Winner of the 2004 and 2005 International Blues
Challenge, Steve Krase and his band are all about
high energy on his new CD, Buckle Up (Conner
Ray). His hard blowing harmonica backs Trudy
Lynn on her latest, Royal Oaks Blues Cafe, which is
also on his Conner Ray label. The meat and potatoes,
however, are on his own disc. This is a monster that
does indeed call for a buckling up!
The opener,
"Jolene," is an original rockin' rockabilly-tinged
number. "... She pulled out a switchblade knife/I had to
run for my life … the cops took her away/I just
don't know what to say/Jolene/Now she's sittin in
the county pen/I hope I never see her again …" This
is underscored by burning guitar and a killer rhythm
section. That's just the first number!
Krase is a
hard-blowing harp player. Coupled with his songwriting and impressive vocals, this is a combo that
can't be beat. Guitarist James Henry is a name to
watch for. David Krase is impressive on the three
numbers he sits in for, too, but Henry is a bonafide
hurricane.
Speaking of big wind, the standout cut
here is a cover of "Big Bad Woman." The energy
threatens to burn up the sound system. "... She's so
doggone evil/I'm about to lose my mind." Written by
Big Walter Thunderbird Price from Houston, Krase and
crew rock it hard. Price is also responsible for penning
"Misery," another rocker. "... I tried so hard/to
treat you right/all we do/is fuss and fight/please
try to get along with me/cause I'm so sick and
tired/livin' in misery …," and then off goes that
amazing harp work. On his "Blueshound" he sings "...
the
Grim Reaper got nothin' on me/I was with the Dead
back in 63/Jerry Garcia was a friend of mine/we'd
drank some whiskey then we'd drink some wine
...there was a dead man laying on the side of the
road/I'd kick him in his head just to watch him
roll ..." Screamin' guitar courtesy of David Krase.
On
this collection of standout material, the version of
"I Just Want to Make Love To You" features Ms. Trudy
Lynn, and her title cut tells a tale in itself.
"Buckle Up" warns "... I tried my best to please you/but
you found somebody new/and now the tables have
turned/you played with fire/you got burned/buckle
up/this ride is gonna be rough ..."
Steve Krase is a
confident, cocky, and cool cat. This is one of the
year's best.
--- Mark E. Gallo
The standout acoustic blues disc of the year,
Rattlesnake Cage (Black Hen), howcases
Steve Dawson's brilliance. He wrote all of the
songs, produced and mixed the disc, and plays
gloriously on this all-instrumental collection.
Dawson
employs a number of guitars: a Jumbo Larivee, a
Weissenborn built by Michael Dunn, a National
Tricone and a Taylor 12-string. He also notes that
he used a Neumann M 49 microphone “that had been
hanging from the rafters of a church in Detroit for
50 years.”
All of the above are expertly utilized on
these 11 impressive songs. From the opening notes on
"Blind Thomas at the Crime Scene," Dawson displays his
complete control of the instrument. His playing is
bright and jaw-droppingly precise.
"Flophouse Oratory" is played with more power, and the
following "The Medicine Show Comes to Avalon" returns
to beautifully played finger picking. As you might
expect, this is reminiscent of Mississippi John
Hurt.
"Butterfly Stunt" is fleet fingered and
"While
The West Was Won the Earth Didn't Know It" has a deep
and buttery feel to it.
Fans of amazing guitar
playing don't want to let this one pass. To my ears,
the most impressive acoustic guitarist to come down
the pike in years. Fans of Dan Crary will love this.
Whew!
---
Mark E. Gallo
The
Kingmixers are a basic three-piece Blues band
hailing from the paradise known as Victoria, British
Columbia, with their new self-released CD, Flyboy,
being a nice disk of mostly original numbers. The
band consists of Gary Preston (harmonica,
keyboards), David Schade (guitar) and Anita
Bonkowski (drums, bass, keyboards), with Preston and
Schade sharing vocals.
The disc kicks off
with a hard-driving version of Robert Johnson's
"Walking Blues," introduced with a harmonica solo
from Preston. The band later shows its versatility
of blues styles with an original, "The Quarter,"
which has a decidedly New Orleans funky beat and
more strong harmonica work.
Schade shows off some
of his best guitar work on "Let Me Explain," an
adaptation of a Sonny Boy Williamson blues shuffle,
while Preston summons his best Rice Miller imitation
on the harmonica. The final cover on the disc, Randy
Newman's "Guilty," is a jazzy, late night number
with tasteful guitar from Schade.
One of my favorite
numbers here is the Bonkowski-penned instrumental "Gizbone,"
kind of a jazzy shuffle with keyboards, guitar and
harmonica each trading off on the leads. It's a nice
showcase for each of the individual band members.
Another instrumental, "Passaic Walk," is a slow
number that brings to mind the classic "Harlem
Nocturne," with Schade's restrained yet mesmerizing
guitar chords shining here.
While not a great
singer, Preston gets a lot of emotion out of his
voice on the mid-tempo shuffle "You'll Never Get The
Blues," while he also kicks out one of his better
harmonica solos.
Flyboy is a
fun album from this solid three-piece Canadian band,
and certainly worth checking out on the CD Baby
site.
