December 2004 reviews
Villanelle - Paul Reddick & the SidemenLadies Man - Pinetop Perkins
Going Back to Mississippi - Nora Jean Bruso
Live From the Outskirts - Cyril Lance
Takin' It Easy - EG Kight
Blowin' My Horn - Mark Hummel & the Blues Survivors
November 2004 reviews
That About Covers It - Big Foot Bob & The ToetappersMemphis 3rd & Beale - Barbara Blue
Strong Suspicion - Curtis Salgado
Big Mama Thornton with the Muddy Waters Band-1966 - Big Mama Thornton
Double V - Otis Taylor
Goin' Home - Paul Rishell & Annie Raines
October 2004 reviews
True to Yourself - Albert CummingsMax Attack - David Maxwell & Friends
Show Me the Money - Smokin' Joe Kubek & B'nois King
Ain't No Way - Kyle Jester
Live - Steve Arvey
2120 - Murali Coryell
September, 2004 reviews
Alone With the Blues - Paul OsherSanctuary - Charlie Musselwhite
Deeper Blue - Bruce Katz
Always Never - Alex Gomez
Live at Wonderful's - Crossroads Blues Band
Have a Little Faith - Mavis Staples
August, 2004 reviews
If Heartaches Were Nickels - Charles WilsonChicago Boogie - Roosevelt Sykes
Hold That Train - Byther Smith
Live Sampler - Pat Smillie Band
Three Way Calling - Roy Tyler & New Directions
Midnight Breeze - Stacy Mitchart
July, 2004 reviews
You Left Me in the Dark - Jody WilliamsPeace, Love & Respect - Popa Chubby
June, 2004 reviews
Keepin' It Real - Rod Piazza & the Mighty FlyersHomeland - Henry Butler
I Am Woman - Maria Muldaur
Uncomplicated - Ellis Hooks
Watch Your Back - Guitar Shorty
May, 2004 reviews
Sweet Home, The Music of Robert Johnson - Pyeng ThreadgillReal Time - James Sloberg
One More Bridge to Cross - Mighty Sam McClain
Looka Here! - George Friend
The Best of the 2003 Tampa Bay Blues Festival - Various Artists
April, 2004 reviews
Did You Ever Wonder? - Tad RobinsonRockin' in the Same Old Boat - Johnny B. Moore
Up Close & Personal - Watermelon Slim
Midnight Creep - Easy Bill & the Big Beats
Talking With Angels - Bruce Madden
Sisters & Brothers - Eric Bibb, Rory Block & Maria Muldaur
Everything's Good - Weezil Malone & the King Size Blues Band
White Line Flyers; Bare Blues; If This is Love, I'd Rather Have the Blues - Various Blind Pig Artists
March, 2004 reviews
Tribute - Kenny TraylerFirst Offense - Cherri & the Violators
Live in Dallas - Mike Morgan and the Crawl
Keep it Simple - Keb' Mo'
Every Road I Take: The Best of Contemporary Acoustic Blues - Various Artists
February, 2004 reviews
Big Bad Girl - Kay Kay & the RaysJump Blues - Deacon John
January, 2004 reviews
I'm on the Move - Alberta Adams & the Rhythm RockersThe Soul Sessions - Joss Stone
Chipped Front Tooth - Scott Holt Band
Jump On It - Al Copley
Thunder in my Blues - Luther "Badman" Keith
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Title: I'm on the Move
Artist: Alberta Adams & the Rhythm Rockers
Label: Eastlawn Records, 2003
Reviewed by: Tim Richards - January, 2004
Alberta Adams and R.J. Spangler have been frequent visitors to the Grand Rapids area, and this cd will show you why. Talented musicians and Alberta's vocals make this cd a pleasure to listen to. It carries kind of an old-timey feel to it, and that's a good thing. Alberta's vocals are as strong as ever and she even wrote four of the songs. R.J.'s Rhythm Rockers provide a rhythm section tight enough to bounce a dime off of on every track. Alberta's version of Detroit is one you just have to hear. Like every cut on this cd, it's a piece of ear candy.
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Title: The Soul Sessions
Artist: Joss Stone
Label: EMI
Reviewed by: Tim Richards - January, 2004
With the crush of "new, young talent", Joss Stone stands heads above the rest. First of all, she has the sense to surround herself with talented musicians like Betty Wright and Latimore. At the tender age of 16, Joss has a deep, spiritual voice that extends deep into the music. Sure, at times you can tell she's young, but I don't care; this is a soothing cd to listen to. Of the 10 tracks, she's picked an eclectic mix of tunes such as the Carla Thomas-penned I've Fallen in Love with You, to Aretha Franklin'sAll the King's Horses, and The Isley Brothers' For the Love of You Pts 1&2. Don't make the mistake of writing this off as just another kid messing around with music. Buy it, listen to it, and keep playing it.
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Title: Chipped Front Tooth
Artist: Scott Holt Band
Label: Gracetone, 2003
Reviewed by: Tim Richards - January, 2004
Former Buddy Guy sideman, Scott Holt has proven he's worthy of his own career. On this, his third solo release, he keeps the tunes cranking, and that translates to a severe case of happy feet. The only problem I have with this cd is I can't pick one song that I like more than the others. You need to experience this one yourself to see if you can decide. A fan of his since he appeared her at Blues on the Mall, he just keeps getting better.
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Title: Jump On It
Artist: Al Copley
Label: One Mind Records, 2003
Reviewed by: Mark Smith - January, 2004
After a ten-year absence from the domestic record bins, former Roomful of Blues piano man Al Copley checks in here with ten tracks of top notch fun. Mining the rich catalogs of Smiley Lewis, Someday, I Ain't Gonna Do It, Percy Mayfield, Stranger in My Hometown and Please Send Me Someone to Love, Otis Blackwell, Great Balls of Fire, Holland/Dozier/Holland, How Sweet It Is, Roy Milton, Hoy, Hoy, Hoy, and even the Kingsmen, Louie Louie, Copley wraps nimble piano runs around a greasy saxophone backbone and punchy trumpet riffs to create versions of these classics that are instantly recognizable, yet different enough to merit the new attention. In Copley's able hands, Hoy, Hoy, Hoy sheds the stagnant funk clothes it has acquired over the years and sparkles with energy. Someday sounds straight off a Sinatra disc, while Great Balls of Fire will have Jerry Lee looking over his shoulder. About the only misfire is Louie Louie, which never rises above the authentically murky garage sound. While Copley's piano skills have never been in doubt, his vocals have never been a strong suit. That all changes here. The years have been kind to his voice, which seems deeper, smoother, and much fuller than in the past. He sings with conviction and a solid sense of phrasing in a voice eerily reminiscent of Sugar Ray Norcia, who spent time fronting Roomful of Blues as a vocalist and harmonica player in the '90's. Overall, just the disc you need to crank up your next blues dance party.
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Title: Thunder in My Blues
Artist: Luther "Badman" Keith
Label: BMB Records, 2003
Reviewed by: Mark Smith - January, 2004
On his sophomore release, Detroit guitarist/singer Luther "Badman" Keith tears his way through thirteen self-penned tunes with the zeal of someone out to win some converts. While many of the cuts address age-old themes like the ups and downs of relationships, Fevers and Chills, the exhilaration (and related suspension of judgement) that comes with good love, Nose Wide Open and No Shame in my Game, being broke despite raking in the big bucks, Six Figure Salary, the pain of hangovers, Gonna Give Up Drinking, bad things in good packages, Sleeping with the Devil, or the fact that no one is insulated from the blues, Blues Gonna Fall, Keith also steps away from the blues theme 101 songbook and takes on subjects like the musicians who play for the love of the music rather than the spotlight and face extinction as a result, The Last Bluesman. Keith stretches even further on What's the Use, where he ponders the irony of taking the good things in life for granted while lusting after what we don't have. He also provides witty commentary about tattooed women, Tattoo Baby, and grins his way through the light-hearted spoof about the improvements that will follow in day-to-day life upon disclosure of the facts about Rocks on Mars. As well-written as the songs are, the music is what will keep this disc in heavy rotation. Instead of yet another dose of shuffles and the same old guitar riffs, Keith has chosen to spice up his blues with heavy doses of horn-driven funk, rock and soul. Fans of Tower of Power and Memphis soul will did this in a big way, but even those who tend to like their blues straight up will find plenty to like. Overall, a terrific disc that deserves your attention.
