Watermelon Tea reviewed by Mark Thompson

Watermelon Tea

Retro Deluxe

Rinkled Rooster

www.retrodeluxe

band.com

16 tracks/63:11

Here's a band that aspires to be nothing more than a hard rocking unit capable of playing a wide variety of American roots music. And, man, are they good at it !!! If you are tired of retreads of the same old 12 bar blues patterns or guitarists who worship at the school of faster/louder meandering solos, you definitely want to check out this release.

The leader is Bobby Joe Owens, lead singer and composer of all sixteen songs under his alias Robert J. Thompson. Zach Sweeney is the guitarist with impeccable taste while Justin Showah plays standup and electric bass. Noted producer Jimbo Mathus is on board as the drummer, appearing on two tracks in his usual role on rhythm guitar. Billy Earheart adds keyboards to half of the cuts.

The title song is a rockabilly-tinged blues with Owens belting out his praise for his favorite beverage. “Too Much Drama” is another rocker featuring some wild guitar from Sweeney. Owens' growling vocal is a perfect fit for “Rockin' the Blues Tonight” with the band pulling out all of the stops behind Earheart's plunking piano playing. It's so much fun, they do it it again on the next song, stompin' their way through the humorous “What in the Devil Did I Do Last Night”. They can also be just effective on the slower, grinding tempos like the one on “A Woman Like That”, which sounds like something that a young Elvis would have done.

When they switch to blues, Retro Deluxe can dig deep on cuts like “I've Got One Woman” with Owens making it clear that temptation will not get the best of him over a swampy groove or lay down a unforgiving boogie riff on “You're Lyin'”. Sweeney plucks at your heartstrings on the slow blues “The Mother Nature Song” as Owens confides about all of the damage “..the bitch” has caused. “One Tooth Tessie” is a rousing acoustic romp with Mathus on harp and Owens contributing another fine vocal.

Switching to organ, Earheart fleshes out the arrangement on the haunting take of “Wine & Religion”.  “Beer and Whiskey, Wine and Cigarettes” employs a lighter, swinging beat on a cautionary tale about too much indulgence. Owens' distorted vocal on “Rough, Tumble, Roll” fits the frantic boogie beat with Sweeney tearing up and down his guitar fretboard.

The only cut that misses the mark is “Clarksdale, Mississippi”, done in by the constant use of the title throughout the song, wasting a strong musical performance. The disc closes with “Blues Infusion” as they give full flight to their rock influences, echoing the “Purple Haze” riff with Sweeney breaking out his wah-wah pedal for a last minute guitar crescendo with some nice percussive work from Mathus.

There is nothing here that hasn't been done before. But right from the start, you can tell that these guys get it – that the best music has a strong beat, lots of energy and plenty of feel. They do not disappoint on any count - and will have your body movin' and groovin' throughout this highly recommended disc !!

Reviewed by Mark Thompson

The Life and Times of Snuffy Wilson reviewed by Steve Jones

The Life and Times of Snuffy Wilson

Todd Lorenz

Self Released

www.toddlorenz.com

24 tracks (12 songs with 12 narrative introductions)

Todd Lorenz has created the character of aging bluesman Snuffy Wilson who could be any aged bluesman looking back and reflecting on his life and the choices he made, dwelling especially on all that he has lost in his life.

Lorenz embarks on a lot of big projects.  His “write a song a week” project from a few years ago was a huge commitment that resulted in 52 tracks laid down over four CDs.  In this one he has created a man that is a little bit him and a little bit any blues man.

He sings with a lot of pain and suffering, confidence and doubt, loves won and lost, and generally depicting what happens as the years wear us away and break us down.  It is a very creative effort.

Lorenz plays some expressive acoustic guitar throughout.  Whether it be a soft lamenting ballad like “When Liza Cries” or a bolder and driving “I’m The King”. Lorenz shows us he is in control of his instrument.  Never overstated, he picks and fingers his way expressively throughout  the entire CD.