---
Bill Mitchell
The title of Eric Bibb’s latest release on Stony
Plain Records has a two-fold meaning. Blues People is
taken from the title of LeRoi Jones’ classic book,
which was the author’s attempt, as he put it, to
look at “(t)he path the slave took to citizenship.”
Bibb goes down that path with this release, and
continues the journey, focusing on the history of
African American (the original “blues people”).
The title also pays tribute to blues musicians past
and present, with numerous current “blues people”
making contributions to the album’s 15 tracks.
The guests include Popa Chubby, who plays guitars on
the opener, “Silver Spoon,” Guy Davis, who plays
guitar and contributes vocals to his own “Chocolate
Man,” J.J. Milteau and the Blind Boys of Alabama,
who add harmonica and backing vocals, respectively
to “I Heard The Angels Singing.” The Blind Boys
return for the gentle “Needed Time,” along with Taj
Mahal, who plays banjo and adds vocals with Ruthie
Foster.
Harrison Kennedy and Foster contribute vocals to
“Dream Catchers” (about the Selma marchers), Linda
Tillery on “Remember The Ones,” and Andre De Lange
on the uplifting “Home.” Leyla McCalla adds banjo
and vocals on “Where Do We Go.” Producer Glen Scott
is featured on vocals on one track, “Chain
Reaction,” but is present on all the other tracks as
an instrumentalist and his production is peerless.
Bibb’s blues are gentle and elegant, often spiritual
and upbeat. The centerpiece of the album is
“Rosewood,” a narrative about the small town in
Florida that was the site of a horrible racially
driven massacre in the early 1920s, but even
through the narrative of this song and others on the
album, the message of optimism and hope still
resonates.
An album from Eric Bibb is always a pleasure to
hear. The music is lovely and the message is always
profound. Blues People is no exception to that rule,
and ranks with Bibb’s best work.
---
Graham Clarke
The Sauce Boss (Bill Wharton) gained a big following
in the late ’80s/early ’90s, with his dynamic live
shows and the gumbo he cooks during his show (and
serves afterward). He’s known for his song, “Let The
Big Dog Eat,” which was featured on the movie
Something Wild, and has been featured in Jimmy
Buffett’s song, “I Will Play For Gumbo.” For his
latest release, 100% Pure (Burning Disk), Wharton
takes the one-man-band approach, singing, playing
drums, and laying down some of the nastiest slide
guitar you’ll hear on a dozen self-penned tracks.
The emphasis is definitely on the blues, with tracks
like the rowdy opener, “Zipper Bird,” the
aptly-titled “Marquis De Swamp,” the visceral
“Chains,” and the humorous “Delta 9 Blues,” an ode
to a certain temporary herbal approach to escaping
your trials and tribulations. There’s also “Chicago
Combat Zone,” a topical tune about the current
dangers in the Windy City, and the blues/rock
closer, “Outlaw Blues,” which is powered by
crunching guitar riffs and swampy slide.
The lighthearted “Gonna Be All Right” is a nice
change of pace, with its Latin rhythms and message
of encouragement, and “Sun” continues that trend a
few tracks later. “Peckerwood” comes in from the
country side of things with an upbeat, top-tapping
rhythm, and the ballad “Cadillac of a Woman” follows
suit, with some really nice guitar work from
Wharton. “Song of the Irish Band” is a somber
reflective ballad on how songs are created, and “Hey
Wilbur” is just fun and games.
I really like Wharton’s one-man-band approach on
100% Pure. This disc just grooves from beginning to
end, and is a lot of fun to listen to. The Sauce
Boss knows how to throw a party and the only thing
missing is the gumbo after Track 12 comes to a close
(not to worry….you can make your own version of the
Sauce Boss’s gumbo, thanks to the recipe on his
website). Enjoy!
---
Graham Clarke
Tenor saxman Bobby “Hurricane” Spencer has been a
mainstay of the Bay Area music scene for years,
playing all the clubs and backing artists such as
Sonny Rhodes, Little Johnny Taylor, Rodger Collins,
Koko Taylor, Jimmy McCracklin, J.J. “Bad Boy” Jones,
and the Timex Social Club in the studio. In the
clubs, he backed legends like Etta James, the
Whispers, Lowell Fulson, Z.Z. Hill. Hurricane
Unleashed (R. Music, Inc.) is his second solo
release, and not only features Spencer’s
force-of-nature saxophone, but also shows him to be
a powerful vocalist and songwriter.
Spencer touches on blues, jazz, and funk on the
opener, “Gotta Get Back To Chicago,” with some tasty
rhythm guitar from producer Andrea Balestra, moves
toward R&B with the mellow “You’re All I Need,” and
works into some zesty swing with “Camarillo.” A
reworking of the classic instrumental “Honky Tonk”
teams Spencer with guitarist Lester Lands. “Lovers
Hill” is another soulful R&B track, and “Little
Mama” ventures into funk territory with some sassy
sax blowing from Spencer.
“You Make Me Crazy” is a nice old school ballad, and
Spencer does a fine job on the easy-going Grover
Washington, Jr. instrumental, “Mr. Magic” (nice
keyboards from Mo Beeks on this one). He also
includes four songs from his 2003 debut solo release
(I Got The Blues)…..the slow blues title track, the
rollicking and funky “Big Maybelle” and “Holler’n
and Wallow’n,” and the swinging Crescent City-styled
“Call Your Dogs Off.”