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Title: Big Bad Girl
Artist: Kay Kay & the Rays
Label: Catfood Records, 2003
Reviewed by: Mark Smith - February, 2004
Unlike most Texas blues discs which feature little more than seven different shades of scorching guitar, this sophomore release from Kay Kay & the Rays is a soul, pop and funk blues tour de force. Driven by the slinky, sexy saxophone of Andy Roman and the fleet-fingered keyboards of Dan Ferguson, singer Kay Kay Greenwade wraps her expressive, heartfelt vocals around 12 original cuts that, for the most part, refuse to be tagged as straight blues. No Mama's Boys is a stinging blues rocker, while Baby Can You Hear Me? and Love of My Life are the kinds of soul tunes that Glenn Frey was trying to cop with his Miami Vice-era tune You Belong to the City. The upbeat soul groove of Enron Field hides a scathing attack on the dirty double-dealing of the white collar criminals who make a killing at our expense. Cheater and Big Bad Girl stick closer to the Texas blues, with plenty of impressive string-bending by guitarist Steve Lott. Southside of the Tracks is the kind of pure funk that recalls that not-so-long-ago era when people actually played the groove instead of programming it with tape loops, MIDIs and Pro-Tools. Overall, this is a refreshing breath of fresh air that honors the tradition of the blues without being completely shackled by it.
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Title: Jump Blues
Artist: Deacon John
Label: Vetter Communications, 2003
Reviewed by: Mark Smith - February, 2004
Propelled by a swinging big band, this 12-cut homage to the roots of New Orleans music is top notch from beginning to end. Tied together by John's soulful vocals and straight-forward guitar work, this disc hits everything from jump blues, Jumpin' in the Morning, to a capella gospel, Jesus on the Main Line, to Sinatra-style big band, Someday, to a pre-Janis Joplin, rootsy version of Piece of My Heart, to New Orleans party classics, Let the Good Times Roll/Feel So Good and Tipitina. With cuts made famous by the likes of Dr. John, Johnny Adams, Professor Longhair, Big Joe Liggins, Dave Bartholomew, and Ray Charles, this is a no-miss disc for anyone with even the slightest interest in the classic grooves of the Big Easy.
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Title: Tribute
Artist: Kenny Trayler
Label: Topcat, 2003
Reviewed by: Mark Smith - March, 2004
Guitarist Kenny Trayler started this release as a tribute to Elmore James, but ended up taking a detour that resulted in the likes of B.B. King, Big Joe Turner, T-Bone Walker, and others getting a nod as well. While the world doesn't really need another set of covers of such chestnuts as James' Shake Your Moneymaker or T-Bone's Travelin' Blues, the bulk of the disc is made up of more obscure numbers and a number of Trayler originals that pay tribute by honoring the style of his heroes without covering them note for note. Traylor's fine guitar work is complemented by his soulful vocals as well as by some righteously funky B-3 that would fit nicely on a Ron Levy disc, and wailing saxophone that would give Rocky Morales of Dough Sahm's band a run for his money. Overall, a pleasant surprise.
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Title: First Offense
Artist: Cherri & the Violators
Label: Self-release, 2004
Reviewed by: Mark Smith - March, 2004
This hard-rocking release by northern Michigan-based Cherri and the Violators recalls the glory days of blues rock as practiced by the likes of Foghat, or more recently, Jimmy Thackery and the Drivers. Like those bands, the Violators rock hard but have a bluesy edge that keeps fans interested. Leading the sonic assault is guitarist Tony Burke, who clearly spent as many hours soaking up 70's rock riffs as he spent with the bedrock blues of Albert Collins, Albert King and Buddy Guy. Equally adept at scorching leads as he is with rocking fills, Burke will have jaws dropping every time this disc finds its way into the cd changer. While Burke's guitar is certainly a focal point, you can't overlook the vocals of Cherri Bendig, who recalls everyone from LouAnn Barton to Janis Joplin with the ferocious power of her voice. While she isn't always pitch perfect, she is always just right for the rocking material. Bendig is also a fearless songwriter, with topics covering everything from the monthly bouts that send men into hiding, PMS Blues, to her grudging admiration of a woman who manages to be the center of attention despite being "a cold-hearted ball-breaking bitch", Ice Queen, to her stern warning to a potentially wandering mate, Can't Have Two, to her homage to the hard-partying weekend warriors, The Weekend Song. Those who like their blues served on the rocks will find much to like here.
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Title: Live in Dallas
Artist: Mike Morgan and the Crawl
Label: Severn, 2004
Reviewed by: Tim Richards - March, 2004
All I can say is, "It's about time!" Mike Morgan and the Crawl have been lighting up stages across the U.S. and Europe, and have finally released a live recording that catches that lighting on a cd. This 11-track cd has five songs that Morgan penned himself, plus an excellent version of the Jimmy Reed classic shuffle, Shame, Shame, Shame. Not to say the rest are below that; the opening track, One of a Kind, gets the gritty chords flying from the start and sets the standard for the rest of the no-frills Texas-style blues on this cd. Frankie Lee Sims is honored by a great version of Frankie's Blues, followed by Don Robey's Mother-in-Law Blues. Following that, Morgan kicks the pace up and turns loose that firey guitar work that his fans have come to expect on Blues for Al & Peg. But don't expect it to be all pyrotechnics; it transitions back and forth from smooth, articulate phrases to " let's set the strings on fire". The Wino Song and Help Me, Baby shift the vocal spotlight to Crawl members Rhandy Simmons (bass) and Chris Zalez (guitar). Wrap all of this talent around Kevin Schermerhorn (drums) and the talented recording of J.D. Simms, and you'll find yourself on a trip to a real roadhouse while never leaving your living room.
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Title: Keep it Simple
Artist: Keb' Mo'
Label: Sony, 2004
Reviewed by: Tim Richards - March, 2004
OK, all you young gun, Stevie Ray Vaughan wannabes, THIS is the way the blues got it's start. Keb' Mo', in my humble opinion, is the premier acoustic artist on the blues music scene today. I had the good fortune to see him perform at the Tampa Bay Blues Festival last year, and his playing and vocals had the crowd mesmerized. This cd is no exception to the high standard he's set. There are traces of gospel, folk, and even a touch of bluegrass sprinkled into these pop-oriented tunes. His music is uncluttered, beautifully crafted roots music that has to be heard. Howlin' Wolf he's not, but his grits and honey vocals compliment his tough National steel slide playing like no other. Be sure to get your tickets to see him on March 17th at the State Theatre in Kalamazoo.
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Title: Every Road I Take: The Best of Contemporary Acoustic Blues
Artist: Various Artists
Label: Shanachie, 1999
Reviewed by: Tim Richards - March, 2004
As you can tell, I'm on an acoustic jag this month, and I found this older release very satisfying in every sense of the word acoustic. This is a good mix of contemporary blues, featuring several of my favorites, including Dr. John, Sue Foley, Keb' Mo', and Steve James, among others. I didn't think I'd like the Tab Benoit/Willie Nelson duet, but it's one of the better songs on the disc. From Alvin Youngblood Hart to Guy Davis, this cd is filled with the roots-style music I like to listen to. Do yourself a favor and buy this one.
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Title: Did You Ever Wonder?
Artist: Tad Robinson
Label: Severn, 2004
Reviewed by: Tim Richards - April, 2004
Tad Robinson grew up surrounded by music in New York City, and it shows on this, his debut cd on Severn Records. On this release, Robinson surrounds himself with a host of talented musicians including Otis Clay, Benji Porecki, and Alex Schultz, just to name a few. The opening track, They Say, is a smooth blend of Chicago blues and Memphis soul, with tastefully written horn parts and Robinson's clean and strong vocals. I was busy trying to control my feet by the time I got to the Jimmy McCracklin-penned, The Bitter and the Sweet. Otis Clay gets a turn at vocals on the Cornelius Brothers & Sister Rose-penned Too Late to Turn Back, accompanied by Robinson's superb harp work and the stinging guitar of Alex Schultz. You can't do a blues cd and not have a straight-up Chicago-style song on it, and Woman Trouble is no exception, with a traditional bass line destined to send your already happy feet into a frenzy. I can't understand why Tad Robinson isn't already a household name; but with the release of this cd, he's well on his way to making a permanent spot for himself on any cd player.
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Title: Rockin' in the Same Old Boat
Artist: Johnny B. Moore
Label: Delmark, 2003
Reviewed by: Tim Richards - April, 2004
If you're looking for a straight ahead, no horns, no overdubbing, Chicago-Style cd, then look no further. For more than 30 years, Johnny B. Moore has called Chicago his home, and he has soaked up all the influences any one person can hold. While only three songs are written by Moore, he proves that he can do a cover song and add his own twist to make it solely his. On this, Moore's third release on the Delmark label, he has given us the rawest, most soulful release yet. As you sit back and listen to it, you can almost feel a crowded, sweaty dance floor on any given Saturday night. Whether it's Bobby "Blue" Bland's Rockin' in the Same Old Boat, or Willie Dixon's Big Boss Man, Moore throws in off-kilter touches that no one else could or would think of doing to make the songs uniquely his. Magic Slim's Lookin' Good is another example of Moore's twist on another standard song, and it works! While he won't win any awards for his strained, gruff vocals, it's the raw power of them that adds the finishing touches to his overall sound. This cd will make the cold winter nights go away for good.
