drumming, and Johnny Lee Schell’s weaving guitar.

What would she bid you to do? She has the “Tool Box Blues,” (although I think she’s not worried about it). ‘Just stick around, baby, you’ve got something in your tool box (that turns her love light on) and you might come in handy some time.’ No need to guess what her workbench is, brother, and you’re gonna be changing more than oil. Yes, that’s the grease gun in your hands, but not from the hardware store. But see here: as I said, the woman knows what she wants; she’s for real and down-to-earth, and the diamond solitaire on this disc comes from the sweetest chords you can find when Barbara and her men roll out the carpet for “Don’t Lead Me On.” This is what it’s all about: she’s got a heart of 24-carat, and that’s worth a royal ransom. Power and beauty do have a match, and despite all the worries and fears of losing herself, staying true (and blue) to Barbara could be the finest thing a man could find.

So now you’re committed and hooked, and there is something sweeter than sugar coming when Barbara gets over her “Road Blues.” You can sway and grind because she’s got you in that magic spell, and John “Juke” Logan’s harmonica wails like a pet songbird that has just seen the light of a new dawn in the window. Maybe that’s you on the perch, looking for favors, and if Barbara’s going places, so is her main squeeze, because she “Can’t Get Your Lovin’ Off My Mind.” Accessories are one thing, but love is a commodity, and the self-titled Memphis Queen has her expectations—and fulfillment is a noble priority. There are more dangerous things to do than disappoint her (with a CD like this, honoring her sensuous decrees will become the next Olympic Extreme Sport event).

Barbara has some spiritual musical guardians watching over her, and you don’t mess with the vamp and sermon of John Lee Hooker, who must be smiling down on this earthly messenger. Taking a mosaic look at the Hook’s titles in a throbbing molten lecture, “From the Delta to the Golden Gates” drills deep into the heart of the blues master’s soul in tribute and love. She’s also more than capable of handling any tomcattin,’ and I pity the fool who instigated the angry manhunt and threats from “Cheatin’ Blues.” You need some serious insurance to double-down in love on a woman with more tattoos on her arm than you have. She’s still a romantic in spite of all the wounds, and there’s a “Drunken Angel” in the picture. Staggering, twisting organ and a gorgeous ballad tune are the medicine Barbara needs. So, since she’s feeling alive again, it’s because she’s been “Brought Together By the Blues,” and Honey and Rod Piazza have penned a magical recipe for her. Just in case that doesn’t keep ‘em crawling back for more, Godmother Janis Joplin will cast down the judgment of “Turtle Blues,” and Barbara won’t turn the other cheek. If anything, she’s ready to sock you on the jaw.

So when they say, what are the great sights out west, there are monuments, statues, natural resources, and other wonders—but none of them sing. And none of them are as magnificent as this woman, who deserves, earns, and offers a package of value that has a price tag worn in her heart. Just think: she would sell her jewels for your love at www.barbarablue.com—and she’s one helluva glittering gem herself. She’ll wear you with pride, too, and that’s why blue is going to be your favorite color. Barbara’s gonna tell you so.

Delaney & Bonnie On Tour with Eric Clapton

2006-06-26T12:27:00.000-07:00

(Ladies and Gentlemen, in my opinion—and one echoed by fans and friends throughout the country and around the world: perhaps the purest rhythm and blues band to ever be recorded: Delaney & Bonnie & Friends.)

Delaney & Bonnie & Friends

On Tour with Eric Clapton

(Atco)

If it is true that we are judged by the company we keep, then Delaney Bramlett has the musical wisdom of Solomon. Can you imagine having an on-stage lineup of this proportion: Dave Mason, Jim Gordon, Bobby Whitlock, Carl Radle, Bobby Keys, Jim Price, Rita Coolidge, Bonnie Bramlett, Tex Johnson…and a fella named Clapton. Lord have mercy!

Maybe the Beatles said it better: “I Get By With a Little Help from My Friends.” Delaney knows the merits of that—just look again at those names and you know that his little black book of phone numbers belongs in the Smithsonian. I mention the Fab Four because Delaney played with them, too—and George was another Friend of this widespread family. In fact, both he and Ringo were at one of these shows—and stood on their chairs during the applause to show their enthusiasm. You could add another Beatles phrase in here, too: “…you’re gonna carry that weight”: this band’s power and energy moved fixed stages. But when there was this kind of power coming from the set, they probably needed steel reinforcements.

From the first notes, Delaney’s relentless driving pace and Bonnie’s crackling, tearing voice rips up the set for this awesome, blistering performance as “Things Get Better” literally kicks off like a revved Harley. Whitlock’s steaming organ fires up beside the horns and a great jangling guitar solo takes your breath away. By the way, the man who truly held the helm throughout this show was Carl Radle—just see how quick his fingers jumped as he guided the pace while letting his bandmates enjoy the spotlight. Radle is, in my book, a forgotten mentor for bass players who need to learn how to handle a band in the manner that a trainer works a Kentucky Derby winner.

D&B’s souls come with a deep love for two vital ingredients: Robert Johnson’s blues and gospel, and “Poor Elijah—Tribute to Johnson (Medley)” lets this good man and woman tell their stories as they set their voices aloft like kites dancing in a summer wind. Mr. Clapton scampers and jumps like an enthusiastic, happy puppy during his solo, with notes that are just down-to-earth delightful and honest in their directness—just listen to his sincerity.

In case you overlooked it, Dave Mason had a well-known hit that Delaney covered: “Only You Know and I Know,” and when the band takes it, everyone gets a chance to show off their strengths—especially the guitar solos that challenge each other in a magnificent duel, but please thank Jim Price and Bobby Keys for their horn work and tremendous efforts as they project a panoramic wall of sound as a backdrop. If anyone in the audience wasn’t torn to a frenzy during the Bacchanalian-like festivities of “I Don’t Want to Discuss It,” I’d like to know if someone checked their pulse. The band races on a hell-for-leather mad dash behind Delaney’s ecstatic zeal—just pick any player, follow them over their own off-road rally, and be sure your seat belt is buckled, ‘cause this is free-wheelin’! Have you ever seen those speeded-up old-time films—the Keystone Kops come to mind—where everything seems to be in double-time? Imagine a song at that pace. Wait a minute--when the party is over, Ms. Bonnie has the spotlight—and a red one, please—the lady asked for it--as “That’s What My Man is For” calls for some sweaty swayin’ and bumping and grinding. And tell it, tell it righteously she does, just the way it is, two-fisted, rich and raw, as she puts her pipes through a session that would make Janis Joplin stand up and pump the air with a proud salute.

