American Patchwork reviewed by David Stine

American Patchwork
Anders Osborne
Alligator Records
www.alligatorrecords.com/
10 tracks/44:11 min.

Because Anders Osborne, the crazy Swedish transplant to New Orleans sometimes puts on a slide to play guitar, he ends up being categorized as a blues musician. But even with Alligator’s clout behind him, Osborne is hard to classify or pigeonhole. Like New Orleans itself, Osborne’ s maiden Alligator release is a molten stew of blues, R&B, rock, and New Orleans soul. To me it’s maybe Osborne’s most accessible and still quirky release to date. The title aptly point out that this is, indeed an patchwork. The deep roux under most of the songs is a Hammond B3 organ and bass pedal accompaniment. Osborne employs a lot of mushy, fuzz-infused guitar as well. Yet everything is well-employed to convey the angst not-so-well hidden here. American Patchwork contains songs about sin and redemption, regret and joy, the loneliness of the road, the loss of a friend and escape. He does, indeed lay some slide work over top of the occasional song not so much to “solo” as to add a second voice.

Patchwork kicks off with “On The Road To Charlie Parker,“ our introduction to the heavy B3 work and fuzzy guitar work. Osborne’s high voice is well anchored by instrumentation and production throughout this CD. “Echoes Of My Sins” continues in a similar vein. Guitar freaks don’t shy away here. There are lots of examples of Osborne’s I-never-would-have-guessed-that playing style. Song three, “Got Your Heart” is reggae type song that conveys the message that it’s OK to love, I’ve got your heart--it’s safe. Song four, “Killing Each Other,” however, snaps you back into the reality of what strong opinions can do to relationships, both personal, professional, and political. “Acapulco” is the first of Osborne’s “escape” songs and begins in a somewhat Beatles-meets-Dylan way. “Darkness At The Bottom” might give a hint as to what Osborne wants to escape. Osborne adds his scariest guitar solo of the disc to this song. “Standing With Angles” is his mostly acoustic guitar tribute to his friend Christopher Carter. Again, so as to not be TOO comfortable, Osborne throw in a weird coda at the end of the song. Ever been too much in love? Try a dose of “Love Is Taking Its Toll,“ song 8. With lines like “I’m lovesick and sick of love too/I hold on to soon and maybe/I wish I was sick of you” this might not be the best love song to play for your significant other. “Meet Me In New Mexico” is Osborne’s other “escape” song, and like “Acapulco” finds Osborne longing to sunnier and simpler climes. The CD ends with “Call On Me,” a quieter, mostly acoustic guitar lament about missing those at home while on the road.

Quirky and keen and buyable is American Patchwork. To me, it’s the best thing Anders Osborne has done. I might not be blues but it’s a great CD from song one to the end. New Orleans has so many musical elements, that it sometimes takes an artist awhile to find his or her voice in the gumbo of influence. I think Anders Osborne has found his. VERY highly recommended.

Reviewed by David Stine

A Night in Woodstock reviewed by Mark Thompson

A Night in Woodstock
Paul Rishell and Annie Raines
Mojo Rodeo Records
http://www.paulandannie.com/
DVD run time – 66 minutes

Nominated for a 2010 Blues Music award in the “Best Blues DVD” category, this video package is the companion to the audio version of this live show released in ’08 to lots of critical acclaim. It captures a stellar performance by guitarist Paul Rishell and Annie Raines on harmonica. Recognized as masters of the acoustic blue styles, the duo also gets to perform with a full band, featuring Rishell on electric guitar. They get additional support from John Sebastian on harmonica and Bruce Katz on keyboards. The DVD includes two extra tracks absent on the cd – “Kansas City Blues” and Magic Sam’s instrumental, “Lookin’ Good”, that closes out the show.