The vocals are a bit behind his guitar work developmentally . I’m not sure if it’s trying to be overly expressive or what that causes the problems I’m hearing.  It sounds like Todd is trying to be someone else at times instead of just being himself.  He’s not off key, it just sounds like he’s over emoting.

The CD overall is quite interesting and Lorenz displays he is becoming quite the folk blues songwriter.  His fretwork is really well done.  “Need to Be Free” and “Redemption?” are great examples of his guitar work. 

This is a very interesting body of music that Todd has put together here.  An ambitious musical autobiography of a man’s toils and struggles– I was intrigued and impressed throughout.

Reviewed by Steve Jones

It's A Long Road reviewed by Rick Davis

It's A Long Road

Johnny Max Band

CDBY
http://www.jonnymaxband.cp/

12 Tracks

“It's A Long Road”, is the latest studio cd by the Johnny Max Band, filled with New Orleans style R&B and soul with a hint of boogie woogie. Throughout the cd, Johnny plays the role of storyteller supreme! His supporting cast receiving co-credits on production and songwriting consists of Vince Maccarone on drums, Wayne Deadder on bass, John Findlay on guitar, and Jesse O’Brien on keyboards. Added to band is the four-piece brass section led by Johnny Johnson on sax (who also does all the horn arrangements), Steve Crowe on trumpet, Kevin Turcotte on trumpet and Gord Myers on trombone, a backing vocalist, and additional percussion creating a tasty blend, like a big pot of New Orleans gumbo simmering on the stove.

The cd opens with Jessie O'Brien pounding out those barrelhouse piano blues and a full horn arrangement with Johnny and his storytelling about "Daddy's Little Girl". "Heading Back Home To You" really brings out the stellar horn section with Johnny once again on vocals supported by superior back-up vocals. The New Orleans jazz style number "She Don't Love Me Anymore" echoes out tragic goodbyes from Max woven together with piano and guitar solos throughout. The sad tales of a relationship gone bad continues with "One Day". "Song of New York" tells us of the life in the big city told only like Johnny Max can tell it. They pick the pace up with the ZZ Top style Texas boogie tune "Too Many Fish" with superb guitar solos from John Findlay. Trouble seems to follow Max around as he belts out his lines in "I'm In Trouble".  "It's A long Road" opens with Johnny giving lots of advice throughout the course of life. He describes the type of girl you don't want to bring home in "She's Not The Marrying Kind" with rockin' guitar solos once again from John Findlay. The cd continues to rock with "Waiting On You" backed one again by soulful background vocals. A muted trumpet rings out from the horn section as Max continues with the jazz tune "That's It, I Quit!". The albums ends with the haunting number "You Tell Me" coming straight out of the Louisiana bayou.

The Toronto blues band has become one of Canada's most popular and well respected in the business. Johnny Max has the reputation as being one of the best live entertainers in the blues world today. “It's A Long Road” exemplifies this reputation as one of Canada's finest.

Review by Rick Davis

Live reviewed by Mark Thompson

Live

The Todd Wolfe Band

American Home Entertainment

www.toddwolfe.com

10 tracks/71:31

For his seventh release, Todd Wolfe hit the road to record live on-stage at Quakertown, PA. The audience at McCoole's Art Place certainly got earful of Wolfe's guitar pyrotechnics that night. Using the power trio format, the former guitarist for Sheryl Crow's road band gets backing from Suavek Zaniesisnko on bass guitar & vocals plus Roger Voss on drums and percussion. Wolfe handles the lead vocals, his appealing voice commanding the listener's attention throughout the disc. He also had a hand in writing nine of the songs.

The notes with the disc states the band harks back to a time when “..men were men and amps were amps”. And Wolfe certainly lives up to that statement, turning each solo into a mind-melting demonstration of his technical prowess at concert hall volume levels. The lone exception occurs on “Roll Over” when Wolfe makes the switch to an acoustic slide guitar. The rest of the time, he tears through each solo at a frenetic pace. That will create excitement in a live setting but grows a bit tiresome when the visual element is absent. There will be a companion release of this show in the DVD format.