In another of those “here-we-go-again!” escapades, “Where There’s A Will, There’s a Way” sets Olympic records for enthusiasm, excitement, and all-around musical marksmanship, and that’s why fire extinguishers are made—to put out blazes like this--sho’ nuff, honey. Follow this up with “Coming Home,” as Dave Mason’s snaky slide guitar taunts Eric’s lead, and the horns make it clear that this destination can’t be denied. So what do we do for a finale? Whop-bop-a-loo-bop!—dance yer shoes off (and anything else that comes loose, but don’t stop!), as a Little Richard medley demolishes “Tutti-Frutti,” grooves into “The Girl Can’t Help It,” flaunts a passionate “Long Tall Sally,” and escorts sister “Jenny Jenny” for all the right, naughty reasons. Get up, get down, get it on, and best of all, get to it! And if you can catch yourself from dancing in the street, then you need another listen. Memories are made from shows like these—may I be lucky enough in my lifetime to meet more people who were in England on this magic night and hear their testimony.

Come into the Blues: E.G. Kight, the Georgia Songbird

2006-06-26T12:21:00.000-07:00

(When I finished this, the tears were streaming down my face. “I’ve Been Loving You Too Long (To Stop Now)” is a tornado waiting to be heard.)

Come Into The Blues

E.G. Kight (Blue South Records)

Don’t tell me that lightning doesn’t strike twice in the same place: I’ve got E.G. Kight in the CD player and there’s a bulls-eye on my chest. Everything on this disc is blue as can be—even her Fender guitar and denim outfit—and the music grabs your soul and shakes it as fiercely as a pit bull.

My gosh, does this lady rock! Just be sure to check your hat at the door, because you won’t be leaving soon—there’s some accounts due and guess who is holding the check? Not E.G: Get out of the way, she says, it’s time for “loving a brand-new man,” she’s gonna be “Somewhere in Atlanta,” and don’t you dare even try to make amends. The horns chatter away like gossiping jaybirds in agreement, and I’ll guess that someone’s using a fish fillet knife on slide to create those ripping squeals. Follow that with a saxophone solo by Elbert Durham that scorches and torches everything in sight, and E.G. is long gone—and you can just get back on that train, ‘cause someone ain’t treating her with justice. There’s not one ounce of remorse, because she testifies that it’s time to “Unlove You,” and although her heart is breaking into a thousand pieces, that aching sax and smoky vocals just won’t give you another chance. No way!

Anyone who thinks he could win over E.G. had better bring some big boots to fill. Can’t get the job done? She knows it now, and tells you so: “I Broke a Heart” (which I know now was her own, too), and a woman scorned is as friendly as a diamondback rattlesnake with a case of sunburn. Two mistakes don’t take her off the playing field, and there’s some hot slide being served from the pitcher’s mound, throwing strikes for her team. Take your bat off your shoulder, mister, and turn in the uniform, because your love is just “Skin Deep,” and it’s a long walk back home. However, she’s found her home-run man, and it takes her five days to get primped and proper for “Lovin’ on the Weekend.” Here’s that rascal on slide again—he’s obviously the clutch performer she’s been needing, and the rest of the band keeps an all-star scorecard.

With the sun setting and the crowd gone home, E.G. has found true love and thrills. It’s a natural thing, and she can now say, “At Last,” it’s time to slow-dance with a Patsy Cline-like smooth vocal and soaring hopes—and hold her close. How sure is she? She’s smokin’ the racetrack, and now she’s got “Fuel to Burn.” Rev up that guitar—I mean, engine: The NASCAR circuit would be wise to host E.G and her band if they want to see some real action. There’s new meaning to the phrase, “mechanic on duty,” folks, when E.G. pulls in for a pit stop.

She just can’t shake those blues, though—the hurt is hard to ignore, and “Bits and Pieces” of that ill-fated love affair are everywhere. Is she moved? Like a woman should be, especially since “Nobody Ever Touched Me There,” and she means to the roots of her soul. E.G. will cut you loose one last time, and with a melody that jitters and jukes with a strong hint of the Beatles’ “Money (That’s What I Want),” a free woman makes one last stand for her independence and declares, “I Don’t Care No More.” Just light a candle, though, because you need to know: “I’ve Been Lovin’ You Too Long (To Stop Now).” With a rising, spiraling vocal to take her prayer aloft, approaching stormclouds brew as the horns, percussion, and B-3 give wings to her words. Those aren’t raindrops falling, they’re tears, and they could make a river overflow. That brings it to a close, but there’s no denying that love lost is a heavy price to pay. Just bare your soul and let her show you why she shares that same burden—they make movies from songs like this. And when E.G Kight is feeling it this strong, that’s why you need to Come Into the Blues.

Albert King and Stevie Ray Vaughn: In Session

2006-06-26T12:18:00.000-07:00

(Awright, y'all, just making sure we understand: some of these folks that I review have seen better days and some are no longer with us--but they played with their heart and soul as instruments. Dig 'em!)

When Delaney Bramlett told me Albert King was a friend and inspiration, I was caught off guard. That only took 10 CDs of Albert King material to correct! Worth every penny and minute of effort, too. It’s too bad that Albert never learned to read—I wish he could have seen this. Farewell, Stevie Ray. We lost you too soon.)

Albert King with Stevie Ray Vaughn

In Session (Stax)

The old saying is true: when the student is ready, the teacher will appear. In the case of Stevie Ray, his apprenticeship reached a new peak on December 6, 1983, when he was asked to share a stage with the legendary Albert King for an independent television station gig in the Canadian province of Ontario. This was not their first meeting: Albert had been observing Stevie’s career burn like a bonfire when the veteran guitar player caught an introductory 1973 show at the Coliseum Club in Austin. The skinny Texan with the gravelly voice and blazing hands left a lasting impression on the big man with the arrow-shaped guitar, and Albert acknowledged that he stayed back without revealing his personal interest in order to better watch the fiery youngster perform.

Stevie had earned Albert’s curiosity the hard way: he had paid his dues by studying the tone, the string-bending, and the blues-drenched statements that made King famous. This album, just released in 1999, simultaneously captures the two-fisted sledgehammer power of both men’s hands and fingers—but also demonstrates the delicate caresses on their instruments with which they lavished their love for the blues. More importantly, the fondness and adoration of the master for his pupil (and vice versa) is clearly heard throughout the running comments and patter throughout this set. Albert confidently encourages, coaxes, praises, and blesses his protégée. In return, Stevie’s worshipful delight and authentic “aw, shucks” simple appreciation literally shines like a beacon from a lamp with faithful friendship. The two men were perfectly at ease with each other; both locked in synchronicity.