The first five songs feature the duo alone with Rishell on steel resonator guitar. He lays down a sprightly rhythm of Blind Boy Fuller’s “Custard Pie” before picking a more intricate pattern on “Canned Heat Blues”. His slide playing on Johnny Winter’s “Dallas” builds to a ferocious conclusion . Raines backs Rishell with tasty harp licks that complement his work, especially filling in behind the vocal lines. Rishell’s deep, expressive voice really shines on “It’ll be Me”, done as an up-tempo piece by Jerry Lee Lewis. Rishell slows the pace almost to a standstill, holding on to notes at length to really capture the mournful nature of the lyrics. The spotlight shifts to Raines on the original “Got to Fly” as she takes the lead vocal and dazzles with her country-style harp licks.

Reed Butler joins in on bass, Rishell switches to an acoustic guitar while Raines breaks out her chromatic harp for Louis Armstrong’s “Old Man Mose”. The band keeps expanding as drummer Billy MacGillivray makes his entrance on “Blues on a Holiday” along with Katz on piano. Rishell’s forlorn vocal makes this cut another highlight.

Sebastian makes his first appearance on “Kansas City Blues”, playing some inspired harp while Raines switches to mandolin. Chris Rival adds his slide guitar to the mix. Rishell finally makes the move to electric guitar on “Moving to the Country”, his edgy vocal supported by a strong solo from Raines that reaches into the upper register on her harp. Even better is the marvelous rendition of “Blues Shadows” with Rishell firing off plenty of hot lead guitar in the style of B.B. King. Katz contributes a fine piano solo from the shadows, only his hands visible as they dance across the keyboard.

Raines takes the lead on Lazy Lester’s classic “I’m a Lover Not a Fighter”, singing with conviction. Sebastian returns on “Can’t Use It No More” as he and Raines trade harp licks. That leads to the big finale – a harmonica duet with Raines and Sebastian on “Orange Dude Blues” with the rest of the band sitting on the sidelines. Sebastian solos first on a diatonic harp with Raines on a bass harp in the rhythm role, then they switch things around without losing momentum.

The DVD features Dolby Digital sound and great close-up shots from a variety of camera angles, although Katz never escapes the darkness. An added bonus is the audio commentary track that includes Rishell, Raines and Sebastian. They fill you in on many details of the filming session including an hours-long search for the source of a loud noise that ended after virtually every cable in the entire sound system was replaced. You also hear about the romantic break-up that occurred on the dance floor during the set and one man’s attempt to revive his drunken friend right in front of the stage. Also included is instructions and chord structure on guitar from Rishell for two of the songs.

This is a thoroughly enjoyable package that makes it clear why Rishell and Raines were nominated for a second Blues Music award this year in the Acoustic Artist category. They deliver a memorable performance that highlights their instrumental skill and vocal talents on a wide range of material and styles. Don’t miss this one !!!

Reviewed by Mark Thompson

Let’s Live It Up! reviewed by Steve Jones

Let’s Live It Up!
Mississippi Heat
Delmark Records
www.mississippiheat.net/
14 tracks

It’s been 19 years since Pierre Lacocque founded Mississippi Heat. He assembled a group of Chicago’s veteran blues artists to create and play new music in the style of the 1950’s Chicago blues heyday. Nine CD’s later and with a few personnel changes here and there, they are still going strong.

In addition to Lacocque, we have Inetta Visor on vocals, John Primer on guitar for three tracks and a couple of vocals to boot, Carl Weathersby on guitar for nine tracks, Giles Corey on rhythm guitar and the remaining solos, Christopher “Hambone” Cameron on keys, Stephen Howard on bass and Kenny Smith and Andrew “Blaze” Thomas share the drums. A host of others fill in here and there, including the superb Chicago Horns.

There is only one cover here– Sugar Pie DeSanto’s “I Want to Know”. Visor turns in some great vocals here (and throughout the disc), Weathersby wails on his guitar and Lacocque’s harp work is gritty and focused. The other 13 tracks are all originals that hearken back to the style of Chicago blues of years past.

Primer penned “I Got Some News Today” and does the vocal and lead guitar. Here and on his other tracks he displays the gutsy persona that he’s had since playing as Muddy’s last guitar player.

Visor and Cameron wrote “She Died from A Broken Heart”, a thoughtful down-tempo ballad. Visor’s poignant vocals and Lacocque’s harp blend well and the trade off on lead is beautifully done. Weathersby adds a nice understated solo here, too.