In addition to Balestra, Lands, and Meeks, Spencer
gets great support from Matias Alvear Fall (bass),
Dario Benzoni (drums), Albert Trepagnier, Jr.
(congas), Tyler Combs (vibes), Josh Agular
(trumpet), Wesley Smith (alto sax), and backing
vocals from Kelly Chappue, Basa Mora, and Dominique
Toney.
Hurricane Unleashed is a nice change of pace from
the standard guitar-focused blues fare of recent
years. Bobby “Hurricane” Spencer has more than
enough chops to carry an entire disc with his tenor
sax, but he makes things even better with his smooth
and soulful vocals and savvy songwriting.
---
Graham Clarke
The No Refund Band (Ricky Jackson – lead vocals/lead
guitar, Rik Robertson – bass, Mike Crownover –
rhythm/lead guitar, Anthony Terry – sax, and Jim
Brady – trumpet) have worked together since 2007,
but waited five years before releasing their
self-titled debut CD in 2012, which effectively
mixed slick urban blues with gritty blues rock. Two
years later, the band returns with their follow-up,
Current State of Blue. This time around, the band
increases the number of original tunes from six to
nine and they cover the bases pretty well, showing
an ability to cover several different styles of
blues lyrically and musically.
The opening track, “Buy the Blues,” is a sinewy blues
track that would have been a good fit on an Albert
King album. The title track follows, mixing the
blues with a touch of jazzy swing, thanks to the
punchy horns and piano from guest Randy Wall. The
horns are also prominent on the upbeat “St. Louis
Bound,” and the jazz vibe continues on the soulful
“Favorite Fool.” “Love Unmade” mixes R&B with funky
Latin rhythms, and the shuffle “I Gotta Play” swings
nicely. “Blues Man Dying,” an amusing look at the
trials of being a musician is also a standout.
NRB also includes three well-done covers on this
release. Their version of Eric Clapton’s “Bell
Bottom Blues” measures up well to the original, and
a frenetic take on Mountain’s “Mississippi Queen” is
also successful, but the best of the covers is the
late Gary Moore’s “Still Got The Blues.” Jackson
really outdoes himself on vocals and guitar on this
track.
Guest musicians include Wall (piano), Travis Doyle
(Hammond B3), Kelly Dean (alto sax), Paul English
(trumpet, piano, and synthesizer) and Warren Sneed
(tenor sax). Percussion is split between four
drummers (Tyson Sheth, Joey Riggins, Walter Cross,
and Mike Burch).
There’s plenty of great blues on
Current State of
Blue, but what makes this album stand out from the
pack is the band’s subtle mix of soul and funk and
Jackson’s muscular vocals and guitar work. I don’t
believe anyone listening will be asking for their
money back on this fine effort from the No Refund
Band.
---
Graham Clarke
Low Society was born when guitarist/NYC resident
Sturgis Nikides met singer/Houston native Mandy
Lemons. Nikides has played with Velvet Underground
co-founder John Cale and led the band Voidville and
is highly touted for his slide guitar skills.
Lemons’ vocals are influenced by an impressive
group, including Bessie Smith, Koko Taylor, Etta
James, and Janis Joplin. The pair ended up
relocating to Memphis three years ago, where they
have continued to produce their exciting mix of
blues, rock, and soul.
Joined by a rock solid rhythm section (Mike Munn –
drums, Nick Dodson – bass) their second release, You
Can’t Keep A Good Woman Down, is their debut for
Memphis’ Icehouse Records, and features 12
tracks of pulverizing, mesmerizing Texas-styled
blues, rock, Americana, Memphis soul, and tons of
attitude.
Lemons blows through these songs like a house afire,
her vocals packed with raw intensity and emotion on
tracks like the blues/rock opener, “Crammed &
Jammed,” the sweaty “Voodoo Woman,” the smoldering
title track and the rough and rowdy “You Got A
Right.” She maintains that intensity even on the
smooth “Son House Says,” the exquisite slow blues
“This Heart of Mine,” and even country-styled tunes
like “Up In Your Grave,” and “No Money Down.”
The band plays off of Lemons’ amazing vocals
perfectly. Nikides’ masterful guitar work,
especially his slide guitar, is always in the right
place at the right time, and as valuable to the
group’s DNA as Lemon’s singing. The rhythm section
is spot-on as well, and the band gets invaluable
support on several tracks from Brian Hawkins on
harmonica, Lee Booth on backing vocals, former B.B.
King Band member Dr. Herman Green and Rick Steff,
whose contributions on keyboards and accordion help
lift a great album to even greater heights.
Expertly produced by Nikides, and recorded at the
Memphis landmark American Recording Studio (mastered
by Stax Records stalwart Larry Nix), you’ll be hard
pressed to find a better mix of blues, rock, soul,
and attitude…..all with an decidedly southern
twist…..than Low Society’s You Can’t Keep A Good
Woman Down.
---
Graham Clarke
Bill Phillippe is a San Francisco-based blues
guitarist, who has spent the past 20 years
performing around the Bay Area in various venues.