Joined by Gus Thornton on bass and the Llorens brothers (Tony on piano and organ; Michael on drums), the set ran for 105 minutes, but an hour’s worth is preserved here as a musical documentary. “Call it Stormy Monday” lays down a tutorial in driving nails with guitar strings as hammers, with Albert cutting a path on first solo, then gleefully urging his partner throughout the blistering reply. Both men pass verbal snapshots of nostalgia after the song is finished, and it’s obvious that they totally enjoyed this opportunity and the craftsmanship that it produced.

Albert then beckons Stevie to do “that fast thing—that rap thing—that had a heckuva groove to it!”—and Stevie muscles his way into “Pride and Joy,” much to King’s radiant delight. The rhythm section hauls their heavy load like a big trucker’s rig, and Stevie’s coarse-grit sandpaper voice and jack-hammer fingers work on the Strat’s jumbo strings like a pneumatic drill on concrete. King then asks Vaughn if he would help out on “Ask Me No Questions” (a song covered by B.B. King), and they pack a front-and-back galloping display of firepower pulls and pushes as Tony Llorens nimbly dances over the piano keys. There’s a verbal celebration on the sidelines when the song ends, and the electricity between these two is crackling with excitement and potential.

Albert handed out some meaty praise to Stevie when he asked him to fill the shoes of the late Jimi Hendrix (no surprises there!) on “Blues at Sunrise.” King bends his intro notes and solo with blowtorch heat on his Flying Vee (they say Albert bent strings that stayed bent!) and instructs his student to come on in just like Jimi did. Vaughn takes the task with concentration and deliberation, laying off the volume control to keep things at a savage hum.

With that, Albert calls for new strings and says it’s time to sit back and watch the younger generation call the plays at quarterback. The signal is for “Overall Junction,” and Stevie and Tony L. make the most of the double-reverse play. One can only imagine that Albert looked back and contemplated the horizons that beckoned to his young scholar. “Put this on your next album,” he mentors, and “Match Box Blues” is laid out for Stevie’s infusion. Pumped with vitality, “Don’t Lie to Me” lets King crush his strings beneath those immense hands (that’s why he couldn’t hold a pick, right?), and Vaughn steam-rolls a reply, flagged on by his proud coach. The rhythm section has their cross-traffic patterns locked, and this magnificent encounter closes with both men in a musical arm-wrestling match.

God bless them both for giving us such a treasured fruit of their labor. And dear Lord, we miss them dearly. Play the blues, everyone, for Albert and Stevie Ray! They’re playing together again, you can bet on that. So, today’s assignment is to get your copy of this disc. Albert King wouldn’t have it any other way—and anyone with a sense of self-preservation knew not to upset him. And Stevie would just as quickly bull-whip you with a song—so follow in their footsteps and party hearty!

Son Henry Band

2006-06-17T04:00:00.000-07:00

Glenn Highway Blues
Front Porch Records

Alaska is the last real American wilderness. Vast and widely unpopulated, nature calls the shots here, and those weak of spirit cry “Uncle” early and high tail it back to whatever white bread civilization they came from.

Not surprising then that Alaskan Son Henry’s release “Glenn Highway Blues” is as wild and untamed as the state it was conceived in. This is blues from the gut – unvarnished and unpretentious. All nine tracks are penned with ink culled from Son’s sweat and tears. The rhythm section (John Clark on drums and Joel Lockman on bass) is tight and economical on each track – driving the beat and yet snuggly in the pocket every time.

This builds the perfect base for Son to do his “thang” – big, bold electric and slide guitar playing, some rustic harmonica flavorings and, of course, the lap steel playing that is quickly defining the man as a force to be reckoned with. Son’s vocal style is earthy and relaxed, the perfect vehicle to deliver his tales of love both won and lost.

As with the very best of all blues, the songs deal with every day life, love and relationships. Damn this man for writing “Second Glance”. Its desperation and resignation hit me so hard every time I hear it that funny watery stuff comes to my eyes. It scares me when someone details the longings of my soul before I’ve even defined them myself. Son is good at that – VERY good. “Heartache In My House” is another outstanding cut. The beat is down home groove. The message is the reality that sometimes home is not quite the cozy castle it should be.

Temporarily relocated to Aberdeen, Scotland, Son initially put “Glenn Highway Blues” out as an independent release It has recently been re-released and distributed from new blues and roots music label Front Porch Records (www.frontporchrecords.co.uk), unleashing Henry on the unsuspecting United Kingdom, who have responded by making him their new favorite adopted son.

They better enjoy him while they can. His suitcase is always packed and ready to head off to the next adventure. We can only hope he continues to document his life with the same flair as he has here.

Lisa Monroe
Dallas, Texas

Papa Mojo

2006-06-17T03:23:00.000-07:00

One Foot in the Groove
Front Porch Records

Scottish blues band Papa Mojo released their new cd entitlked 'One Foot in the Groove" this week and we were lucky enought to get an advanced copy. It's a great cd, basically recorded live in the studio, and features over a dozen great tracks- all covers of classic blues songs largely from the Pre-War cataloge.

The disk is really energetic, raw in all the right places and captures the rough edges of a Scottish Blues Roadhouse gig. Not to be missed, it's a kiler!

2006-06-04T11:52:00.000-07:00

Bernie Clarke & The Rhythm Sharks
Love Recession
Burning Bridge Records 02001
2002
(65'08")

From the very beginning of It Takes Time that starts the album, you know you ain't gonna get bored with this CD. Good old electric blues, the kind that makes beer flow from the tap in live music bars as much as it leaves the musicians soaken wet with their own sweat. Because it's very clear : these guys just go for it. Although easily labelled real blues, any academism disappears behind the obvious commitment of this band à la Nighthawks. It's a tight group with a rhythm section made of concrete, the kind that can resist the worst tsunamis, on which the harmonica and superb singing of Bernie Clarke can proceed like movie stars on the Cannes film festival red carpet. Not to mention Seth Rochford's guitar playing. The man's skills are just as remarkable wether he plays solo, rhythm or these little fills that bring a smile to the amateur's face. Add Dan "Cato" Eaton as a guest on piano, organ and sax to the rest of them and here you have a band that should be able to start a riot among the tightest audiences. Seth Rochmond also sings, here on Good Luck, Bad Luck and Married Man, two of his own compositions, and it is surprising to hear such an almost juvenile tone of voice while he is the band member who cultivates the most the ol'fart's looks. As for their style, the Rhythm Sharks have many, for they allow themselves the addition of an exotic Tex Mex tune between a Chicago Blues and a boogie jump à la William Clarke, before they let themselves go into some kind of laid back shuffle that will make you snap your fingers while you moan with pleasure. The only odd track could be the cover of I Can See Clearly, but it gets a slow rock, end of the 60's, beginning of the 70's Rolling Stones style treatment here. So it's up to you to decide : if you enjoy your Jagger/Richard minus 30, 35 years, you should like this song too. But if you don't, one track out of fifteen shouldn't be sufficient to overlook a CD that for the main part is filled to the top with an energy that should be heard on CD's more often. Georgia Slop alone, at the end of the album, should be enough to blow your blues away for quite a while, leaving you breathless and maybe a little dizzy too, with nothing else to do but to press that "play" button again so you can treat yourself to another helping of this good fat rocking blues the Rhythm Sharks play for you. Not convinced yet ? Well, just pay a visit to http://www.cdbaby.com/cd/rhythmsharks and listen to the audio clips.