Pierre Lacocque authored the rest of the songs. He’s done a superb job here. From jumping and lively opening and closing tracks “Let’s Live It Up!” to “Until we Meet Again (Au Revoir et A Bientot)” we get to hear great vocals, harp and Weathersby and a little of Primer doing what they do best. I can’t pick a favorite here because they are all pretty damn good! Slow blues, swing, and shuffles all sound sweet when these guys play together. This is a sweet CD and it comes highly recommended for fans of real, traditional Chicago blues at their best!

Reviewed by Steve Jones

Live in Detroit reviewed by Mark Thompson

Live in Detroit
Jimmy Thackery & the Drivers
White River Records
www.jimmythackery.com/
10 tracks/73:10

Ever since his days as a member of the Nighthawks, Jimmy Thackery has been one of my favorite guitar players. His fluid string work, command of musical dynamics and awesome technical skill mark him as one of the most tasteful guitarist working the blues/rock field these days. While his studio recordings provide plenty of highlights, Thackery has always been most commanding when he is cutting loose onstage at some blues joint in front of appreciative fans.

His latest recording came from a obviously special night last November at Callahan’s Music Hall in Auburn Hills, MI. Backed by his regular band, Russ Wilson –aka Rollo Giganate – on drums and vocals plus Mark Baumgarner – aka Bumpy Rhodes – on bass, Thackery lights up the crowd with one mesmerizing guitar passage after another. There are few musicians that can hold listeners interest for almost 27 minutes on three instrumental tracks but Thackery does it right from the start.

His typical set opener, Albert Collin’s “Don’t Lose Your Cool”, gets an inspired run-through as Jimmy displays his control of his array of effects pedals as he unleashes several mind-boggling passages on his guitar. The following track, “Solid Ice”, starts out at a slow, melancholy pace, then steadily builds to a majestic series of searing runs as Thackery’s guitar cries out in anguish. “Daze in May” is a moody piece with surf guitar influences that eases back on the tension. Wilson takes the lead vocal on “Big Long Buick”, a swinging tribute to cool cars.

Thackery slips back into the surf guitar mode on “Landlocked”. He deftly single note runs and power chords, proving that there is still plenty of life in this aging genre. The next track is another tribute to the auto industry, “Detroit Iron”, featuring more aggressive work from Thackery. Things slow way done on Memphis Slim’s “Love My Baby”. Thackery takes his time on his solo as he steadily builds the tension simply by changing the dynamics of his playing – not by being faster and louder. The shortest cut, “Bomb the Moon” is a Buddy Holly-meets-the Ventures instrumental track complete with a bright guitar tone, jangling rhythm and more superb picking from Thackery.

Jimmy turns in a pithy vocal on his original “Eat It All”, which preaches that we should grab all of the gusto out of life while we still can. The closing cut is a delicate ballad with Wilson turning in a sensitive lead vocal backed by one marvelous guitar fill after another from Thackery, whose guitar takes over with three minutes to go - erupting with a wall of distortion to mark his arrival and then giving one final display of his prodigious talent.

Some years ago, I asked Jimmy what he liked about playing in the trio format. He responded that he felt it created space for the music to breathe. You can hear that throughout this disc. Thackery never seems to rush or overplay- he simply let’s the music flow. He uses his pedals to vary the sonic textures in order to maintain the listener’s attention when his guitar is the constant focal point. All of that and more are on full display on this recording that captures Jimmy Thackery at a high-water mark in his illustrious career. Long-time fans will love this one. The rest of you – prepare to be converted !!!

Reviewed by Mark Thompson

Classic Appalachian Blues reviewed by Mark Thompson

Classic Appalachian Blues
Smithsonian Folkways Recordings
www.folkways.si.edu/
21 tracks/67:44

This collection serves up a sampling of the various styles of blues music that were influenced by the Appalachian Mountain range, which reaches from New York to Mississippi. Using a variety of sources including recently digitized live tapes from the Smithsonian’s Festival of American Folklife, the set mixes well-known musicians with obscure names to educate listeners to the wide range of talent the region nurtured. Barry Lee Pearson contributes a fifteen-page overview that examines the impact that mountainous terrain had on blues musicians and their music. The booklet also includes notes about each track.