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Title: Up Close & Personal
Artist: Watermelon Slim
Label: Southern Records, 2004
Reviewed by: Tim Richards - April, 2004
Watermelon Slim is at it again! This cd, his second release for Southern Records, picks up where Big Shoes to Fill left off. Of the 18 tracks, 14 are penned by Slim and should establish him as one of the most talented singer/songwriters of the decade. Starting off is Truck Holler #1, an a capella field holler that sets the tone for the rest of the disc -- bare-bones acoustic blues sung the way it should be. With Honour Havoc (bass & spoons), Kyle Enevoldsen (percussion), Chris "Stovall" Brown (acoustic guitar), and Adam Enevoldsen (electric bass), Slim has assembled a superb crew that he doesn't use on every song, but that's a good thing. Slim is accomplished on national steel, electric lap steel, harmonica and kalimba, so that he is literally a one-man band. I love the sound of a national steel, and Slim is a master of making it speak to the listener. Of the cover songs, Slim picks great ones by Muddy Waters, Howlin' Wolf, Fred McDowell, and Sonny Boy Williamson. Don't be the one person who, when someone mentions Watermelon Slim, says, "Who"?.
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Title: Midnight Creep
Artist: Easy Bill & the Big Beats
Label: Rhythm & Roll LLC
Reviewed by: Tim Richards - April, 2004
Easy Bill & the Big Beats is an amalgamation of Little Charlie & the Nightcats, Rod Piazza & the Mighty Flyers, and any other band you can think of that does jump blues. He's picked a tough market to get into. The band consists of Easy Bill Towber (guitar & vocals), RD Jones (bass), Kyle Roberts (drums), Mark Richardson (piano), Ken Plum (sax), Gerry Hundt (harmonica), Heidi Hamill (backing vocals), and guest Nick Moss. Even with all this fire power, the cd left me wanting more. Easy Bill's vocals are weak and almost spoken word instead of true singing. Of the twelve sound tracks, Easy Bill has written six, and the rest are covers of little-known songs from the 1950's. Note to Easy Bill, there's a reason they're little-known. Would I recommend this cd, I'd have to pass, but I give Bill a lot of credit for getting out there and doing what he loves.
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Title: Talking With Angels
Artist: Bruce Madden
Label: Bonehead Records, 2004
Reviewed by: Mark Smith - April, 2004
Who'd have figured that the soft-spoken and unfailingly polite Bruce Madden would be transformed into a new millenium version of Jim Morrison when he grabbed a microphone, strapped on his guitar, and laid his mouth on his harmonica for this disc? Those who have missed Morrison since his untimely death so many years ago will be unnerved by the uncanny manner in which Madden duplicates his gruff vocals and the trippy blues that marked much of his work with The Doors. While he has his sound down cold, Madden distinguishes himself from Morrison by focusing above, rather than below the waist. Those who take some time with the lyrics will be rewarded with thoughtful looks into a variety of topics, such as life in the burbs, Suburbia Amerika, the battle between right and wrong, Talking with Angels, pulling against your roots Leave This Town, the fact that achievement doesn't necessarily mean satisfaction, Still Not Satisfied, and the agony of being shackled by a religion that doesn't fit, Christian Deformed Blues. While the lyrics don't come from the blues 101 topic list (bad women, bad luck, bad booze), the raucous slide guitar could come from an RL Burnside or Hound Dog Taylor disc, while Madden's harmonica playing could come from any number of early Chicago blues discs. While the whacked-out sonic assault of UFO Louisiana is a bit of a challenge for blues fans, the bulk of the disc will find favor with those who like their blues with a raw edge and a thinking cap.
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Title: Sisters & Brothers
Artist: Eric Bibb, Rory Block & Maria Muldaur
Label: Telarc, 2004
Reviewed by: Mark Smith - April, 2004
Acoustic country blues, R&B, and a cappella gospel rave-ups are the bill of fare on this terrific collaboration between Eric Bibb, Rory Block and Maria Muldaur. Combining several Bibb originals with covers by the likes of Bill Withers, , Lean on Me, Bob Dylan, Gotta Serve Somebody, and Block's well-traveled Travelin' Woman Blues, this set takes full advantage of the possibilities offered by the presence of three highly talented vocalists. Each solo turn is accompanied by well-placed background vocals, while the duets feature vocal trade-offs that sound as if the partners have been singing these songs together on stage for years. A case in point is the seamless trade-off between Block and Muldaur on Travelin' Woman Blues, which sounds more like a band effort a la Saffire, the Uppity Blues Women, than a couple of solo artists cutting a one-time collaboration disc. While the vocals are the centerpieces of the sound of this disc, the greasy organ and syncopated piano fills provided by Chris Burns keep your toes tapping and your groove muscles working. A top-notch release.
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Title: Everything's Good
Artist: Weezil Malone & the King Size Blues Band
Label: Weezilwords, 2003
Reviewed by: Mark Smith - April, 2004
Those who follow the blues scene know that the field is crowded with musicians who are long on talent but short on originality and inspiration. This is particularly true of regional artists who can keep the dance floor filled all night with cover tunes, but clear the room when they try to add one of their own tunes to the mix. Likewise, their discs seldom rise above the "nice try" category, due to inclusion of well-worn chestnuts and recycled riffs. On this, his third disc, Larry "Weezil Malone" Fitz once again separates himself from the pack by focusing entirely on a diverse collection of original material. Backed by the nimble keyboard work of Mike Rizzo, and the steady groove laid down by Gordy Howe on bass and Tom Davis on drums, Fitz explores roots rock that would fit comfortably on a Sun Records collection, Two in the Morning, straight Delta blues that find their way into Chicago, I Wish That You Would Love Me, chugging Texas guitar blues on the instrumental number, For Freddie, 70's-syle blues rock ballads, Addiction, Memphis soul blues, Nothing But Despair, rock and roll, Wild and Free, and even a Greatful Dead-style mid-tempo rocker, One Hundred More Miles. Lyrically, Fitz and Rizzo take on everything from mates who talk waaaaay too much, Yappin' Like That, to making it through a jail stint by thinking of the beauty awaiting his release, 30 Days. While this disc recently won the WYCE Jammie Award for best local blues disc, it is broader than that and should appeal to not only blues fans, but to those who enjoy a rollicking rock number or two in their diet.
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Titles: Bare Blues; If This is Love; I'd Rather Have the Blues; White Line Flyers
Artist: Various Artists
Label: Blind Pig, 2004
Reviewed by: Mark Smith - April, 2004
Blind Pig dipped into its rich catalog and assembled three very different slices of the blues. First up is White Line Flyers, which assembles a number of cuts that extol the virtue of fast cars, fast relationships, and plenty of freedom. The tone here is upbeat and rocking, much like a Harley Davidson Road Songs series. While the musical back drop is blues, the feeling is as free as Doobie Brothers' classics like Rockin' Down the Highway or China Grove. Big fun is the order of the day with this disc.
Next up is Bare Blues, which consists entirely of instrumental numbers. While the risque cover conjures up images of a strip club, most of the cuts stay well away from the bump and grind routine. Instead, the 15 collected cuts include everything from zydeco to the blues to jazzy piano numbers. This is a great disc to put on when you want music playing but don't want to invite a singer into the action -- it will work well at the office and at dinner parties. It will also be a nice addition to your Sunday morning jazz rotation.
Completing the series is If This is Love, I'd Rather Have the Blues, which is the most traditional of the group, in the sense that it focuses on the tried and true blues formula of worthless, cheating, no-good lovers and spouses. While the theme is consistent, the musical approach isn't limited to the "down and out" blues. There's plenty of sassy, saucy, and upbeat material included to add some sugar to the salt of your tears.
Included on these releases are some of the biggest names from the past and present Blind Pig roster, such as Jimmy Thackery and the Drivers, Debbie Davies, EC Scott, Big Bill Morganfield, Chris Cain, Magic Slim & the Teardrops, Tommy Castro, Lloyd Jones, Studebaker John, Deborah Coleman, and a host of others. At a budget price, these discs are a great value and a great listen at the same time.