René Malines

2006-06-04T10:03:00.001-07:00

Richard Ray Farrell
Acoustic Roots
Blue Beet 100002
2005
(58'34")

Real down home acoustic blues lovers, attention please ! Here's a CD that aims at the essential as it demonstrates a confirmed artist's talent, a man at the peak of his possibilities both technically and soulness speaking, the latter being a major element of this music we have a passion for. Recorded live in the studio with absolutly no overdub except for track 17 John Henry, Richard Ray Farrell plays guitar, harmonica on a rack and sings all at the same time, all this to perfection. Without commenting on the obvious tribute to ancient bluesmen, one can only aknowledge this album is a hell of of a tip of the hat to them, while it absolutly keeps a tone of today. Here Richard Ray Farrell is at the top of his art, the blues, the real thing, the one that takes no prisonner. His finger picking playing should make virtusos who privilege techine over feeling sick, the man making the proof with each and every second of this disc that both can perfectly go together. As for the harmonica on the rack, it's just another evidence of the mastered musicianship of this true one man band who seems to have no other goal than to play the blues for what they are : the expression of a deep feeling that must definitively come out. To make it short, Richard Ray Farrell knows his subject and lets us know in the most beautiful way. 18 covers out of 19 tracks, the man doesn't try to re-invent the blues, but wells it from the source instead just to renew the message the creators of the genre have spread before him. A original composition concludes the album, Blues-Flamenco, as if he wanted to state "this, also, can be done with the blues". In the end, we get about an hour of a pleasure as intense as Richard Ray Farrell's singing and playing. Our advice : go check by yourselves on his website www.richardrayfarrell.com

René Malines

2006-06-04T10:03:00.000-07:00

Richard Ray Farrell
Bohemian Life
Blue Beet 100001
2002
(53'37")

This a totally different CD by Richard Ray Farrell. Because here, Farrell goes for the whole electric band with not only a different tone, but also a different approach of the blues. One won't be surprised to find Jerry Portnoy, David Evans and Mark Wenner from the Nighthawks sing Farrell's praises after they heard the album. 16 original compositions pay their due to Chicago blues (Fine Little Number) Memphis sound (Cold Heart), jazzy blues (Lawfully Wedded Wife, somewhere between Johnny Adams and Charles Brown's styles, with a mood both heavy and subtle, thanks to Benjie Porecki's Hammond organ), or New Orleans (School Of Hard Knocks in which Farrell also demonstrates his talented slide guitar playing).
The artist hired a great band to back him up, for if he sings and plays guitar (with the same frank and clear attaq as on his acoustic album, even if with a totally different technic) and harmonica except for Fine Little Number, Blues All In My Home and Mean Case Of The Blues where Jerry Portnoy takes over, by his side, apart from Porecki and Portnoy already mentionned, no less than Steve Gomes on bass, Robb Stupka on drums and Bill Heid on piano can be found. What a great bunch ! Richard Ray also showcases his acoustic skills on a few numbers which are more than just intermissions between two electric tunes, but real songs to be appreciated just as much as the rest of his material. As you must have figured out by now, the man knows his blues and lets the world know. Here's an album that most demanding amateurs shouldn't be ashamed to add to their collection.

René Malines

2006-05-31T08:14:00.000-07:00

Son Henry Band

Glenn Highway Blues
Front Porch Records
2005
(37'35")

Heartache And Trouble
Front Porch Records
2006
(42'26")

With a big fat saturated tone that goes so well with the singer's voice, this trio delivers a basic, efficient blues. It's constituted of Son Henry on guitars, lapsteel, harmonica on Glenn Highway Blues, and vocal, John Clark on drums and percussions, who was compared to a blue Charlie Watts : efficient, clean, with never one too many hit of a stick, just what is needed, when needed, where needed, and Joel Lockman on double bass, plus harmonicist Otto "Ottomatic Slim" Lenz and vocalist Blue Lisa Monroe on their latest album. To them, subtlety resides in softer performances, rarely in useless ornaments. Second Glance, a beautiful blues ballad from the Glenn Highway Blues album, is a good example of this. But their aim always is to go for the essential. As if an unnatural union between Howlin' Wolf and Creedence miraculously gave birth to the band. Add some rural gospel in the background and you may start to get a fair picture. Nevertheless, flowing sophisticated playing lovers won't be dissapointed either. Some of Son Henry's licks on slide, even more on the lapsteel he seems to have made his main instrument, should fullfil such a need. If the strange instrument tone may sometimes remind of Sonny Landreth, with some Elmore James, maybe not as wild though, in Henry's playing, the whole thing also has very nice reminiscences of root country. There is swamp blues too in Son Henry's music, just check out the instrumental Granite City Shuffle that opens Heartache and Trouble, a song that could have been a Slim Harpo or Lonesome Sundown original. On the same CD, Richer Than A Sheik showcases the artist's talent to mix his influences such as Chicago blues shuffle and Chuck Berry. As for Muddy Waters, his ghost haunts both albums entirely. But if these musicians influences came from different sources (there 's even a jump blues on the latest album), it's their tone, their sound, that gives the Son Henry Band its strong, mature, and most of all highly recognizable identity. Son Henry may hail from Alaska, his blues is far from being cold. Don't hesitate to warm up to it by visiting www.sonhenry.com.

René Malines

Dan Treanor & African Wind

2006-05-27T02:29:00.000-07:00

Dan Treanor & African Wind
Mercy
Plan-It Prod. PPCD 0015
(2006 – 64:10)

Not as down to earth as Johnny Copeland's meeting with his African
cousins, absolutly not as intellectual as an Otis Taylor's chorus,
closer to a Otha Turner with his fife stuck to his mouth, Dean Treanor,
a white skinned man, makes the African wind blow on the land of the
blues together with his gang of four and…about twenty guests of
different origins. A shock between cultures, voices and intruments.
Local chants, slaves' too, gospel, blues, country, celtic music…happily
mingle in a style accuratly named "Afrossippi Blues". A great album to
be found here : www.dantreanor.com

Jean-Pierre Savouyaud in Virus de Blues (translated from french by René
Malines)

Louisiana Red- MIDNIGHT RAMBLER

2006-05-11T08:36:00.000-07:00

Louisiana Red---"MIDNIGHT RAMBLER" review.