His latest release, Ghosts (Arkansas Street Records)
is a stirring mix of original songs and 1920s and
’30s acoustic blues with a focus on the Mississippi
Delta. Produced by Phillippe, the disc really
captures the atmosphere of that musical era with its
production values as well as his guitar work and
vocals.
Ghosts has 13 tracks, with Phillippe covering
songs made familiar by Robert Johnson (“Come On In
My Kitchen”) and Son House (“Death Letter”), along
with a strong set of spiritual classics (“Keep Your
Lamp Trimmed and Burning,” “Motherless Children,”
“God Don’t Never Change,” “In My Time of Dying,” and
“You’re Gonna Need Somebody On Your Bond”).
Phillippe actually puts his own spin on these tunes
while maintaining the intensity and energy of the
original versions.
Phillippe’s originals are equally effective,
beginning with the melodic “Father’s Lament,”
“Wedded Heart,” and “Broken Cup.” The haunting
“Tightrope” is also a highlight, and “Big Bill’s
Dream” brings to mind Mississippi John Hurt’s gentle
brand of blues. Phillippe also pays homage to Blind
Willie Johnson, recounting the death of the
legendary guitarist on the mournful “The Ballad of
Blind Willie.”
Ghosts will surely please fans of pre-war, acoustic
blues guitar. Bill Phillippe’s guitar work is
extraordinary and he brings passion and fire to his
interpretations of classic songs of the past as well
as his own powerful original compositions.
---
Graham Clarke
Donald Ray Johnson started playing the drums at the
age of seven in his native Bryan, Texas, and was
soon backing local blues artists as a teenager.
After a stint in the Navy, he ended up in California
in the ’70s, backing artists like Joe Houston,
Lowell Fulson, Phillip Walker, Percy Mayfield, Sonny
Rhodes, Maurice John Vaughn, and Big Mama Thornton.
In the late ’70s, he joined the band A Taste of
Honey, who enjoyed success on the Pop and R&B charts
with songs like “Boogie Oogie Oogie” and “Sukiyaki,”
and won the 1979 Grammy for Best New Artist.
Since 1989, Johnson has lived in Canada, where he’s
become a respected member of the Canadian blues
community and has released six albums of his own
material. Vocally, he’s has a lot of Al Green in his
delivery on some songs, but with a gruff downhome
flavor, too, which helps him on the more traditional
blues fare as well. Recently, Johnson released These
Blues – The Best of Donald Ray Johnson (Mar Vista
Records), which features 13 of the highlights
from his previous releases.
The 13 tracks include nine originals written
by Johnson, plus four diverse cover tunes. Johnson’s
own tunes include the funky Jimmy Reed-styled “Gone
So Long,” the sizzling urban blues title track, the
swinging “Slow Down Baby,” the smooth and soulful
“Here To Stay,” “Me and Jack (Daniels),” which
includes steel guitar from Sonny Rhodes, and “No
Guitar Blues,” a nice slow blues. “Thrilling You
Killing Me” is another slow blues with a strong
vocal from Johnson and some stinging lead guitar.
The cover tunes are Al Green’s “Ain’t No Fun To Me,”
George Jackson’s “Last Two Dollars,” Hazel Dickens’
“Working Girl Blues” (associated with Phillip
Walker), and a surprising acoustic reworking of
“Always On My Mind,” that features a warm, heartfelt
vocal from Johnson, who really shows his versatility
on this track.
These Blues serves as a wonderful introduction to
Donald Ray Johnson, an underrated artist who is
certainly deserving of more attention.
---
Graham Clarke
Delta Blues & Spirituals (Magnolia Recording
Company) is Tom Feldmann’s 12th release. The
Minnesota-born guitarist/singer is a highly regarded
performer and instructor (featured on 13
instructional videos), focusing on bottleneck slide
and prewar Mississippi Delta blues. As on his
previous efforts, and as indicated by the title,
Feldmann mixes traditional blues with gospel, but
this release took a while to see the light of day.
Work on the album actually started in the summer of
2013, but a fire broke out in the studio, nearly
destroying it in the process. Feldmann waited a
year until the studio was rebuilt to resume work.
The results indicate that the wait was well worth
it.
Feldmann mixes blues standards from Bukka White
(“Aberdeen Mississippi Blues”), Charley Patton
(“Pony Blues” and “Screamin’ and Hollerin’ The
Blues”), Son House (“County Farm Blues”), and Lonnie
Johnson (“Mr. Johnson’s Blues”) with classic
spiritual tunes like “Lord Have Mercy When I Come To
Die,” “Jesus On The Mainline,” “If I Have Failed To
Follow,” and a stunning cover of Blind Willie
Johnson’s “Dark Was The Night, Cold Was The Ground.”
Feldmann’s guitar work is incredible, as always.
While he sticks fairly close to the originals, he
throws a few curves into his playing. I’ve always
been puzzled by guitarists who think that these
musicians played a song the same way every time and
insist on recreating a song note-for-note. Musicians
back in the ’20s and ’30s obviously performed for
different audiences and more than likely changed
songs around to fit with each group of listeners. I
really like Feldmann’s vocals as well. He has a
warm, accessible style that suits these songs well
without trying to imitate the original versions.