Sticks McGhee opens the proceedings with a rousing take of “My Baby’s Gone”, with McGhee on guitar and vocal, with a duo harmonica backing from Sonny Terry and J.C. Burris on harmonica. The brother of Brownie McGhee, Sticks is a strong singer, proving that point on “Wine Blues (Drinkin’ Wine Spo-Dee-O-Dee), a remake of his 1949 hit for Atlantic Records that closes out the disc. With its raw sound, this 1959 recording certainly celebrates of pleasures of alcohol consumption.

In between these bookends listeners will find tracks from the likes of Doc Watson, with his intricate acoustic guitar picking on “Sitting on Top of the World”, Rev. Gary Davis working his guitar magic on “Hesitation Blues” and Brownie McGhee’s powerful voice resonating on “Pawnshop Blues”. John Jackson demonstrates his light touch on guitar on “Railroad Bill” while the string band of Martin, Bogan & Armstrong use a mandolin, guitar and violin on an extended live romp through “Hoodoo Blues”. Etta Baker picks her way through the instrumental “One Dime Blues” with sublime skill.

There are also a number of performances that will surprise all but the most knowledgeable blues fans. Big Chief Ellis sings with authority and plays a mean piano On “Louise Blues”, backed by the Barrelhouse Rockers, whose members include John Cephas on guitar and Phil Wiggins on harmonica. J.C. Burris impresses on “Blues Around My Bed”, switching with ease between his singing and harp playing while Peg Leg Sam Jackson blows some hot licks on his harp on “Walking Cane”.

Josh White is often thought of as a folk singer but early in his career he was a traditional bluesman. His version of “Outskirts of Town” shows he was a strong guitar player and an expressive singer. A highly influential but obscure artist, Roscoe Holcomb is featured on “Mississippi Heavy Water Blues”, accompanying his eerie, high-pitched vocal on guitar instead of his customary banjo. Brothers Marvin & Turner Foddell transform “I Got a Woman” into an acoustic rockabilly number, with both men on guitar and vocal. Lesley Riddle’s guitar style was made famous by his protégé, Maybelle Carter. His run-through of “Red River Blues” provides a brief glimpse of his picking ability.

While a single disc is insufficient to thoroughly cover the vast array of blues music from such a wide swath of the country, the Smithsonian Folkways staff has certainly done an outstanding job of collecting a representative sampling of the variety of sounds that emanated from the region. In serving up a mix of live and studio recordings from their collection and not limiting the selections to well-known artists – plus using budget pricing- they have created a package that should be of interest to any listener who wants to learn more about the roots of blues music or just enjoy a fine disc of acoustic music.

Reviewed by Mark Thompson

Ready reviewed by Harmonica Joe

Ready
Motor City Women & Detroit Express
http://www.fordcomusic.com/
http://www.motorcitywomen.com/
14 tracks/60:31

Motor City Women & Detroit Express has just released its first recording, "Ready". Are you "Ready" for this? Motor City Women are really six different and fine vocalists, who have all performed with numerous acts in the past. On this recording each singer performs as a solo singer with the other five women as background singers. This combination creates a lot of really outstanding harmonies.

There are 14 original tunes on the recording written by the vocalists of Motor City Women. The tunes cover a wide range of styles from blues to funk and rhythm and blues. All in all, it becomes a good mix of tunes.

The band on "Ready" is Detroit Express It consist of Steve Kohn (drums), Rick Zelde (bass), Dennis Burr (guitar) and Jim David on keyboards. Also joining the band on some tracks is Motor City Josh on guitar and percussion. The CD is also on Motor City Josh's recording label.

"Did He Mention My Name?," with Cheryl Lescon on lead vocals, gets this CD off to a roaring start! This tune, written by Lescon, is upbeat and really gets you in the mode for some rip-roaring music. The piano line by Jim David is really outstanding. This tune is one of my favorites on this CD.