Production: as simple as it gets. A voice. A guitar. No effects. No overdubs.

Red's guitar playing is straight-ahead and clean--reminds me somewhat of Mississippi Fred McDowell. He doesn't do anything particularly amazing or groundbreaking, but it provides great support to Red's voice.

Red's singing: maybe not to everyone's taste. At first listening it seemed to lack a bit of nuance or subtlety, but I found it really grew on me, and suited the material beautifully. Maybe some of my complaint is due to the extremely basic production values on this CD. One thing about Red's singing is his excellent projection and diction (something a lot of bluesmen aren't noted for)--you can clearly understand every single word he sings.

The songs. This is where the rubber meets the road. LR is one of the most personal and intense singer/songwriters out there. This guy can make you squirm uncomfortably and laugh out loud---sometimes even in the same song. Listen to "Death of Elise", "Sweet Blood Call", and "Too poor to Die" and you'll know what I'm talking about.

Juke boy bob's rating: HIGHLY RECOMMENDED. Give this CD two listenings and you will be hooked

About New Blues reviews

2006-05-07T04:16:00.000-07:00

This site is written and maintained by some real hard-core blues lovers. We write honest reviews of music we appreciate and actually listen too. We have no corporate agenda, and our editorial policy is simple- if we don't like it, we won't review it, leaving self-important negative reviews for the other guy.

To have your CD considered for review, please email info@frontporchrecords.co.uk

Root Doctor- Been A Long Time Coming

2006-05-07T04:12:00.000-07:00

Root Doctor
Been A Long Time Coming
Big O Records - 2406
2006
(56'19")

This CD immediatly starts by aiming right at the middle of the target with an almost jump blues shuffle in which, from the very first notes, Greg Nagy's guitar causes your jaw to drop. Not only because of the man's dexterity, but also because of his "controlled" imagination. Indeed, neither a uselessly loghorreic guitar hero nor a servile emulate with no personal input, Greg isn't the kind who delivers the same licks heard over and over a thousand times everywhere else. On the contrary, his touch maries authority to originality, with just the required amount of delicacy it takes to make the whole thing even more fluid. And when you just have closed your mouth, it's Freddie Cunningham's voice that nails you to your seat. His singing can compare to the greatest blues and soul vocalists together ! Hardly recovering from this mix of velvet and strength, you start to enjoy Freddie's vocal caress when Jim Alfredson knocks you down with a Hammond B3 solo as inspired as Nagy's one. Meanwhile, bassist James Williams and drummer Matt Hayes elaborate a rhythmic backup that turns the music into the alchemy of a perfectly tight band. As soon as the first song ends, you can only look forward to hear the following number. It arrives in the shape of a funky blues that could make the late Albert Collins himself rise from his grave, soon followed by a beautiful slow blues, then it's a great soul song you'd think good old Stax days are back. And it goes on for about an hour with a variety of sounds digging into blues and soul, including a real horn section featuring tenor, alto and barytone saxes, a trumpet, and three different trombones on three different songs, playing sharp shaped arrangements, the full monty ! There even is a country blues track warmly sung by Greg Nagy who plays Mississippi Blues solo. You should have figured it out by now, Root Doctor is a band that's going to be heard of a lot in the near future, and their first album is a real gem. So, if your usual retailer doesn't have it, make shame of him and run to the closest computer to order it as soon as possible from http://www.rootdoctorband.com !
René Malines

The Racky Thomas Band

2006-05-07T04:11:00.000-07:00

The Racky Thomas Band

Last Of The Big Spenders
CDFreedom – RT 3257
1998
(49 : 35)

Trouble All The Time
CDFreedom – RT 3258
2000
(50 : 45)

Live At The Yardrock
CDFreedom – RT 1008
2002
(69 : 23)

Born in 1969 in the state of New Hampshire, George Radcliffe Thomas starts palying guitar at the age of 14, soon followed by harmonica. Four years later, in 1987, he goes to the Music College of Berkley in Boston where he will graduate at 22. The year before, he discovers the blues and will carry the virus forever. Sax Gordon, a local famous musician, said about him that he's real, he doesn't cheat or prentend. And this can be heard in his music. Wether it's his vocals, his harmonica or his National playing, the man chooses a direct path, he goes to the essential, no detours, no unneccessary flowery stuff. In Death letter Blues, that concludes Last Of The Big Spenders, one can think of his fellow countryman Little Victor *. This is for the substance. About the form, Racky Thomas likes to skip from Chicago blues to jump blues – a style his guitar player Nick Adams is very good at – not forgetting soul ballads or Delta blues with a deep feeling. Young Mark Stevens piano adds an obvious plus to the first album. Just like Julien Bruneteau in France, this young man certainly has a brilliant future ahead of him, for he already is more than convincing at the mere age of 22. John Ross on drums and Todd Carson on electric or acoustic bass, as for them, provide some top level rhythmics in perfect synch with their collegues high quality music. Except for Sax Gordon, present on the 3 CD, Trouble All The Time is an album of guest buddies, since added to the members of the band, Troy Gonyea, Dave Haley and Charlie Baum can be heard on guitars on some numbers , Doug James on baryton saxophone and Bruce Katz on organ. Piano player Jeremy Berlin, seems to have replaced Mark Stevens in the band. As for Jon Ross, he deserts his drumkit for a mandoline on All I Need Is You, thus proving that yes, definitively, the drummer is a musician as the rest of the pack ! But the best test for a blues band remains a stage performance, and Live At The Yardrock, a high place for blues in Boston, gives us a tatste of what can a Racky Thomas Band concert be. Better say the test is passed by master hand ! Most of the repertoire is from Thomas and Carson, but live performance remains the best place to deliver one's interpretation of standards and there is no getting away from it here : so The Hustle Is On allows Nick Adams to display the width of his talent as a fine guitarist, but finding some T-Bone Walker in a Boston based band is no wonder. What could be more surprising is the cover of Clifton Chenier's Standing On The Corner, a slow blues like ol' Cliff' liked them Even more surprising is the presence of a Sonny Rollins' tune. But don't forget Gordon Beadle's on saxophone, and what better title to describe this phenomenon than Tenor Madness ? And those of you for whom jazz remains hermetically obscure can rest assured that the version of this song that Racky Thomas' men give is much closer to jump blues than to be bop or even hard bop. No, definitly, there is absolutly nothing to cast aside from these 3 albums, and those who will just discover this band should only take advantage of their luck and enjoy.
René Malines