I always look forward to hearing a new Tom Feldmann
CD because of the fantastic guitar work, and his
tireless efforts to present the early blues artists
and their music. I was not disappointed with this
latest effort. Delta Blues & Spirituals is a disc
that will satisfy fans of pre-war blues and fans of
guitar. Feldmann doesn’t tour due to family reasons,
so the best way to catch his music is by picking up
one of his CDs or DVDs. This is an excellent
starting point.
---
Graham Clarke
The Colorado Blues Society sponsors a Blues in the
Schools program in area schools, with the objective
of educating students about the history of the blues
and blues-related music through information and
interactive performances. To help fund CBS’ efforts
this year, harmonica player Dan Treanor assembled
some of the Centennial State’s finest blues
musicians and recorded Jam for Blues in the Schools,
with proceeds (100%) from album sales going to help
fund the program.
The group, which includes Treanor (harmonica,
guitar, Khalam), Erica Brown (vocals), Randall Dubis
(vocals, guitar, lap steel), John Weeks (guitar),
Scott Hackler (keyboards), Tim Mahoney (guitar),
Scott Headley (drums), Mike Wysocki (bass), Doug
Egan (keys), Anton Stuart Medas (bass), Bruce
Collins (drums), Alan Simmons (sax), Tony Arceneaux
(sax), Michael Hossler (guitar), Gary Flori (drums),
and David Booker (guitar, vocals) present an
eight-song set consisting of three solid originals
and five covers.
The album was recorded live in the studio, in one
take…..no overdubs.
Treanor wrote the opener, “Tell
Me Daddy,” and “Tangled Road,” which features a
sweet turn from Dubis on lap steel. Dubis wrote (and
sings) “I Love The Way.” The covers will be familiar
to most blues fans and will probably ring a bell to
newcomers who are interested in listening…….”It
Hurts Me Too,” “Rock Me Baby,” “Stand By Me,” and
“Let The Good Times Roll,” feature Brown on vocals.
Booker sings and plays guitar on the swamp blues
classic, “Sugar Coated Love.”
One thing about albums like this, featuring players
who are used to working together regularly, is that
the musicianship is always excellent. These artists
have built a rapport over time and it shows. Brown
handles most of the vocals with aplomb, but Dubis
and Booker acquit themselves quite well on their
tracks.
This CD is definitely worth a listen, and will be
available for $10 (plus shipping) at any Colorado
Blues Society-sponsored events, or by contacting CBS
at (303) 694-2000, visiting their website, or email
at sfitzke@sfhlaw.net. As previously mentioned, 100%
of the net proceeds will go to fund CBS’ blues
education program. We’re talking good music (over 60
minutes worth) for a good cause, so you should check
it out.
---
Graham Clarke
I remember Erin Harpe
& the Delta Swingers from their first appearance at
the International Blues Challenge a few years ago.
Erin also competed on the acoustic side with her
harmonica genius, Richard “Rosy” Rosenblatt, and I
have to admit I was intrigued when their new disc,
Love Whip Blues, came in the mail. The band labels
their style “Charles River Delta Blues” and that’s
an interesting description of what they do for sure.
I’ve just appreciated their lighter touch to the
Blues after listening to their new disc so let’s
give it a spin.
A heavy backbeat from drummer Bob Nisi sets the tone
as Erin implores us to do “The Delta Swing.” “Swing
me, baby…like a dancing queen…swing me, baby…like
you’re dancing queen…the way you swing me baby…the
best I’ve ever seen.” We’re not sure exactly who
Erin’s dance partner is but he’s doing a good job
and you can hear the happiness in her voice. The
title cut, “Love Whip Blues”, is next and Rosy’s
harp begins to make an appearance in the mix. Erin’s
telling us “I wanna be your love whip…just me…a
little booty machine…what you saw fine and easy…I’m
going to make you scream.” I honestly don’t know
what to say about this but I am sure Erin’s more
than up to the task of cracking “the love whip.” Our
tempo picks up a bit and the band tackles Willie
Brown’s “Future Blues.” “I can’t tell my future…sure
can tell my past...well it seems like any
minute…you’re going to be my last.” David Gross is
lending his fretwork to the mix and I appreciate the
subtlety of Rosy’s harp playing behind Erin’s
vocals.
An original tune, “Good Luck Baby,” written by Erin,
Rosy and Jim Countryman is our next cut in the
mix. Seems like Erin’s man is leaving and perhaps
he’s having second thoughts. “Good luck baby…you
know I wish you well…I hope it don’t go to hell.”
Erin doesn’t seem to have any regrets and she’s fine
with him walking out the door. “Good Luck Baby…you
know I wish you well.”
Bob Margolin make an
appearance and lends his slide guitar to the band’s
take on a Lucille Bogan tune, “M & O Blues,” and
here the train is taking Erin’s man away from her.
“When he was leaving…. the night he left…I heard
that whistle blow…and the man I desired…he ain’t
coming back no more.” Erin’s fortunes seem to have
changed and she tells of her newfound happiness in
“One Way Man.” “Can you spare me a nickel…or a lousy
dime…so I can feed that hungry man of mine.” He’s
treating Erin right and she’s more than happy to
take good care of him as well.