"On The Road", featuring Elena Papillo on vocals, is another standout tune on "Ready". Elena with Josh Ford wrote this tune. This song has a Allman Brothers southern blues rock sound to it. Elena's has that deep sultry quality to it on this song. The guitar licks on this standout also. I think that Josh Ford id the guitarist on this one.

To me, "Are You Ready?” is the best blues tune on this recording. The lead singer, Lady T, is one fine blues singer. She can really belt out the lyrics on this tune as if she owns it. Add Jim David's keyboard playing and this is a really great tune for "Ready".

Having six full-fledged vocalists on one CD makes it hard to give them the credit and time they all deserve. They also all seem to be good lyric writers. The six singers on making up Motor City Women are Cheryl Lescom, Valerie Barrymore, Aja Sardis, Stacia Petrie Ford, Lady T and Elena Papillo. All of these ladies bring their own style to the project. They also become an awesome background group for each other on the recording. The Motor City Women & Detroit Express is "READY" to move on into the music world.

Reviewed by Harmonica Joe

Freedom Creek reviewed by Steve Jones

Freedom Creek
Mudcat
Music Maker Relief Foundation
www.musicmaker.org/
12 tracks

I was driving home one day and Mudcat was on Sirius/XM radio’s BB King’s Bluesville. I was intrigued by his vocals and made a mental note to find out more about him. Our next Crossroads Blues Society meeting was the next day, and one of the newly arrived CDs was this one so destiny, déjà vu or whatever it was forced me to volunteer to review this CD. I’m very glad I did.

Danny "Mudcat" Dudeck is a mainstay on the live Atlanta music scene. His and the band’s blend of Piedmont blues, gospel, bawdy humor and just great musicianship make for quite the fun listen. This, his ninth release, features Danny with three buddies recorded (as Tim Duffy notes on the CD) “one fine summer morning in the hills of Carolina.” Dave Roth on standup bass, Eskil Wetterqvist on drums and Lil’ Joe Burton on trombone along with Dudeck serve up a creative mix of traditional and original acoustic songs. Tim Duffy at MMRF has put together a fine little CD here with Mudcat and his buddies that every fan of acoustic blues needs to hear.

The title track starts off the CD. Mudcat’s busking style and slide work get the listener engrossed at the onset and take them for an enjoyable ride. Burto’s trombone adds a unique and very cool punctuation to the songs. He opens the next song “San Antone” with a burst and then Dudeck gets into a lilting melody. Dudeck wails in the chorus, “Somehow how tequila proceeded before my eyes open, and my mind blown again”, giving us an interesting visual image. He continues on the heavy drinking them even more in the next cut, “Empty Room Blues”, were he grunts and groans over an impressive guitar picking solo. In “I Want to Know” an uncredited gospel group with piano backs up Dudeck. He and the singers give a gut wrenching performance; Burton wails on his solo, too.

They go into some old fashioned bawdy humor with double entendres, unfinished lines and then obvious rhyming lines (usually quite dirty). “Big Bamboo” sings about how the plant pleases “one and all” in a variety of double entendres. In “Red Light” they get even more down and dirty with their unfinished thoughts. “Peter Rumpkin” continues in that vein a few tracks later. “Rattlesnake” again uses the double entendre. These cuts are both funny and musically well done.

A cool cover of James Brown’s “Try Me” gets respectfully done acoustically with some harmonies by the band members adding to Mudcat’s vocals. Another strong trombone solo further sells this one. “I Want to Know” and “Keep On the Sunny Side” are two other covers given a good treatment.

I thoroughly enjoyed this album. Mudcat’s vocals are gritty and strong, his slide work and guitar picking is great and his band is equally up to the task of delivering strong perfromances. Roth and Wetterqvist are solid backbones to this effort and Lil’s Joe adds so much with his trombone work. These guys would be a blast to see live but until you can do that I recommend listening to this album!