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Title: Sweet Home, The Music of Robert Johnson
Artist: Pyeng Threadgill
Label: Random Chance, 2004
Reviewed by: Tim Richards - May, 2004
WOW, and WOW again. With all the hype surrounding the Eric Clapton release of a totally Robert Johnson cd, I'm afraid this one will get shoved under the carpet and forgotten. It shouldn't be. This cd is a masterpiece, but in its own original way. If you don't like jazz and avant-garde jazz at that, then don't bother with this cd; but if you choose to pass it up, then you'll have missed a wonderful experience. Just a look at her heritage will give you a clue to her style. With father Henry, a renowned free-jazz artist and composer, and mother Christina Jones, choreographer and founding member of the Urban Bushwomen, Pyeng has been surrounded by the eclectic lifestyle her whole life. On this cd, which she produced, Pyeng has brought together a group of musicians who share her vision and talent. Too many to list here, they have helped bring a new and complex sound to the timeless music of Robert Johnson. A blend of blues, soul, latin, hip-hop, reggae, and pop, the music weaves its way around Threadgill's vocals like smoke from a smoldering fire. Of the 11 tracks on this release, none are done in a conventional way, and that's a good thing. From Sweet Home Chicago to Phonograph Blues, it's like a refreshing breath of clear air after hearing remake after remake of Johnson's songs.
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Title: Real Time
Artist: James Solberg
Label: Eclipse Records, 2004
Reviewed by: Tim Richards - May, 2004
Long-time collaborator and guitarist with Luther Allison, James Solberg is making his way from behind Allison's shadow, and rightly so. With this release, Solberg continues to provide a solid base for his brand of blues. Solberg has the the total package on this 12-track cd, and it's one that can be enjoyed. With help from band mates Larry Byrne (keyboards), Allen Kirk (drums), and Danny O'Connor (bass), Solberg continues on this, his fifth release, to lay down some good, solid blues work. After winning two Grammy nominations and two Handy Awards as Blues Band of the Year, Solberg is proving he's not just another blues band, but one of the finest around. If you like great grooves and outstanding guitar work backed by a rock-solid rhythm section, then this cd is a must for you.
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Title: One More Bridge to Cross
Artist: Mighty Sam McClain
Label: Mighty Music, 2003
Reviewed by: Tim Richards - May, 2004
I don't think there are many awards that Mighty Sam McClain hasn't won, and this cd shows why. Backed by a nine-piece band, McClain croons his way through this 13-track cd and shows why he's one of the best. Kicking things off is the slow, soulful Why Do We Have to Say Goodbye, one of my personal favorites. Mixing soul, R&B, blues, and gospel, it's just a great cd to put on while kicking back and relaxing. Open Up Heaven's Door is a self-penned gospel tune that will have you swaying back and forth while soaking up the soulful vocals of McClain. Following that is a funky lament titled If It Wasn't 4 Da Blues, featuring the trademark clean, crisp horn section McClain's band is known for. Balancing a nice blend of Hammond B-3-driven slow ballads and funky horn-filled grooves, you just can't miss buying this cd. I highly recommend it for anyone who appreciates great music and the velvet voice of Mighty Sam.
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Title: Looka Here!
Artist: George Friend
Label: Blues Leaf Records, 2004
Reviewed by: Tim Richards - May, 2004
George Friend may not be a household name, but if you were around a few years back, then you heard George's guitar work with the Detroit-based Sun Messengers. Nowadays, George is performing his brand of guitar work with west coast diva Janiva Magness. On this solo cd, George has brought his guitar work to new levels. This 12-track effort has special guest Rick Holmstrom adding his touches, but it just can't save it. George's vocals are weak, and if anything, detract from his playing. I saw George play live last year at the Mississippi Valley Blues Festival in Davenport, and loved what he did with six strings. Unfortunately, it doesn't translate very well here. The first track, the self-penned instrumental, The Grinder, is probably the best song on the disc. The following track, , Sit Down Baby, unleashes the carnage as Friend adds his vocals. I really had high hopes for this cd because I like his clean, simple style of guitar playing. It kind of puts me in mind of Jimmie Vaughan. Another instrumental track named Lazy Ass is aces in my book. Another bright spot is Ron Dziubla's sax work on most of the tracks, but it's not enough to salvage the damage done by Friend's vocals.
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Title: The Best of the 2003 Tampa Bay Blues Festival
Artist: Various Artists
Label: Tampa Bay Blues Foundation, 2004
Reviewed by: Tim Richards - May, 2004
While I was basking in the warmth of the Tampa sunshine and all the great music, people were hard at work behind the scenes recording the festival. The result is this 2-cd set that captures the festival highlights, opening with four tracks from Michael Burks, one of my personal favorites. Besides, who can pass up a ten-minute-plus version of The Sky is Crying? Kim Wilson only gets two tracks, but that's ok, because later in the disk he teams with Rod Piazza for a tribute to Little Walter that is a harp lover's dream. Deborah Coleman has improved so much that it's scary. Her three tracks include an excellent self-penned Goodbye Misery, which will impress even the tone deaf. The last track on disc one is given to the master of the harp, Rod Piazza, and he doesn't waste any time setting the bar for those who dare to follow.
Disc two kicks off with another Piazza tune, Sinister Woman, setting the stage for the following six tracks of Little Walter tribute. To add icing to the cake, the cd ends with six tracks from Delbert McClinton. While the production is a tad bass heavy and slightly over-modulated, the overall results are excellent.
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Title: Keepin' It Real
Artist: Rod Piazza & the Mighty Flyers
Label: Blind Pig, 2004
Reviewed by: Mark Smith - June, 2004
Over the course of a recording career that spans all the way back to 1967, Rod Piazza has crafted a few so-so discs, a number of good discs, and his fair share of discs that range from great to classic. This one will go down as one of the classics. The jump from the Tone Cool label to Blind Pig Records, along with the introduction of new guitarist Henry Carvajal and drummer Paul Vincent Fasulo appears to have inspired the band to new heights. In line with its title, this disc preserves the high energy and musical synergy that follows the band to the stage night after night. While a number of the band's discs have sounded stiff and composed, there's no hint of that here. Like the well-oiled machine that appears on stage, the Mighty Flyers locks into a tight groove that is interrupted only long enough for a dazzling guitar, harmonica or piano solo. Hard-hitting originals appear alongside the well-traveled covers that the band has featured on stage for years, including Good Morning Little School Girl, Just Like a Woman, and Baby Please Don't Go. As with every Mighty Flyers disc, pianist Miss Honey stretches out on a boogie-woogie piano number, Buzzin', and Rod attempts to melt his harmonica on the scorching Devil's Foot. The classic, upbeat, West Coast Mighty Flyers sound makes its appearance on Ain't Nothing Shakin' and That's What She Hollered, while new guitarist Henry Carvajal makes his presence known on Tick Tock and Ain't Nothin' Happening, which showcases his tough, sinewy guitar licks and reveals a heavier hand than prior guitarist Rick Holmstrom. From the greasy harmonica and slinky guitar that opens the disc on Big Blues Party, to the fade-out 13 tracks later, this is all killer, no filler.
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Title: Homeland
Artist: Henry Butler
Label: Basin Street, 2004
Reviewed by: Tim Richards - June, 2004
Henry Butler's Blues After Sunrise was such a laid-back, sublime, acoustic masterpiece that this is a perfect follow-up -- a romping, electrified and energized portion of foot-stomping funk that showcases Butler's syncopated piano styling. Veteran guitarist Vasti Jackson adds not only his brilliant guitar work, but his smokey R&B vocals to the live-set favorite I Stand Accused. Reverting back to his early New Orleans style of piano playing, Butler leads you on an excursion with such songs as Ode to Fess, his tribute to Professor Longhair, and Henry's Boogie, which again showcases his percussive style of playing. If you crave the red beans and rice style of music, then this cd is a must for you.
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Title: I Am Woman
Artist: Maria Muldaur
Label: Shout! Factory, 2004
Reviewed by: Tim Richards - June, 2004
This cd is basically a "Best Of". After 30 years as a world-renown singer/songwriter, and after 23 albums, I say it's about time. Best known for her top-10 single Midnight at the Oasis, this is just a tip of the mountain of music Muldaur has recorded. Starting with her time spent in the Greenwich Village folk music scene, to the 2001 release of her Grammy-nominated Richland Woman Blues, Muldaur has delved deeply into and studied all styles of American music including gospel, jazz, classic country and pop. This new cd is an incredible journey through Muldaur's musical history, where she has surrounded herself with the best musicians of whatever style of music she was studying at the time. The 19 songs on this cd are Maria's personal favorites and were chosen by her to reflect her life-long study of American music. Teaming up with Bonnie Rait, Taj Mahal and Charles Brown (his last recording), their interpretations of the classics It's a Blessing and Soul of a Man are proof of Maria's mastery of and deep love affair with her music. Should you buy it? Only if you want to treat yourself to one of the premier vocalists you'll ever hear.