Our next tune, “Pick Poor Robin Clean,” fits
stylistically into the mix of Love Whip Blues, but
I’m not sure how I feel about a tune a dead man’s
carcass clean but it seems Erin is glad he’s out of
the family. I’m guessing “Virtual Booty Machine” is
a part of the Charles River influence on the band’s
Delta Blues. “Virtual…virtual…booty
machine…yeah…yeah…yeah…. take your booty and shake
your booty and…make a date with the booty machine….
oh yeah.” Not quite sure what a date with the booty
machine gets you and proper decorum would suggest I
don’t speculate too far into this tune.
Erin’s
guitar provides us the intro to our next tune,
“Charles River Delta Blues.” “I’m going down to the
Delta…where I can drink and have my fun…where I can
drink my white lightning and gamble…and bring my
baby home.” Erin’s version of the Delta sounds like
the kind of good time we’re looking for and a little
white lightning goes a long way.
Erin & the Delta Swingers close out
Love Whip Blues
with an upbeat and interesting take on John Prine’s
“Angel From Montgomery." Totally in the vein of
their “Charles River Delta style” and a refreshing
take on a classic song from John Prine.
I’m
surprised that Love Whip Blues is the debut release
from Erin Harpe & the Delta Swingers, but they’ve
definitely had a great time sharing their brand of
blues with us. I’m looking forward to hopefully
catching a set from them at this year’s IBC and see
for myself the evolution of this great band from
Bean Town. It will be an interesting experience for
sure.
---
Kyle Deibler
Though it’s been awhile since I’ve raised a glass of
tequila with Sugar Ray and Anthony, courtesy of Barb
Wandrey’s thoughtfulness, Sugar Ray and the Bluetones have remained one of my favorite bands to
work with over the years. Together for nigh on 40
years now, their new disc, Living Tear to Tear, has
hit the world by storm and it's time to give it a
listen.
Sugar Ray’s harp kicks the party off as the band
tackles the first cut on their disc, “Rat Trap.” The
girl thought she had the trap set perfectly, but as
Sugar Ray notes, “it’s the second rat that gets away
with the cheese.” A perfect start to the disc, and
I’m hearing Monster Mike Welch’s guitar tearing it
up and Anthony Geraci’s keyboard work complements
the back end of drummer Neil Gouvin and bass player
Michael Mudcat Ward to perfection. The Bluetones are
indeed one of the tightest bands around.
Up next is
“Here We Go” and this tune starts out with a big
band sound. “Here we go…trying the same thing one
more time…here we go…we’re trying the same thing one
more time…if you think that thing will change…you
must be out of your mind.” Sugar Ray and his woman
have a difference of opinion on how their
relationship is working out and he’s apt to leave
her behind if she won’t listen to what he has to
say. He’ll meet her halfway but that’s as far as he
goes. Hopefully she will work as hard as it as
Sugar’s willing to. And, of course, “Things Could Be
Worse,” the title of our next tune. “You should quit
you’re complaining…and be thankful first…because for
every bad…I know there’s a worse.” Sound advice from
Sugar Ray, things aren’t always as bad as they seem,
they could be worse.
Anthony’s piano kicks off “Living Tear to Tear” and
Sugar Ray chimes in with a shrill harp burst before
telling us that he’s not happy with the current
state of affairs. “Living…I’m living from tear to
tear…. well, living without you, baby…. means I’m
living tear to tear.” He calls for a solo from Mike
and I’m reminded once again why he’s one of the
premier guitar players in the world today. The first
ballad on the disc, “Misery,” is up next and Sugar
Ray is definitely in pain. “Misery…tears fall down
my face like rain…oh last night my baby left
me…Lord, I’m throwing up to get drunk again.” Sugar
Ray’s pain is real and the bartender gladly pours
him “another glass of wine…well I’m going to sit
here…and keep on drinking…'til I drink my baby off my
mind.” He’ll hurt worse in the morning but Sugar Ray
isn’t thinking about that though he’s well aware the
bartender will have to cut him off eventually.
Sugar
Ray and the band have traveled all over the world,
sharing their Blues with everyone and he tells us
about it in “It’s Never as Bad as It Looks.” “I
played California…then Ontario…down to New Orleans…I
say it’s never as bad as it looks, people…never as
bad it seems.” A healthy attitude for life on the
road and this band can regale you with hours of
tales from their time spent touring. I can vouch for
that.
The band takes time out for an instrumental, “Short
Ribs,” and everyone is given a chance to stretch
their legs a bit and do what they do best, play the
Blues.
Anthony’s piano is at the forefront as Sugar
Ray tackles another ballad, “I Dreamed Last Night.”
“I dreamed last night…you were walking through my
door…. but when I open up my eyes…baby, you weren’t
there anymore.” I’m sure she was a good woman but
now’s she’s gone, and her memory haunts Sugar Ray in
his dreams. Time heals all wounds, but Sugar Ray is
left with his memories for now. “Ninety Nine”
restores a happy vibe as Sugar Ray tells us a story
from his past. “You asked me for a hundred dollars…I
didn’t have but ninety-nine.” Not sure who needed
the hundred dollars, sounds like a woman in Sugar
Ray’s life, but I appreciate the return to a more
upbeat tune from this amazing band.
“Our Story” is Sugar Ray’s version of a love story
as he pays his respects to the one that he loves.