Reviewed by Steve Jones

My Turn reviewed by Steve Jones

My Turn
Kirk Fletcher
Eclecto Groove records
www.eclectogroove.com/
www.kirkfletcher.com/
10 tracks

Kirk Fletcher is one of the most understated and unnoticed guys in the blues world. I’ve seen and met him a few times, heard him with bands like the Fabulous Thunderbirds and Rod Piazza, and all I can say is that it is about time we get to hear this guy front and center with his own CD! This is a great album of songs, with three penned by Fletcher and a choice of some fine tunes to cover.

Fletcher starts us off with El Medeo Stomp, a slick, up tempo original instrumental that whets the palate for more of his lively and hot riffs. Kirk makes his vocal debut on record with Jimmy Reed’s “Found Love”. His voice is up to the task; the gravelly vocals are pretty good. The real selling point is the guitar work that is superbly wicked on the solos, especially with an un-credited mandolin filling in nicely the background. “Natural Anthem” is a grooving instrumental and features Fletcher leading the charge with his well paced and steady guitar; when he breaks into the solo it’s like a runaway train, but he manages to get under control and into the flow again and wails all the way to the end.

“Ain’t No Way” features Paulie Cerra on vocals, as does “Congo Square”. The former, a James Earl Thompson track, shines with Cerra and Fletcher trading off vocals and guitar leads. The traditional latter song is all funked out. The vocals by Cerra are quite cool and funky, but not as funky as Fletcher’s guitar. He is stellar here, too. The title track was written by Cerra and the bass player Travis Carltom, and evokes the thought that with this CD it truly is Fletcher’s turn to shine. Cerra plays a slightly restrained but slick sax throughout and the fuzzed out Fletcher guitar solo just rocks.

“Way Back Home” is a longer, sultry cut written by Wilton Lewis Felder. Cerra’s sax and Fletcher’s guitar are again the highlights; one has to really appreciate Kirk’s tone here as he winds his way through the slow,, funky beat. He finishes the cut with a little acoustic guitar. The original “Blues for Antone” is a huge slow blues guitar anthem, where Fletcher stretches out and leaves nothing on the table. If you want a big, greasy guitar number, this will fit the bill. Then Fletcher redoes Sly Stone’s “Let Me Have It All”, delivering another good vocal performance; this funky cut shows that he can really sing in addition to play guitar. He finishes with his own song “Continents End”, an ethereal rock guitar piece that is really out there and quite cool, yet shows blues elements interspersed between the spatial music. He channels a little Hendrix here.

This album is a gem. Fletcher is one of the best guitar players out there, and this CD showcases his skills. Joined by guitarist Michael Landau, who also produced the CD, and a host of other west Coast bluesmen, this CD is a must if you want to hear what the absolute best of the West Coast Blues scene.

Reviewed by Steve Jones

He Said She Said reviewed by Harmonica Joe

He Said She Said
Peter Karp And Sue Foley
Blind Pig Records
14 Tracks - 50 minutes 3 seconds
http://www.suefoley.com/
http://www.peterkarp.com/

"He Said She Said" is a very interesting music project. It all start with letters and e-mails between two performing musicians on the road apart. Both Peter Karp and Sue Foley stand alone as touring artist doing thier own acts. Having the two of them together in this CD format is really a unique experiance.

Peter karp is an accomplished guitarist, songwriter and performer.. He also plays some mean piano and organ. His main guitar influences were Elmore James and freddie King. His song writing ability is powerful, sincere, deep with feelings while telling a story as Bob Dylan, John Prine or John Hiatt would. Karp also has released "Shadows & Cracks" on the Blind Pig label.

Sue Foley is a well known blues and roots guitarist, singer, song writer and performer. She has released several recordings including "Love Coming Down" which won her a Juno award. In her travels she has shared the stage with the likes of Buddy Guy, B B King, Tom Petty and numerous other artist.

All of the 14 songs on "He Said She Said" were written by Peter Karp or Sue Foley.They have both let thier emotions and true feelings be revieled with the lyrics in these songs. Nothing has been left out or hidden.These stories are told as the two of them lived them. We can here

"Treat Me Right" is a straight forward blues tune. Karp and Foley alternate verses while telling the tale of a women not treating a man right. This is what the blues is about. "Honey, even a broke clock is righttwice a day, why don't you treat me right", is Karp line on this subject. Well, this is true, she should treat him right after all. With both of them playing electric guitars parts on this tune this is a great track to listen to.