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Title: Uncomplicated
Artist: Ellis Hooks
Label: Artemis, 2004
Reviewed by: Tim Richards - June, 2004
Ellis Hooks has lived a life that most people associate the blues with. The thirteenth of sixteen children born to a sharecropper, Hooks left home at age 15 to make his way in the world. This cd reflects on that lifestyle and is filled with some great R&B songs that will remind you of the Stax-Volt, Muscle Shoals era of Americana Soul. Not only will this cd draw comparisons to Otis Redding, Wilson Pickett and Sam Cooke, but you'll hear Van Morrison and Bob Dylan, too. Yes, he does sound like the above-named soul singers, but he does it in his own unique and distinctive way. He has drawn on his life here and in Europe for these songs, and you can hear that it comes straight from the heart. Hand of God is not your typical gospel song, but a hard-driving horn-driven romp showcasing Hooks' vocals. As with the rest of the 14 tracks, this is a playful and fun song. If you don't believe me and want to see Ellis Hooks live, then plan to be at the Kalamazoo Blues Festival this year. It'll be worth it, trust me.
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Title: Watch Your Back
Artist: Guitar Shorty
Label: Alligator, 2004
Reviewed by: Tim Richards - June, 2004
On this, Guitar Shorty's (aka David Kearney) first Alligator release, the Houston-born guitarist (who once taught his young brother-in-law, Jimi Hendrix, a few stage tricks) once again sets the strings on fire with his own in-your-face brand of guitar-driven rock and blues. With this cd it's either get out of the way or enjoy the ride as the Guitar Shorty train gains speed. The opening track starts fast and the pace never lets up throughout the entire cd. If you had a chance to catch Shorty at Blues on the Mall last summer, then you know he wanders the crowd, plays behind his head, and from sitting on a Harley Davidson. One thing for sure, there's never a dull moment, either live or recorded. Of the ten tracks here, none are subtle and all boast the muscular, macho, and in-the-groove style of music that Guitar Shorty has become known for. Let my Guitar Do the Talking is a prime example. Producer/pianist Jesse Harms has captured Shorty at his finest. It's as if the bumper sticker reads, "Get In, Sit Down, Shut Up, and Hang On".
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Title: You Left Me in the Dark
Artist: Jody Williams
Label: Evidence, 2004
Reviewed by: Mark Smith - July, 2004
After a 30-year absence from the business, guitarist Jody Williams came back in a big way with the W.C. Handy award-winning 2003 release, Return of a Legend. This follow-up disc mines the standard blues territory where long-gone lovers leave deep marks, You Left Me in the Dark; men mark out their territory, Don't Get Caught Sleeping in My Bed; the opposite sex leaves you bewildered, What Kind of Gal is That?; judgement gets thrown to the wind when that special someone comes along, She's Got a Spell on Me; and older men have more tools in their kit than the new kid on the block, Young Men Don't Know.
Williams is joined by a host of top-notch guitarists including Robert Jr. Lockwood, Lonnie Brooks and Billy Flynn, who add stinging counterpoint to his sweet and swinging Gibson hollow body guitar. Saxophones, keyboards and a trumpet add additional spice to the 14 tracks. On vocals, Williams combines the bombastic delivery of Muddy Waters with the rich, soulful timbre of B.B. King. Relentlessly upbeat and jumping, this disc could fill dance floors at a wake. Miss this one at your own risk.
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Title: Peace, Love & Respect
Artist: Popa Chubby
Label: Blind Pig, 2004
Reviewed by: Mark Smith - July, 2004
While many blues fans lament the oft-told tales of cheatin', drinkin', and dyin' that fill most blues discs, they show equal disdain for something different. There's some kind of odd tie to the comfort of tradition that often limits what blues fans are willing to accept. It's kind of like the paradox where you can't stand your family and gripe all the way there, but get together every Sunday because it's tradition. So what's a socially conscious blues artist to do -- sing the same old stuff and be accused of repeating history or stretch out and be accused of ignoring tradition? Either way, you're gong to catch major flak. In Popa Chubby's case, the answer is clear: screw the traditionalists, I've got something to say and I don't care if Uncle Harry shows up to hear it!!! In this case, Popa has his eyes on the right-wing politicians and their bought-and-paid-for "news" reporters, whom he believes control things these days. Pulling no punches, he takes the ground that rock artists used control: "The "man" is spouting nothing but bullshit and we shouldn't be swallowing it.". While Dubya and friends won't be amused, there is some pretty compelling stuff here. Those who grew up on 60's protest rock should reconnect with their past and give this a spin. Protest and the blues make for a good mix. Face it, Country Joe and Creedence Clearwater aren't around to sing your tune these days. Blues fans who have never stepped outside the box should take a risk - you think your baby's done you wrong? Popa will tell you what your government has done, and it'll give you some serious blues. Ouch!!
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Title: If Heartaches were Nickels
Artist: Charles Wilson
Label: Delmark, 2004
Reviewed by: Tim Richards - August, 2004
Chicago-born Charles Wilson already had his fate laid out in front of him when he was born. Nephew to the great Little Milton, Wilson started performing as a child and continues to set the standard for soul music. On this, Wilson's first album for the Delmark label, he continues to provide the smooth vocals that have become his trademark. On Hattie Mae's and Lonely Man, both written by Little Milton who also steps in to provide the guitar work, are superb examples of the talented Wilson's vocals. Also on board is guitarist Carl Weathersby adding his brand of guitar to several songs, including the self-penned Up at Carl's. The Albert King song, I Walked All Night Long, finishes what to my novice ear is one of Wilson's best efforts to date. Kudos to Delmark for bringing such talent to an already sterling roster.
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Title: Chicago Boogie
Artist: Roosevelt Sykes
Label: Delmark, 2004
Reviewed by: Tim Richards - August, 2004
Roosevelt Sykes (1906-1983) was one of the most exciting pianists to ever lay fingers on a keyboard. This compilation album covers for the first time on cd the sessions that were recorded on the Regal label and released on 78's. Spanning six decades, the career of Roosevelt Sykes is now highlighted on this 17 track cd. Of the tracks, eleven are original songs penned by Sykes. Starting out with the often-covered Drivin' Wheel, Sykes sets the stage for the rest of this wonderful cd. Joined by drummer Jump Jackson on this stripped-down version of his music, it's all Sykes needs to accent his sterling piano work. For anyone who likes the bare essentials style of music, this is a cd that belongs in your collection. Once again, Delmark has gone above and beyond to preserve the ever-evolving story of the blues for generations to come.
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Title: Hold That Train
Artist: Byther Smith
Label: Delmark, 2004
Reviewed by: Tim Richards - August, 2004
Recorded in 1981, but only partially released by the Grits label, Delmark has lovingly reissued this work in its original form, including tracks never before released. Backed by Mike Baietto (drums), Bruce Felgen (bass), and Joe Pusateri (guitar), Smith's raw vocals shine. While only one of the 15 tracks was penned by Smith, his renditions of such classics as Killing Floor, The Thrill is Gone, and 300 Pounds of Joy will be to your ears like honey is to a hungry bear. For all you blues wannabe's and Stevie Ray clones, this is the real blues. Buy it and wear it out; then go buy another.
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Title: Live Sampler
Artist: Pat Smillie Band
Label: Fat Bank Music, 2003
Reviewed by: Tim Richards - August, 2004
Detroit-born Pat Smillie has made a name for himself in Chicago. Nicknamed the "blues-eyed soul singer" while playing such clubs as Lee's Unleaded Blues and The Checkerboard Lounge, Smillie is backed by a host of Chicago musicians, and has opened for singers such as Koko Taylor and John Primer. On the opening track of this 5-song recorded live sample cd, Smillie plays...nothing special. On the second track I started to see a glimmer of hope with his vocals and writing skills. OK, I admit it, I liked the song; it has a funky beat and some nice slide work. Track 3 brings Tina Howell and Renee Ruffin to the stage, and that's what saves this song. 13 Below Zero is another attempt at an upbeat, funky style of blues/R&B. The last cut is a cover of Buddy Miles' Them Changes, played way too fast. Bottom line, the Pat Smillie Band would be a good bar band but lacks the originality to be much more.