The opening track, “Ready for Love”, is a rocker with a strong vocal from Wolfe and a pounding beat from Voss. It's full-speed ahead on “Crowded in My Soul”, with the leader and Zaniesisnko contributing a neat bit of vocal harmonizing on the chorus. Wolfe's guitar solo skips any attempt at genuine feel in favor of a rapid journey up and down the guitar neck. The opening sequence of “Cold Black Night” offers the first sign of any blues influence. Wolfe sings with passion , keeping his guitar work under control at the slower pace until the start of his solo, when his slash & burn style kicks in once again. “Gates of Heaven” sports an expressive vocal from the leader, backed by a resounding series of guitar chords and a closing passage that pays homage to Jimi Hendrix.

The chuka-chuka guitar line on “Black Hearted Woman” is enhanced by a wah-wah pedal, before giving way to several more bombastic solo sequences. “Silver Blue” features Wolfe on slide guitar, relating a tale of battling demons in New Orleans. The band injects a funk element into “Change Will Come” but the track suffers from weak lyrics. The closing track, “Shame” clocks in just short of fifteen minutes, providing plenty of space for Wolfe's tour de force guitar performance, as he pulls out all of the stops over Zaniesienko's thick bass lines. The track runs out out steam when the dreaded drum solo interrupts the proceedings.

If you long to return to the glory days when bands like Cream ruled the world, Todd Wolfe may be just what you have been looking for. There is no denying his appeal as a vocalist and many will also be infatuated with his guitar work. For these ears, his playing was often too fast with little sense of feel. But his sincere delivery will undoubtedly win over a substantial number of people who take the time to give this one a listen.

Reviewed by Mark Thompson

The Essential Popa Chubby reviewed by Steve Jones

The Essential Popa Chubby

Popa Chubby

Blind Pig Records

www.blindpigrecords.com

16 tracks

If I had to pick one word to describe this CD it would be “tame”.  It’s not bad; actually it’s a pretty good compilation of Popa Chubby’s stuff.  The “tame” label comes from having seen Popa live a few times and comparing the angry, incendiary performances to the tracks they chose for this CD.  It takes until track four with “If The Diesel Don’t Get You Then The Jet fuel Will” to get something with the big, driving guitar sound going, but none of the songs really depict the anger and emotion I’ve seen from this guy.  

I’ve always been a sucker for “Daddy Played the Guitar and Mama Was a Disco Queen” from his first CD, and that opens this collection.  It’s a fun song with a good syncopated beat.  His rendition of “Hey Joe” has always been one of the better covers of this song out there.  That and “Hallelujah” from “Big Man, Big Guitar are two of my favorite tracks from this collection.

“Slide Devil Man Slide” gives us a glimpse of this big man’s rawness and power.  An angry slide wails and wails and then Chubby comes in with a spoken word intro, almost rapping, but then breaks into the lyrics of the song.  “Deliveries After Dark” also verges on being quite emotional, with a big, rocking guitar solo and driving drum beat.  “The Fight is On” is by far the best depiction of the big sound and emotion that this guy can burn with.

To a song it’s pretty good stuff, but if you want the burning hot version of Popa Chubby you’ll have to look elsewhere.  Ted Horowicz (Popa’s real name) wrote all but three of the songs here, so you get a good idea of his song writing skills (which are quite good).   It’s a decent intro to the big man’s brand of rocking blues, but in aggregate, this is a collection of Chubby’s milder, kinder and gentler self. 

Reviewed by Steve Jones

Foolproof reviewed by Lisa Palmino

Foolproof

Yvonne Schmidt

Wild in Blue Productions

www.yvonneschmidt.net

10 tracks

Buffalo’s fabulous Miss Y is back with a new CD sure to please all blues lovers, some who love country, and even gospel fans.  Her first release since the soulful Nothing but Blue, Foolproof is sure to be a party favorite. Produced by Grammy Award-winner Tom Hambridge (who worked on the last album), the 10-track compilation offers hard-driving danceable blues, modern country with a twist, and slow deep blues ballads.

The first track starts off with “The Right Track,” a full-bodied tune by Hambridge, Jim Lauderdale and Gary Nicholson. The band really gets off to “the right start” here, with Max Abrams’ horns and plenty of keys to get everyone ready for some more blues.