Patti Sterling- Borrowed & Blue and Bettin' On You

2006-05-07T04:10:00.001-07:00

Patti Sterling
Borrowed & Blue
Démo
2005
(46'21")

Patti Sterling
Bettin' On You
KonKord Record
2003
(40'55")

Patti Sterling, it's above all a voice. A magnificent, extraordinary voice. Wether she sings the blues, some soul, or some quality jazzy song, the lady will leave you still with admiration. Because she seems to be able to do whatever she wants with this voice of hers. Really, Patti Sterling can sing full power or with subtlety, let the rage out or get delicate, in your face or like a caress, nothing that can be sung in American music seems impossible to her. Therefore, of course, she tries her talent on different styles she masters, as if they were food to her. So much it's amazing she wasn't heard of sooner in our neck of the woods. What, are we deaf, or stupid, or both, to ignore the talent this woman takes a song with, turns it into a trap to capture the listener and never let him go until the CD's over ? Well, ok, on the demo, that 6th cut, Twist Of The Night, has reminiscences of Stevie Nicks that may not seduce a harcore blues lover. Maybe so they don't have to acknowledge perfection ? But everything else is of the highest quality, and if Borrowed & Blue is more specifically aiming at the famous 12 bar fans, Bettin' On You, a mix of R&B, modern Soul, with perfect for dance floors funky beats will get the vote of most night clubbers. But even though this album is more for dancers, let them lend an ear anyway : the lady's voice is worth it. As for the others, be patient, for you'll have to wait until a CD of pure blues based on the demo she was kind enough to send us will hit the market. In the meantime, try http://www.soundclick.com/bands/pageartist.cfm?bandID=1582 or http://cdbaby.com/cd/pattisterling
René Malines

Monster Mike Welch -Cryin' Hey !

2006-05-07T04:10:00.000-07:00

Monster Mike Welch
Cryin' Hey !
Dixiefrog/Night&Day –DFGCD 8601
2005
(60'12")

It was bound to happen, and there it is : after a couple albums where the best sometimes sided the less valuable, followed by a sidemanship with Sugar Ray Norcia's band that made some improvements obvious, Mike Welch finally comes out with the maturity album. It is indeed a modern blues perfect CD we get here. Not a single taste flaw, each of the 13 proposed songs is a gem, a gift, a reward, a happy event of cohesion, of concision and of "know how". Beautifully supported by Nick Moss on lead guitar for Cryin' Hey !, Joaquin Riley and Give Me Time, and for every cut by Anthony Geracionu piano, Michael "Mudcat" Ward on bass and Warren Granton drums, Welchhas self produced his album, recorded live in the studio, showing his multiple talents, those of guitarist and singer spreading all over from the beginning to the end of this one hour of high quality electric blues. An album that may surprise his early fans as well as those who, in the same time, prefered to stay away from the then new comer productions. For if those, unless they want to deny what's obvious, won't be able to turn down still young but O so mature Mike Welch's art, the early fans, who accepted everything from his 90's albums, probably don't expect such a high level of accomplishment, atleast for those who'll be able to tell the difference. In other words, this is an excellent CD, probably one of the best in today's electric blues for the year 2005. The kind that's worth the 15 or 20 dollar bill you'll leave to get it at your usual record store.
www.monstermikewelch.com
René Malines

The BelAirs

2006-05-07T04:09:00.001-07:00

The BelAirs :

Hoodoo Party

BBH038 - Blueberry Hill Records – 1999

After Dangerous Curves, this is the discographic return of the BelAirs with the real treat that Hoodoo Party is.
Take a quarter of Swampini, a quarter of Mr Tchang, a quarter of Doo The Doo and a good quarter of Benoît Blue Boy(1). Mix well. Once you get a homogeneous pastry, spread it to obtain a very nice biscuit. Cut 3 figures in it : a drummer, a bassist and a guitarist. Put them in your CD player and bake it for 39:20.
If you have followed this recipe to the letter, you should obtain an excellent album by the BelAirs.
If Dick & David Pruitt still ensure the bass and guitar and vocals, Mike Cherry replaced Pat O'Connor on the drums. What could be said about this, except that even if we thought greatly of O'Connor, Cherry's even better ? This guy can do anything, from New Orleans Second Line Beat to the most subtle shuffle via well understood Rock & Roll. He can play binary, he can play triple time, he would play quaternary if the band chose to add prehistoric songs to its repertoire !
As in their previous album, horns and piano –Johnny Johnson nevertheless ! – only appeared shortly here and there, here they're almost everywhere. Yes, Johnny Johnson's there again ! There is even some organ ! But hey, it's a party, as it is said in the title, so that's what it takes, you gotta do what you gotta do ! And as in any self-respected party, the priority is givcen to covers, with only 3 Pruitt brothers originals. And this party's onthe move, for it takes you around the US Southern states, from Mississippi to Louisiana, to Texas and more, from smoky bars backrooms to local fairs to gigantic stages in huge festivals, one can imagine our fellows at ease anywhere, for the richess of their repertoire surely can seduce any kind of audience. And always this pleasure to sing and play, always more joy to share, and their influences, from old bluesmen to the Shadows – listen to the guitar in Every Day I Have To Cry Some – to swamp blues, R&B pioneers and the hits on 45 rpm from last century, "those were the days" will probably say some including yours truly.
And you've seen this if you took the time to read the report about their gig at the Fifty, the BelAirs have no problem reproducing their unfortunatly too rare albums positive energy on stage. So before they're back in our area to bring a smile of pure bliss to our sad faces of stressed big city residents, we can only wait unpatiently for a new CD by these non selfaware masters. Till then, you can still order condensed of pure party joy at www.belairs.com.