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Title: Three Way Calling
Artist: Roy Tyler & New Directions
Label: Severn Records, 2004
Reviewed by: Tim Richards - August, 2004
Modern gospel is an oft-overlooked genre of music. After listening to this cd, people may change their minds. Roy Tyler & New Directions are a force to be reckoned with. Southern gospel is at its finest here, but not your typical old school type gospel; it's more like The Holmes Brothers or The Campbell Brothers -- hip, fun, but with a message. It's a fun blend of traditional gospel and soulful, sweet R&B. Backed by an extremely tight band with more members than I can list here and some talented background singers, this 13-track cd will delight the listener with the sounds of modern gospel at its finest. One of the many high points on this cd is the Tyler-penned Jordan River. Slow and silky, the song is pure gospel. I can't say enough about this cd; it should be a the top of anyone's list of "Must Have" discs.
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Title: Midnight Breeze
Artist: Stacy Mitchart
Label: Dr. Sam Records, 2004
Reviewed by: Tim Richards - August, 2004
Nashville has been very good to Stacy Mitchart and on every release you can see improvement. On this, his sixth, he shows why he won the Albert King Award for most promising guitarist at the 2003 IBC. Smooth vocals with a hint of gravel and a tight band make up a winning combination. When I review a cd I listen to it several times and each time listen to different aspects. I'll admit that when I first listened to this cd I wasn't overly impressed, but each time I listened I found myself hearing little things that made it more enjoyable, and by the time I was ready to write this review it was in the number one spot on my cd player. A standout track for me is Blow On 'Em Baby, which is the only acoustic track. OK, this is my only complaint -- I'd like to hear more acoustic. As producer, Mitchart has an ear for mixing down tracks, and the entire cd is easy to pick apart and hear each musician, something that a lot of products lack.
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Title: Alone With the Blues
Artist: Paul Oscher
Label: Electro-Fi, 2004
Reviewed by: Tim Richards - September, 2004
On his debut recording for Eletro-Fi, Paul Oscher once again proves that he's the real deal. The multi-skilled Oscher has mastered the guitar, harp, songwriting and gut feelings of the deep blues. Joining Oscher on a couple songs are piano wizard Davis Maxwell, Willie "Big Eyes" Smith on drums, and Calvin "Fuzz" Jones on bass. All this talent for one song. The rest of the cd is pure Oscher as he covers all the instruments. Track one had me sold, Oscher's version of the Richard Carpenter tune Walkin' is one of the best traditional blues instrumentals I've heard. Believe me when I say the rest of the tracks are just as good. Recorded in a live studio setting, you can hear the foot stomping and grunts as Oscher weaves his magic on the title track, Alone with the Blues. I could write a couple pages on just the talent and history that Oscher has accumulated over the years. Instead I'll say, don't pass this cd by, buy it.
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Title: Sanctuary
Artist: Charlie Musselwhite
Label: Realworld, 2004
Reviewed by: Tim Richards - September, 2004
Charlie Musselwhite is an American icon when it comes to the blues and blues harp in particular. On this cd he continues to solidify that position. Joined by Charlie Sexton on guitar, Jared Michael Nickerson on bass and Michael Jerome on drums, and with guests The Blind Boys of Alabama and Ben Harper, Charlie once again casts his spell on the listener. His vocals and harmonica present a sound that is unmistakable under any circumstance. Track one, Homeless Child is a pure joy to listen to with Ben Harper on guitar and The Blind Boys of Alabama singing background. Does it get any better than this; it does if you keep listening. Having seen Charlie many times, this cd comes as close to capturing the true soul of the artist as any I've ever heard and I have all of his.
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Title: Deeper Blue
Artist: Bruce Katz
Label: Severn, 2004
Reviewed by: Tim Richards - September, 2004
Chances are you've seen Bruce Katz before and didn't know it. He's played with Ronnie Earl, Jimmy Witherspoon, Big Mama Thornton and many more. Thankfully he stepped into the spotlight and released this, his fourth solo cd. Combining all elements of blues tinged with some jazz, Katz turns in a sterling performance on the keyboards. He is backed by an outstanding band consisting of Michael Williams (guitar), Rod Carey (bass), and Ralph Rosen (drums), with guest Ronnie Earl on two tracks. Track 5, Poptop is one fine jazz cut. I know the cd is called Deeper Blue, but while most of it is, scattered throughout are little gems like this that makes this cd a breath of fresh air.
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Title: Always Never
Artist: Alex Gomez
Label: Self-released, 2004
Reviewed by: Tim Richards - September, 2004
Well now, the press release that came with cd termed it "Punk Blues". Hmmmm, let me chew on that one for a minute. Ok, done chewin' and spit it out. You know the face a baby makes when you give it something sour; well, now you know what my face looked like when I listened to this cd. This is without a doubt one of the worst cds I've ever heard. While Gomez does the slide guitar justice, ok, he excels on it, his vocals are like fingernails down a chalkboard. Gravelly, raspy, bad. My suggestion, Alex, is keep playing your guitar but hire a singer; it'll be a worth-while investment. Would I recommend this cd -- as the title says, Always Never.
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Title: Live at Wonderful's
Artist: Crossroads Blues Band
Label: Self-released, 2004
Reviewed by: Mark Smith - September, 2004
Veteran blues bands know that while fast numbers and standard blues shuffles can quickly fill the dance floor, the only way to sustain the energy is to mix up both tempos and the lead instrument. Five guitar-based shuffles in a row leaves the band looking at a couple of bleary eyed air guitarists and a room full of table chatter. Based on the 13 cuts featured here, it is clear that the Crossroads Blues Band likely spends its club gigs watching people moving to the groove all night long. Deftly mixing up Southside Johnny-style blue-eyed soul -- Under Cover, with slow grinding guitars blues, Bad Dog Blues, upbeat, West Coast style jump blues -- The Blues is User-Friendly, funk -- My Queen (Queenie) and Funky Basement, Crescent City-style second line beats -- Goin' to New Orleans, and rock -- Beginning of the End, the band showcases both it's versatility and its potent instrumental chops. With guitarist Dave Allemang trading leads with saxophonist Eddie Lester, the band keeps things fresh and interesting from cut to cut. Those who like stinging guitar leads will find plenty to like, but those who dig the jazzy dimension added to the blues by horns will be in near bliss as Lester injects some wailing saxophone leads and greasy fills throughout. While the fast numbers are the dance floor fillers, the slow ones will catch your attention as well. Both Bad Dog Blues and Dog Without a Bone showcase the band's ability to turn up the intensity without having to resort to the tried and true trick of simply playing faster and louder. As an added bonus, the material is all original, so you don't have to avoid all the live blues clichés such as Sweet Home Chicago, that can test the fortitude of even the most ardent blues fan. Those looking for an instant passport to the club dance floor will find much to like here.
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Title: Have a Little Faith
Artist: Mavis Staples
Label: Alligator Records, 2004
Reviewed by: Tim Richards - September, 2004
Mavis Staples is an icon of gospel music, with smooth vocal ability and impeccable taste in phrasing. Alligator has scored another bullseye with this release, Mavis's first for the label. Staples has been listed on VH-1's list of Top 100 Greatest Women of Rock and Roll and along with her family group, The Staple Singers, has been inducted into the Rock and Roll Hall of Fame. How much better credentials do you need? Combining her talent with other artists is a plus, but it's like an out-of-body experience to hear her on her own mixing an outstanding blend of gospel, R&B and soul. Uplifting is a word that comes to mind when listening to this cd. Her positive attitude shows through and infects every nuance of the music. There just isn't a weak track or weakness anywhere on here. As much as I'd like to single out a particular track to mention, I can't, they are all that good.
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Title: True to Yourself
Artist: Albert Cummings
Label: Blind Pig Records, 2004
Reviewed by: Tim Richards - October, 2004
All I can say is, where'd this guy come from and where has he been? Good Gawd, this man plays with so much fire and enthusiasm it's down right scary. You can feel the intensity from start to finish on this CD. It's no wonder he's in such demand in the northeast, and after this, all over. Of the 10 tracks, 9 were written by Cummings and he's backed by a superb band consisting of Tommy Shannon (from Double Trouble) on bass, Riley Osborne on keyboards, and B.E. "Frosty" Smith bringing his tasty drums to round things out. If that band wasn't enough, he had the good sense to have Jim Gaines producing. From the opening track, Man On Your Mind, all bets are off as Cummings rips and slashes through three minutes plus of pure blues/funk. With gutsy vocals backed by his sonic guitar work and a rock solid rhythm section, this is one cd that you just can't stop listening to. I have to go buy another copy so I can have one in the house and one in the car. Plus, it's good to hear Frosty back in action.