“When we first met…I didn’t know…you’d be the only
one for me…for five long years you waited,
Darling…yes, you did…it took me that long to see.”
I’m kind of surprised that Sugar wasn’t quicker on
the draw but it sounds like it all worked out in the
end and I’m happy for him. His harp work on this
tune is classic and he remains one of my favorite
harmonica players on the planet.
Sometimes the way
to a man’s heart is through his stomach and
sometimes it isn’t. Sugar Ray tells us all about it
in “Hungry But Happy.” Mike’s guitar and Anthony’s
piano provide the intro for this tune and here we
find that Sugar Ray is satisfied. “My baby serves my
dinner cold…but she sure is one hot little girl….
oh, I don’t mind when I go hungry…I’m the happiest,
hungry man in this world.” She’s obviously not good
in the kitchen but Sugar Ray is happy with her
talents elsewhere and that’s all that really matters
in the end.
The band closes with “Nothing But the
Devil” and Sugar Ray is singing to us through his
harp mic. “Nothing but the devil…make you treat me
the way you do…I’m going to break out…just like the
measles…little girl, I’ll get all over you.” Sugar
Ray’s woman is stepping out and treating him mean,
it’s time for her to go.
Living Tear to Tear is a rock solid record from top
to bottom for Sugar Ray and the Bluetones and the
proof is in the pudding. It’s garnered seven Blues Music
Award nominations from the Blues Foundation and I
for one, am looking forward to sharing another glass
of tequila with my friends Anthony and Sugar Ray.
Sugar’s website is
www.sugarrayandthebluetones.com.
Catch this band live when you can, they’re one of
the hardest working groups in our genre today.
---
Kyle Deibler
I first met Lauren Mitchell
a year ago at one of her
IBC send-offs at Aces, in Bradenton. I liked her
sound and bought a disc to help support the effort
to send her to Memphis. It was a good disc, but I’ve
heard a million records in my time and no offense to
Lauren, it just didn’t stick with me. But I’d heard
good things about her newest release, Live at the Bradfordville
Blues Club, and had the opportunity to ask her
about it when I was in Florida in December. It’s my
good fortune that she had a disc on her when we met
and it’s in the CD player now. Let’s give it a
listen.
My friend, Gary Anton, owns the Bradfordville Blues
Club (the BBC) and it’s still on my bucket list to
venture there for the BBC experience. Lauren’s disc
opens with an intro from a DJ at 106.3, the Path, and
then the band hits it off in high gear. Guitarist
Bob Fieberts kicks off the first tune by Earl Thomas
& Phillip Wooten, “I Sing the Blues,” and the
Professor, Michael Hensley, is working his magic on
the B3. And then Lauren prowls onto the stage and
I’m wondering, where did this wild woman come from?
“If you want me bad enough, its catch as catch can,
when I want it hot enough…with my man…and I sing the
blues.” I love Lauren’s attitude and there’s no
doubt she owns the crowd at the BBC.
The tempo slows
down just a tad and the band tackles an original
tune, “It’s Raining.” “It’s raining in my heart…so
tears will start…raining…raining…ever since we’ve
been apart.” Lauren’s definitely sad at the loss of
her man, you can hear the pain in her voice and
she’s truly hopeful that her man will come back
around. Bob lends an emotional riff to the mix and
I’m a fan of this original tune from Lauren and
Michael. Next up is a rousing addition of a Koko
Taylor classic, “Voodoo Woman.” Lauren takes a
minute to introduce the band and then they’re off.
“They call me the voodoo woman…and I know the reason
why…when I raise up my hands…don’t you know the sky
began to cry…down.” The growl in Lauren’s voice is
giving Koko a run for her money and the tune is well
received by the crowd at the BBC.
Next up is a tune for the ladies, another Lauren
Mitchell original, “Sugar Mama.” Lauren’s having man
troubles and she’s trying to get her point across to
where he listens to her. “Don’t want to do your
dirty laundry…or mop your kitchen floor…not gonna
wash your dishes…run your errands anymore…I’m tired
of cleaning up your mess…I’d rather live alone…so
take your empty beer cans…and walk on out the
door…I’m not your sugar mama anymore.” I’m pretty
sure that he got the message, given the way Lauren
put it to him. And I’m pretty sure he lost a good
thing in the process.
The Professor’s B3 is front
and center for another original tune, “Even Bad
Girls Get the Blues.” The band slows it way down as
Lauren tells us her tale of woe. “You know I’ve been
mistreated…that don’t mean I can be used…now I might
be a hot-blooded woman…but even bad girls get the
blues.” There’s no doubt that everyone listening
knows that Lauren can indeed get the blues. The
band kicks it back up and they tackle a Clarence
Carter tune, “Tell Mama,” a soul classic from the
’60s that Lauren learned listening to her father’s
record collection. “You thought you found yourself a
good girl…one that would love you and give you the
world…now you’ve found that you’ve been misused…come
to me baby…I’ll do what you choose…tell mama.” Trust
me when I tell you that Lauren will indeed, make
“everything alright.”