René Malines

(1) all very good french blues bands

T. Rogers

2006-05-07T04:08:00.001-07:00

T. Rogers
Driven By The Blues
Selfproduced
2005
(56’07")

T. Rogers isn’t a bandleader’s name, but this hungarian group’s instead, which is comprised of 7 members : Béla Baráth on drums, Zsolt Szatai on bass, Vince Széll on percussions, Tom Quilliam on saxophone, Miklós Tóth on harmonica, Pál Sturmann on guitar and Ferenc Kovács on guitar and vocals.
Their music? Somehow classical electric blues, and yet... This is not your CD that you heard a thousand times by switchable bands. Not at all.
What makes it special?
First the obvious pleasure they’re having, but also top notch musicians, tight as can be, with a devastating swing, and most of all that communicative joy one doesn’t hear that often in this musical genre. This is most obvious on Charlie Musselwhite’s Make Me Getaway that starts the album, and totally enthusiastic on Driven By The Blues, only original by T.Rogers/ Ferenc Kovács, that ends it. According to "Ferci" Kovács, this number started as a jam in the studio. But it came out so well that the boys decided to keep it and add it to the CD. And right they were : it’s pure pleasure to the listener. But make your own opinion by paying their website a visit at www.trogers.hu : 8 songs can be heard entirely, including this infectious Driven By The Blues, so happy it’d fill a death-watch with joy.
And if you find the experience convincing, you’ll be able to order the album for a mere 10 euros from the same website.
René Malines

Michael "Hawkeye" Herman

2006-05-07T04:08:00.000-07:00

Michael "Hawkeye" Herman

Everyday Living
Topaz Productions –Topaz CD 0100
1988
(37'12")

Blues Alive !
Topaz Productions –OWR 0110
1997
(55'31")

It's All Blues To Me
Topaz Productions –Topaz CD 0300
2005
(66'22")

Little known in France, except for Eric Doidy who reviewed his last 2 CD's in a recent issue of Soul Bag, Michael "Hawkeye" Herman is some kind of a patriarch on the Blindman's Blues Forum. Not because of his age, the man barely being in his early sixties, but because of his impressive blues culture. A culture that was fed on encounters - he met legends like Son House and Lightnin' Hopkins, and two of them were guests on his first album, Haskell "Cool Popa" Saddler and no less than Charles Brown, mind you – which gained him recognition in the American blues community beyond his own musical skills. Travelling the States from North to South and from West to East to teach the blues with his Blues in the school program, he's also known for his writings in different specialized magazines. He received awards and titles for Keeping the Blues alive in 1998, Ambassador of Iowa Blues, and some of his songs were the soundtrack to different documentaries as well as to the plays El Paso Blue et Handler. He contributed to the book/CD Up The Mississippi/A Journey Of The Blues. One could go on and on, but let's talk about his music instead. Above all, Michael "Hawkeye" Herman is a country blues musician. Though his picture can be seen here and there with a Strat in his hands or with a lap steel on his lap, it's on acoustic guitars he recorded his 3 albums. And though it's a real pleasure to hear Charles Brown and Cool Popa on 2 songs each on his first CD, it would be a big mistake to underestimate the man's own songs. A guitarist with a delicate playing, the different styles he has mastered allow him to play a wide range of sounds. From single note to slide to finger picking, Hawkeye can do it all and his delicate singing happily matches the pure ringing of his acoustic guitar strings. Therefore his live album, on which he's by himself, is just as enjoyable as his studio recordings where he is sometimes accompanied by a second guitar player or bass man, a harmonica, an accordion, a drummer or a washboardist on It's All Blues To Me. It is an ever renewed pleasure for the country blues fan, even a growing one, for Hawkeye Herman's blues is one that grows on you more and more each time you listen to them. It's on the internet you'll be able to find out more about his music and buy some of it, at http://cdbaby.com/cd/hawkeye3 or at his own website, www.hawkeyeherman.com.

René Malines

Dean Reichert

2006-05-07T04:07:00.000-07:00

Dean Reichert
Mysty's Joint
NHM Records – NHM494401
2005
(54'37")

Blessed with a beautiful voice, Dean Reichert, a gifted guitarist in the George Benson style, took an ounce of blues, a pinch of jazz, a zest of soul, a little R&B and a big fat dose of funk, mixed it all while adding some blasting horns here, some grooving drums there, held the whole thing with a refreshing set of bass lines and percussive keyboards in a first CD that, instead of sounding like one of a beginner resulted in a true masterpiece. This multi-instrumentist (he plays guitar on all cuts, but also drums or bass on different songs) produced the album himself with a "know how" that is a pleasure to hear. Mind you, the man is no new comer. The number of well known artists he worked with in different music genres, as a sideman or as a leader, producer or sound engeneer, would be too long to list here. What needs to be told is this CD is highly recommended to whom ever is not a member of the blues police. For Dean needs more than 3 chords and 12 bars to express his artistry. Oh, yes, the man knows his blues, and he proves it with his posts on the Blindman's Blues Forum as well as Let The Groove, cut # 7 on the CD, a wonderful shuffle, or the next one Bad Day, a slow blues with a churchy flavour. But Dean's own ground is made of well constructed guitar solos, powerful soul singing, and funky groove inherited from the black community. Find out by yourself, visit his website at http://www.deanreichert.com or his CD Baby page http://www.cdbaby.com/cd/reichert.
René Malines

The Paul de Lay band - Heavy Rotation

2006-05-07T04:06:00.001-07:00

The Paul de Lay band
Heavy Rotation
Evidence ECD 26115-2
2001
(56 : 51)

A new Paul de Lay's album is always an event in itself. Because the man is an artist of rare quality. Forgive the bad game of words, but his qualities are everything but rare. Not only he's a very fine singer and an exceptionnal harmonicist, but he also has developped a songwriting talent that puts him in the blues writing "Panthéon" with the likes of such greats as Larry Garner or Mighty Mo Rodgers. Maybe not for the strength of his lyrics, though these are far from any lack of interest, but his musical writing is certainly one of the most originals of the moment. Yet, Paul de Lay plays the blues. But here, the question of the matter has nothing to do with any kind of so-called attempt to "make the blues evolve" into something that would end up so different from its source it would have lost its meaning, not to mention its essence. No, de Lay knows his business, he payed his dues to the devil's music as well as his dept to society. Yes, the guy has done time, for possession of cocaine. But when such experiences have broken so many lives, de Lay emerges bigger (another bad joke : the guy is a giant !) Today he's clean, and after a few remarkable albums, Big Paul is back with a CD of exception. In his blues, he put mambo, calypso, jazz, swing, soul, rhythm & blues, but mostly, let's say it again, some enormous talent. As in his previous records, the Paul de Lay band totally commits itself in the interpretation of the songs : passionate singing, economic but sharp guitar – special mention to Peter Dammann who sometimes reminds of Jimmie Vaughan – perfect rhythm section, but most of all, a harmonica that de Lay accomplishes a tour de force with, playing it with virtuosity without ever overplaying it, remaining, again, original throughout the record. As his diatonic harp playing is more than fine, his chromatic parts are such a treat that it would be foolish to go on unaware of such a musician ! With all this, it is difficult to highlight one song rather than any other, the whole thing being of such a high level. The originality of Over Money, So Near, Givin' Up The Body, Remember Me, It Isn't Easy Being Big, In The Pocket and Cat's Away could be mentionned, as well as the pleasure provided by Love Grown Cold, Rainy Mary or Bess & Ernie's Rib Joint, or the impossibility to resist Wealthy Man, I'll Quit You Tomorrow, Jimmy Jones and Ain't Feeling That Love No More, but one would only realize they have just told about every 14 songs in this magnificent album. So just remember that not only this is an essential CD in the already superb Paul de Lay's discography, but it is also fundamental to any blues lover's record collection. You probably got the picture by now : acquisition warmly recommanded.