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Title: Max Attack
Artist: Davis Maxwell & Friends
Label: Bluemax, 2002
Reviewed by: Tim Richards - October, 2004
I'll admit it, when it comes to piano players, I'm biased. Everyone had better measure up to Pinetop Perkins or you can just pack it up and go home. Well David, rest easy, you are on top of the heap. I first saw David Maxwell with James Cotton years ago in a sweaty little club in Memphis, and his playing has only gotten better since. There are so many guests (friends, if you will) on this cd that it's impossible to list them all, but some of the highlights are James Cotton, Pinetop Perkins, Kim Wilson, Ronnie Earl, and Hubert Sumlin. Geez, how can you produce a bad cd with that kind of lineup. Track one, Max Attack is a full bodied, full horn section, slap bass funk that not only makes you want to dance, but you can't stop. Hip House Rock, the second cut, is more of the style I'm used to hearing from Maxwell, full-tilt, barrelhouse boogie piano. Believe me when I say the rest of the cd is nothing short of great. Buy it, play it, dance holes in the floor.
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Title: Show Me the Money
Artist: Smokin' Joe Kubek and B'nois King
Label: Blind Pig, 2004
Reviewed by: Tim Richards - October, 2004
What do you get when you cross an excellent guitar player and a man with silky smooth vocals and a guitar style all his own? Well, in this case you get Smokin' Joe Kubek and B'nois King's latest knockout cd. None of the tracks on here are a disappointment. You can't top the combination of sounds they have established over the years. Add Paul Jenkins on bass and Ralph Power on drums, mix thoroughly, and you have a winning sound. A long time fixture on the list of favorites bands in the Grand Rapids area, Joe and B'nois continue to bring a freshness to their sound. Joe has arranged and produced this newest effort and has learned well.
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Title: Ain't No Way
Artist: Kyle Jester
Label: Self-released, 2004
Reviewed by: Tim Richards - October, 2004
Featuring straight ahead, no sound effects guitar work, Kyle Jester has produced a very tasty cd. With vocals that remind me of Jimmy Johnson, Jester has broken ground here with a twenty-track effort that should net him some new fans all over. The title track, Ain't No Way, is a stripped-down sound of just piano, drums and bass, combined with a slow jazz/blues tempo that will have you grabbing your girl to rub bellies. Candye Kane lends her distinctive voice to a track and vocally spars with Jester on a fun west coast jump-style romp. It's impossible to sandwich Jester's style because he's all over the board. Jumping from Otis Rush to Junior Parker, to James Cotton material, plus five self-penned tracks, you don't waste time trying to brand him with a style, you just sit back and enjoy it.
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Title: Live
Artist: Steve Arvey
Label: Bittersweet Records, 2003
Reviewed by: Tim Richards - October, 2004
I so enjoy Steve Arvey when he plays acoustic blues, but this cd is all electric with the long running band West Side Heat. Recorded live at the Blues on Grand in DeMoines, Iowa, it's pretty typical of a live recording. Lots of crowd cheers and whistles and not the best sound quality. Arvey's vocals seem forced and gruff and not pleasing to the ear, but rather "it's a live recording so I really, really have to try and sound energetic". Arvey has been in the music business forever and has played with just about everybody, so the talent isn't lacking; his guitar work is great, as is slide guitarist Mark Hoekstra. The rhythm section composed of Michael Wagner on bass and Pete Kruse on drums adds the perfect mixture. I don't know, I'm just under-whelmed with the end result. Even with all this talent, it sounds like just another bar band to me, which is disappointing.
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Title: 2120
Artist: Murali Coryell
Label: CZYZ Records, 1999
Reviewed by: Nelson VanEldren - October, 2004
This 15-song cd was produced and released on Marshal Chess' label. (2120 S. Michigan Ave. is the street address of the old Chess Records studio.) This cd features covers of some classic blues tunes as well as some of Murali's own compositions. Murali has an intense love and respect of the music, and much of the excitement of his live performances comes through on this recording. Coryell has been playing with bass player Bill Foster and drummer Rod Gross for over ten years. Murali is an accomplished blues guitar player with an extremely soulful voice. This cd is worth checking out. Murali (will be performing) did perform at Billy's on Saturday November 6th.
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Title: That About Covers It
Artist: Big Foot Bob & the Toetappers
Label: Self-released, 2004
Reviewed by: Tim Richards - November, 2004
How can one band have so much fun and have it translate to a cd? Well, whatever it takes, these guys have found it. Not a true blues cd, but nonetheless it's a fun time to be had by anyone who listens to it. Starting off with a horn and B-3-driven track, Paul B. Allen, this cd is a compilation of covers but don't put it down just for that. Their arrangements are mighty fine. They do a fairly faithful version of the Robby Robertson-penned Up On Cripple Creek, and from there cruise into a Taj Mahal tune, Done Change My Way of Living. One of my favorites is the Hoagy Carmichael classic, Georgia On My Mind. The 11-track cd winds up with a traditional version of Cocaine Habit Blues, complete with tuba. The only track in my opinion that could have been left off is Third Rate Romance; just too darn close to disco for my taste. All in all though, this is a fun cd made by fun guys for fun-loving people.
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Title: Memphis 3rd & Beale
Artist: Barbara Blue
Label: Big Blue Records, 2004
Reviewed by: Tim Richards - November, 2004
Pittsburgh native Barbara Blue made the move to Memphis to follow her dream of being a blues singer. Well, she's getting close with this release. This, her third release, is tinged with Memphis smoke and grit, not to mention a great band featuring the Texicali Horns. A great cut on this 13-track cd is the Bobby Boyd-penned If I Had You, a slow burning R&B that makes you want to grab your girl and do some serious grinding on the dance floor. While only two of the tracks were written by Barbara, it doesn't really matter; this is a fun cd. On the Charlie Rich tune Don't Put No Headstone on My Grave, I can hear a little Janis Joplin gravel and that's good. Lie No Better gets a funky groove on and the grindin' and bumpin' becomes jumpin' and groovin'. While not a standout cd, I really like it because of the well-written horn charts and use of background singers. It compliments Barbara's vocals and gives it a nice full sound.
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Title: Strong Suspicion
Artist: Curtis Salgado
Label: Shanachie, 2004
Reviewed by: Tim Richards - November, 2004
I own a couple of Curtis's earlier cd's, and to be honest with you, I wasn't impressed much. Then I saw him live and he blew me away. I believe that Strong Suspicion is his best effort to date; much grittier and passionate than past cds. Give Me Patience starts off the 13 tracks with such fire and strength and it's only the first track. The Lennon/McCartney song I'll Be Back is next and mellows the grit into a very expressive song. On this, his third release for Shanachie Records, Curtis has hit his stride and has produced one of the best cd's of his career. Blue-eyed soul would be one way to describe it, but to me the best way is "from the heart". Curtis's take on the Bill Withers song Who Is He is a good example of how he has the ability to take someone else's song and put his own spin on it. One thing this cd lacks is more of Salgado's harmonica work. Money Must Think I'm Dead is the high point for harp work. I have to admit the more I listened to this cd the more I liked it, and I liked it the first time I listened to it.
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Title: Big Mama Thornton with the Muddy Waters Band-1966
Artist: Big Mama Thornton
Label: Arhoolie Records, 2004
Reviewed by: Ed Markosky - November, 2004
Wow! Big Mama Thornton with the Muddy Waters Band, you sure can't beat that. Talk about an all-star band, this is it. We can thank Chris Strachivity for his hard work putting these people together. He had recorded Big Mama in London on a shoestring budget. He also knew that she wasn't well known in the U.S.A. She was mainly known for her 1953 recording of Hound Dog, three years before Elvis recorded it. On this cd there are 17 tracks, 13 of them are hers, seven are previously unreleased. Big Mama Thornton is one of the greatest blues shouters of all times. She starts off with I'm Feeling Alright, the slow version. A fast version will be found on a later track. The cd ends up with Big Mama Blues on track 17. If there is a double A rating, this cd should get it. Run out and buy it, you'll be very pleased.
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Title: Double V
Artist: Otis Taylor
Label: Telarc, 2004
Reviewed by: Ed Markosky - November, 2004
I had the pleasure of seeing Otis Taylor a few years back at the Kalamazoo Blues Festival, and I've liked him ever since. If you have any of his albums you should like this as well. It is Otis Taylor all the way through. If you picked up Double V as your first one, you might wonder why it is in the blues department. Trust me, Otis sings the blues better than most. On this album Otis brings in his young daughter Cassie, who has a very beautiful voice and who is also a decent bassist. Otis Taylor sings about real people and their real pain. He sings about their trials and tribulations. This cd is a little different in the fact that he adds four cello players and a trumpet player to round out the band. The 12 cuts were all written by Taylor, including the final track, my favorite. Cassie Taylor's vocals and Ron Miles' trumpet are a match made in heaven. Buy this cd, it's a strong A+.