Lauren then tackles a Little Milton tune, “That’s
What Love Will Make You Do,” that Bobby “Blue” Bland
made his own. “No matter how hard I fight it…baby,
I’m still in love with you.” Lauren more than does
the tune justice and I really appreciate the energy
of the evening at the BBC. The Professor’s B3 is
back in action and the band moves on to an Aretha
Franklin tune, “Dr. Feelgood.” “Now I don’t mind no
company…cause company’s alright with me…every once
in awhile…but when me and that man get to loving….I
got a man…named Dr. Feelgood….take all my pains and
my ills away.”
The band closes with a rousing
rendition of Willie Dixon’s “Wang Dang Doodle,” and
it ain’t nothing but a party. “We’re going to wang,
dang doodle…all night long.”
Every now and then the universe comes together for a
magical night and Lauren’s gig at the Bradfordville
Blues Club was one of those. Her band: Bob Fieberts
on the guitar, Michael Hensley on the B3; Mike
Snyder on the bass; Charles Steptoe on the drums and
a guest appearance by Dr. Bill Landing on the
saxophone all combine to provide a stellar backdrop
to the moans, growls and aggressive vocals of Lauren
Mitchell.
I’ve enjoyed this live disc of Lauren’s
immensely and the only advice I could give is to
please include more original tunes next time.
Definitely a good party record to have, The Lauren
Mitchell Band – Live at the Bradfordville Blues Club,
will finds its way back into my CD player soon.
---
Kyle Deibler
Jasmin Lee, daughter
of blues-rock legend Alvin Lee, is honoring
her late father’s memory by making him the first
musician to feature on the innovative,
subscription-based
Digital White Label with Live At The
Academy of Music, New York 1975. At regular
intervals, over a 12-month period, a previously
unreleased collection of tracks is downloaded,
alongside a variety of other exclusive material
accessible on-line, all for the price of a single
CD. The first two cuts from this album were reviewed
in Blues Bytes in July 2014, with the entire album
now available.
Alvin had taken his first steps away from Ten Years
After with his recording of On The Road To Freedom
with Mylon le Fevre. He then decided to take his
solo material live with a one-off show at the
Rainbow Theatre, a sell-out event which included
Beatles Paul, George, Ringo and Rod Stewart. In
Flight was the live album from the Rainbow Theatre
and subsequently the show went on tour with Alvin
Lee and Co with a different band.
The songs released from this live gig in New York
are nearly all from the In Flight double album of
1974 but they are very different in this new format.
This is because these are extended, live
performances from what was clearly a memorable night
in New York, and the fact that the bass and keyboard
players for this 1974-75 world tour were the
sensational Steve Thompson and Ronnie Leahy
respectively. Neither artist featured on In Flight
but who can forget Steve’s thumping, mesmeric riff
on John Mayall’s classic blues/jazz number,
"California?" Leahy, of course, found fame with
Stone The Crows and Jack Bruce. The band also
includes iconic former King Crimson members Mel
Collins on flute and saxophone and the late Ian
Wallace behind the drums. Thompson and Wallace are
in perfect rhythmic synergy on all tracks whilst
Leahy’s exquisite keyboard skills are evident
throughout.
Not surprisingly,
Alvin’s powerful vocals and trademark blistering and
incisive guitar solos steal the show. However,
standing out front, Alvin Lee also taps his foot
gently and takes time finding the right notes, his
fluid, versatile and inventive playing highlighting
the difference musically between this band and Ten
Years After.
New versions of songs like
"Let’s Get Back" and "Time And Space" give a real sense that all of the
players are going back to their roots, with Collins’
atmospheric flute playing and changes of tempo on
his saxophone solo a tour de force on the latter.
The mellifluous "All Life’s Trials" with its
sumptuous flute accompaniment confirms Alvin’s
status as a consummate wordsmith. Lee is clearly at
home when playing the music passed on to him by his
blues-loving dad, none more so than "Every Blues
You’ve Ever Heard."
Pure rock and roll
influences are evident in Elvis’ "Money Honey,"
albeit originally a Drifters’ recording, which
starts with a simple snare drum and hi hat rhythm
before bass and vocals kick in. Alvin does not
dominate the entire show and on the 18 minutes of "Percy’s Roots," Mel’s lengthy improvised saxophone
solo is reminiscent of John Coltrane, such is the
musical freedom of the band. The funky "There’s A
Feeling" provides insights into Alvin’s inner
thoughts and emotions, specifically confusion about
not wanting to settle down yet neither does he want
“to fly away.”
In the soulful ballad,
"Going Through
The Door," Alvin sings with anguish that he is
“Gonna be free, yes I'm gonna be free, I don't care
to be a fantasy.” The full-on aural assault of "I’m
Writing You A Letter" is raw energy from start to
finish, Alvin and Ronnie stretching their chops and
dueling like Wild West gunslingers.
The show ends
with one of hell of a rollercoaster journey, "Ride
My Train" with its mesmeric rhythm, screeching
vocals, crunching chords, bent notes and sinuous
solos. How the roof of the Academy Of Music did not
come crashing down at this moment remains a mystery
40 years after!
Thanks to expert
mastering, mixing and executive production, the
original tapes are transformed into a crystal clear,
high quality recording which is far superior to most
live albums from that period. Given the outpourings
of grief and universal respect for the legendary
musician who passed away far too early at the peak
of his creativity, this commemorative package is an
important legacy.
---
David Scott