René Malines

Bullfrog Brown - Snakes And Devils

2006-05-07T04:06:00.000-07:00

Bullfrog Brown
Snakes And Devils
KWAQ Records – kwaq009
2005
(39'26")

Alar Kriisa's tore down voice, his acoustic slide guitar, Andres Roots' resonator guitar and Üllar Kärt's harmoica, that's all it takes to set the scene : it's country blues from Tartu, Estonia, more real than the real thing. Sometimes with the help of Sven Udras on bass, Raul Terep, Kalle Kindel or Leino Lumi on drums and Peeter Piik on double bass, electric or acoustic bass guitar, harmonica and percussions, the Estonian trio delivers some great blues with confidence and most of all with talent. Except for the first cut, The Wind Still Blows, signed by Kriisa, all other 12 were written by Roots. This is not the guys first shot since this is their 3rd CD after a live first one simply titled In Concert and a second one, recorded in the studio, Mudhole Stories. And all this only started in 2003, after the two guitarists have put an end to Green Bullfrog, their previous blues-rock band, in search of a more "downhome" sound. Good for them, this Snakes and Devils having been acclaimed all over the world, with airplay both sides of the Atlantic ocean, including Canada and South America, as well as in Australia. So, in order to find out what seduced these internationals DJ's, why don't you pay a visit to www.hot.ee/bullfrogbrown, and enjoy the mp3 files available from their "music" page ? And if you find yourself convinced by what you hear, just click on the cover of any of the still available studio albums to buy them. You won't be disappointed.
René Malines

Mark Wenner and the Bel Airs

2006-05-07T04:05:00.000-07:00

Mark Wenner and the Bel Airs
Mama Tried
Right On Rhythm – ROR 011
2002
(38 : 35)

Doesn't Mama Tried ring a bell ? Come on, it was a country hit by Merle Haggard, a song made famous to a whole generation by its presence on a very well known live album by hippy band Grateful Dead ? Remember ?
Now, you know Mark Wenner, right ? Of course you do : the singer & harp player of the Nighthawks, a rockin' blues combo from Washington DC Jimmy Thackery left a few years ago to start a solo career ? There you go, now you see ? Ok, you know the Bel Airs ? C'mon ! This fabulous trio from Columbia, Missouri, featuring the Pruitt brothers, Dick on bass and Dave on guitar, and Michael Cherry, from James Harman's band and also the Paladins, on drums ? These three had set the Fifty on fire, you know, this blues bar in the flee market in Paris ? Now go figure : after a few recordings together, sometimes only a couple of titles, another time one side of a LP and even a whole album once, these 4 guys are back together for a rocking blues treatment of Johnny Cash, Merle Haggard, Berry Gordy, Bob Dylan, Johnny Otis, Jimmy Reed and a few others songs plus 2 original compositions : If Glen Would Swing et Howie's Hammer, all for the pleasure of those who see music as time to party rather than an matter for university studies. Cause one thing's for sure, this is a team that does not generate moodiness ! They don't bother to know if their music fits in pre-established categories and its rigid criterias, its dogmas and other more or less arbitrary barriers. Wenner and his pals throw it in like they would in the backroom of a smoky bar on a Saturday night with no other purpose than to enjoy and share their pleasure with their audience, connoisseurs or not, but definitively conquered. But don't fool yourself, even though they can play any kind of american popular music, the Pruitt brothers, Mike Cherry and maybe even more Mark Wenner are blues musicians above all, and if they don't mind a little country or rock & roll riff at the curve of a song or as a basis to another, this is a blues album. Nothing we, at R & T, would complain about !
Anyway, here's a CD that's more than honest : no cheating about anything since it sounds exactly as it it's supposed to, which is : a bunch of pals meeting to share the pleasure of playing good ol' songs. So if you'd like your share of this pleasure too, you know what you got to do.
René Malines

The BelAirs - Dangerous Curves

2006-05-07T04:03:00.000-07:00

The BelAirs :

Dangerous Curves

BoroCD01 - Borrowed Records – 1991

You like Doo The Doo (1) ? You worship the Fabulous Thunderbirds, especially their first era with Jimmy Vaughan ? You're gonna love the BelAirs !
Alright, there are a few differences : while our guys from Quimper were, then 5, then again 4, just like their texan mentors, the BelAirs are only 3.
"Ouch !" says to himself the good stuff lover, fearing some kind of pretentious power trio who's musical diarrhoea would only compare with some greedy ambition hypocritically justified by some some slogan for glittering rebel such as "Sex, Drugs & Rock 'n' Roll".
No need to worry. The Doo and T-Birds, we said, these are the references you should keep in mind. And since we talk about ambition, the BelAirs' seems to only be the pleasure to share some simple and sincere music between the members of the band and their audience. The expression "popular music" takes all its meaning with these 3 guys. No need to be a blues enthusiast to the letter to be able to get the great thrill taking those "dangerous curves" with the BelAirs. Just check the titles list. Except for the band's originals – 5 among 12 songs here – the covers speak for themselves : Hey Little Lee by Slim Harpo, The Girl That Radiates That Charm by Ron & Jimmy Isle, Nadine by Chuck Berry, and all the rest alike.
A guitar with a pure sound that sometimes reminds of Mr Fender's marvellous Telecaster, sometimes his no less superb Startocaster, a well rounded bass with a firm melodic cement like they knex how to play in the old days, before bassists started thinking they were either percussionnists or trip-hop DJs, and a drummer that puts the listener's zygomatics to test, pulling the poor laugh and smile muscles to the extreme limit of their extension possibilities.
And on top of all this, a vocal that, if it doesn't always threatens Kim Wilson's, gets pretty close to our own Jazz brothers'. (2)
I'm telling you, these guys are pure happinness ! Pleasure is the master word for this highly recommended record.
All you gotta do now is find out how to get this album.
Except for a few specialized record shops, there are very small chances you'll find this jewel in the large shops with big logos. But you can still visit www.belairs.com and order it from their site. Thanks who ? Thanks to the World Wide Web !

René Malines

(1) Doo The Doo is a very good french rockin' blues band from Britanny. They're all friends of Benoît Blue Boy.
(2) The Jazz brothers are the guitar and harmonica players of Doo The Doo, both pretty good singers