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Title: Goin' Home
Artist: Paul Rishell & Annie Raines
Label: Tone Cool, 2004
Reviewed by: Mark Smith - November, 2004
On their third Tone Cool disc, guitarist Paul Rishell and harmonica player Annie Raines cover lots of territory. Kicking things off with the sinuous groove of Hunkie Tunkie Blues, which would fit comfortably on any number of early Little Feat discs, the duo works its way jug band-inspired foot stompers, I'm Goin' Home, electric funk, It Ain't Right (where they're joined by a drummer, bass and horn section who help them nail the groove), light jazz on Big Maybelle's Candy, dance floor-filling soul blues, Memphis Blues, barrelhouse finger snappers, Ragtime Millionaire and, of course, straight forward back porch acoustic blues, Black Eye Blues. While Rishell carries most of the vocals in a voice that often recalls Keb' Mo', Raines takes a turn on Black Eye Blues, which reveals her to be a fine singer with a voice that would fit easily on Maria Muldaur's acoustic, jug band-oriented discs. The duo's many years playing together reveals itself throughout the disc as Rishell's fluid guitar lines weave a tight web around Raines' often understated harmonica without ever getting in the way. The spare arrangements leave nowhere to hide but also allow each of them to shine brightly. While Rishell gets plenty of time in the spotlight, Raines really gets to grab the attention with her scorching harmonica driving the live version of Magic Sam's Lookin' Good, which closes out this disc. While sometimes the "cover all the bases" game leads to a disc that is disjointed, the many styles covered here all fit together into a cohesive whole that is enjoyable from start to finish.
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Title: Villanelle
Artist: Paul Reddick & the Sidemen
Label: Northern Blues, 2004
Reviewed by: Mark Smith - December, 2004
Those looking for a repeat of Reddick's highly charged work with his long-time group the Sidemen will be thrown for a bit of a spin with this back-to-the-roots effort. With a focus on pre-war blues and work songs that feature spare acoustic arrangements and hypnotic grooves, this disc takes you back to the time before the blues were electrified as they made the journey to the big cities. While fans of his charging harmonica will be left wanting, Reddick skillfully takes command of the fifteen cuts collected here and makes the transformation back to the simple story-telling roots of the blues without missing a beat. Of course the stories would be just stories if they didn't have a musical backdrop to make them the blues. Staying mostly clear of standard shuffles and boogie, Reddick demonstrates the trance-inducing side of the blues with murky, chugging, sinuous grooves that transport you far from the dance floor and square into the heart of the songs. A couple of electrified numbers, Luck In Love and Six Was The Six, stand in stark contrast to the rest of the set. Fans of the hill country blues sound of RL Burnside will find much to like here. Those looking for a blues dance party will need to keep on looking.
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Title: Ladies Man
Artist: Pinetop Perkins
Label: M.C. Records, 2004
Reviewed by: Tim Richards - December, 2004
Dapper Pinetop Perkins has always presented himself as a ladies' man. On this cd he goes above and beyond to please and have fun with the ladies. Here he is backed by Chicago legend Bob Stroger (bass), Willie "Big Eyes" Smith, and son Kenny (drums) and a few female guitarists - Deborah Coleman, Susan Tedeschi, Madeleine Peyroux - plus Ann Rabson (piano), plus Odetta, Ruth Brown and Angela Strehli on vocals. With an all-star cast like this, there was no way this cd could have failed. Of the twelve tracks on this cd, I think the weakest is with Susan Tedeschi, but it's only one track; the rest are above and beyond. At 91, Pinetop can match any piano player and is better than most. On Careless Love, producer Mark Carpentieri had the foresight to put Pinetop's piano in the right channel and Ann Rabson's in the left. What a fun tune it is, but then the entire cd is priceless and is a must-have for any fan of Pinetop. Other standout cuts are Big Bill Broonzy's Trouble in Mind with Odetta, and Pinetop's New Boogie Woogie with Marcia Ball.
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Title: Going Back to Mississippi
Artist: Nora Jean Bruso
Label: Severn, 2004
Reviewed by: Tim Richards - December, 2004
Delta-born Nora Jean Bruso can belt with the best of them. Surrounded by the blues while growing up, Nora Jean had her destiny mapped out while still a child sneaking into her grandmother's juke joint. Severn Records has captured that drive and fire on this 12-track debut. I'm impressed by the fact she wrote or co-wrote every song, showing she's more than just a singer mimicking other artists. She understands, respects, and loves the tradition, which she has chosen as a career. I can't tell you about a favorite track because they are all that good. From the driving guitar of Carl Weathersby on Miss Mae's Juke Joint to traditional Chicago sound of Going Back To Mississippi, this cd will keep yours toes tapping.
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Title: Live From the Outskirts
Artist: Cyril Lance
Label: Dog Talk Music, 2004
Reviewed by: Mark Smith - December, 2004
This nearly hour-long six-cut slice of live electric blues recalls the days when bands jammed to the blues rather than the progressive rock, fake funk and trippy space excursions that mark most of today's ventures into 10 minute-plus song territory. With support provided by bass, drums and a revolving cast of B3 players, guitarist Cyril Lance explores rock blues underpinnings with the type of fervor and attention to detail that made a name for Eric Clapton and Duane Allman. While he is capable of lots of fireworks, Lance isn't the least bit afraid of slowing things way down and exposing the delicate underbelly of the songs. Unlike too many live performances that are focused mostly on filling the dance floor by being fast and loud from beginning to end, the performances featured here are often directed in a more cerebral direction with finesse, skill and the use of pace and dynamics taking you to a different place. That's not to say that there isn't plenty of fun to be had. The rollicking Blues Ain't Nothing cuts a heavy second line New Orleans groove that will certainly get your booty moving as it evolves into War's Spill the Wine and even a little James Brown style funk. Speaking of funk, Lance and crew get way down and dirty with their cover of John Scofield's Chank. Overall, a great disc if you want to listen more than dance.
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Title: Takin' It Easy
Artist: EG Kight
Label: Electro-Fi, 2004
Reviewed by: Mark Smith - December, 2004
While EG Kight slings an acoustic guitar, don't make the mistake of thinking she limits herself to the straight acoustic blues that have made an entire career for Rory Block. While there is nothing wrong with that focus, it can prove limiting. In the case of Kight, this disc reveals her to be equally at home with swing, smoldering late night jazz, and rock. The swing side comes out on the finger-snapping, piano-propelled I Don't Want To Start Over and on Duke Ellington's I Ain't Got Nothin' But The Blues; while the torch side makes its way into the mix by virtue of When You Were Mine, which features Kight's warm expressive vocals sympathetically supported by former Roomful of Blues sax man Greg Piccolo's rich tenor grooves. Just when you think you have her pegged, Kight tears into Dickie Betts' classic Southbound, which is fueled by lots of rollicking piano. When Kight does get around to the blues, she covers everything from the gospel, Can't Blame Nobody But Me, to the slow, salacious, acoustic blues, Peach Pickin' Mama, to the slide guitar-fueled boogie, I Ain't Got No Business Doin' Business Today, to Robert Cray-style soul, I Believe It When I Feel It, to the straight-forward piano-driven shuffles, Nothin' Ever Hurt Me. Leave your perceptions behind and give this disc a spin.
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Title: Blowin' My Horn
Artist: Mark Hummel & the Blues Survivors
Label: Electro-Fi, 2004
Reviewed by: Mark Smith - December, 2004
This thirteen cut live disc features singer/harmonica player Mark Hummel leading the Blues Survivors (Charles Wheal on guitar, Steve Wolf on bass, Marty Dodson on keyboards) through a lively mix of originals and covers by the likes of Roy Brown, Frank Frost, Buddy Rich, Peter Green, James Cotton and Eddie Bo. Equally adept at rockin' blues, Rockin' All The Time, as straight forward shuffles, 100 Years, and west coast swing, I'm Wise, the band plays with intensity throughout. While some might hit the skip button when the drum solo starts on the old chestnut Willie and the Hand Jive, those who stick around will be rewarded with some of Hummel's most intense playing. Guitarist Wheal gets his turn on Rotten Kid, which features lots of T-Bone Walker style guitar before Hummel leads the band to the end of the song with lively harmonica that perfectly compliments Wheal's masterful flight above the groove. Over the course of the disc Hummel reveals himself to be a masterful harmonica player with lots of tricks in his bag: dazzling runs of well articulated individual notes are combines with fat greasy walls of sound that sound like his entire harmonica is being played at once. Hummel even takes on James Cotton's masterpiece The Creeper and emerges from the daunting rigors of the tune as not only a survivor but as a master who has tamed the beast. Overall, a fine effort that certainly will make you want to check out Hummel and the Blues Survivors the next time they make their way to your area.
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