Yvonne’s sound is better and lovelier than ever, her smooth alto voice taking command without getting throaty or overdone. Bonnie Raitt’s influence is clear on the vocals, and Miss Y even added one of her songs to the mix, “Give it Up,” made wildly popular by the Dixie Chicks.

“What You Gonna Do About Me?” is pure Chicago blues. Featuring lots of easy vibrato in minor, Schmidt and Rob McNelly’s guitar dominate the ballad while the band fills in the background deep in the pocket.

Probably the most fun song on the CD is “Daddy is a Rocker,” a country tune with lots of blues influences about a daddy trying to make it in the business.  Hambridge nails the high hat properly as Miss Y tells the story about the dad who gets to “drink on the job” and is always trying to “get that sound.”

She said, “Right around the corner, I swear there’s fortune and fame/sooner or later we’ll all know his name/turn on the radio and you’ll hear his song/see my daddy he’s a rocker and we all play along/now see my daddy likes to rock, he never punches a clock he never like to piss and moan….see my daddy is a rocker, he never turns anything down.”

The song is hit material, and Yvonne sounds exceptionally cool on this one.

Hambridge adds vibraphone, percussion and background vocals to the CD; Ann and Regina McCrary provide the subtle background vocals; Tom MacDonald plays all bass tracks; and Kevin McKendree plays piano, B-3 organ and the Wurlitzer.

Covers include a terrific rendition of “Born Under a Bad Sign, featuring Chris Tuttle on keyboards, and “Come to Mama,” a perfect choice for Miss Y’s sultry attitude and sound.

Another highlight of the album is lucky (or holy) #7, “Thank the Lord.” This simple, slow blues/gospel Hambridge original showcases the three ladies, Yvonne, Ann and Regina. It is light and uplifting as Miss Y sings “I thank the Lord for letting me stay around a little longer/Lord knows I love the life I live.”

Daddy might be a rocker, but “Mama” Yvonne definitely got “just the right sound” this time. Foolproof is a testament to the breadth and depth of what is included in blues music and all of its influences, plus a bevy of talented music veterans to make it real.

Put out by Schmidt’s own label, Wild in Blue Productions, Foolproof was recorded at Vibe 56 Recording and mixed at Insanery Recording Studio, both in Nashville, Tennessee. Even the CD cover is eye-catching, with three photos of the diva in summer garb and a convertible, stone archway and forest in the background.

Most of all, though, Foolproof is a very fun 40-minutes worth of listening material. I can’t wait to hear it live.

For more information, visit .

Reviewed by Lisa Palmeno

Shemekia Copeland Deluxe Edition reviewed by Steve Jones

Deluxe Edition

Shemekia Copeland

Alligator Records

http://shemekia

copeland.com

16 tracks

Shemekia Copeland began her career with Alligator and has four prior Alligator CDs to her credit; this Deluxe Edition represents the highlights from her Alligator work from these CDs and from the Alligator Christmas record.  If you have all of her Alligator CD’s there is no need to grab this. 15 of the 16 cuts are from them and the other cut is off of the Houserockin’ Christmas.  If her 2009 Telarc release was your first experience with her, there is a good assortment of her earlier work here to get to know.  And if Ms. Copeland is completely new to you, I would guess this would serve as a good primer into her stuff.

She’s got a big and solid voice and she is represented well here.  Of the newest generation of female blues vocalists, no one has the raw talent that she displays.  Power, control, and emotion run from very intimate to breaking glasses.  What I did question from time to time was the work written for her.  She’s covered great tunes but she’s been handed a variety of quality of new songs to sing over the years. In this sampling we pretty much have the better songs rather than the bad.  The Alligator artists and production of the tracks are all solid. All the players here are top notch.  Keyboards also abound to round out the sound on all but a track or two.  From big rockers like “Wild, Wild Woman” to the slow blues like “Beat Up Guitar”, Ms. Copeland will amaze those new to her work and those familiar with her will enjoy this thoroughly.

Reviewed by Steve Jones