On "Hold On Baby" we have harmonica wizard Jason Ricci with his very tastful blues harmonica style added. This is a real plus! "Hold On Baby" tells the story of whatever happens in your life that you should hold on to what is good. Peter Karp also shows off his slide guitar style here.. Another great tune.

The 14 tracks on "He Said She Said" hit the bases of several genres of music. Included in the mix are real blues, jazz, tango, folk and maybe some country. The lyrics are all about the blues. Peter Karpp and Sue Foley wrote the lyrics for these tunes with deep feelings, great meaning and powerful messages for us to listen to.Both of them also have there own style of guitar playing and singing. The mix of the two of them is a real treat to listen to. To get the true feeling of "He Said She Said' you must listen to the lyrics and get caught up in the music. Nice job on this Peter Karp and Sue Foley.

Reviewed Harmonica Joe

The Bluesmasters Featuring Mickey Thomas reviewed by Steve Jones

The Bluesmasters Featuring Mickey Thomas
The Bluesmasters
Direct Music Distribution
http://www.directmusic.biz/
11 tracks

I’m going to admit up front I am not and never was a big fan of Elvin Bishop’s “I Fooled Around and Fell in Love”. I thought it was more pop music, not really serious blues nor even serious rock, at least in my dinosaur like mind. Mickey Thomas, the high pitched Jefferson Starship lead singer, can hit higher notes than a lot of female singers I know, provided the vocals for Bishop. The song was a last minute album filler and became a legend.

Well, circle forward 34 years to 2009 and there we are with a 60 year old Thomas and the Bluesmasters , a band consisting of Tim Tucker on guitar, Doug Lynn on harp, Danny Miranda on bass, Aynsly Dunbar on drums and Ric Ulsky on B3 organ and lo and behold we get a remake of the song. It gets a slightly grittier take here, but Thomas’ vocals are still as stratospheric as they were in 1975 when Bishop tapped him because his gravelly voice did not do the song justice. If you are a fan of the song, you’ll love this.

Now the rest of the album, well, that’s another story. The other ten tracks are covers of bluesy songs that get respectful and pretty hot treatment. They open with Pete Johnson and Big Joe Turner’s “Cherry Red” and blow through all eleven tracks in high energy fashion. “Cherry Red” is hot. Thomas does a good job on vocals but Lynn’s harp work is just sick. Muddy’s “Rock Me Baby” gets an all star cover, too. The vocals, harp and guitar wail and wail. They also do Mud’s “Can’t Get No Grindin’” with a special duet with Magic Slim and Thomas. Slims vocals contrast with Thomas and they pull it off. His guitar work is also spectacular. Slim is also on the Phil Collin’s tune “Get Your Business Straight”. Straight up blues, another darn good duet with great guitar play.

Chris Kenner’s “Sick and Tired” blasts off with more solid harp and vocals. Billy Foster’s “I’d Rather Go Blind”, which was an Etta James classic, gets a nice soulful cover. Thomas’ vocals are great, and the B3 organ sets a churchlike atmosphere. The guys close with “Long Time” by guitarist Tim Tucker. A bit overly dramatic in rock ballad anthem fashion, but if this is your cup of tea you’ll eat it up. To me it’s the lowest point after the Bishop tune. “Walkin’ Blues” (Robert Johnson) gets a nice electric slide cover, “Third Degree” (Willie Dixon and Eddie Boyd) prove these guys can do slow blues very well, and “Over Yonder Wall” (James Clark) gives us a hotter and somewhat greasier than original Elmore James classic with even Thomas getting a bit gritty on the vocals.

I had low expectations but thoroughly enjoyed the 9 real blues tracks. If you like Mickey Thomas, this is a no brainer. The band backing him is superb, so be ready to hold on to your chair because they spin these covers quite well! It’s an interesting little project no matter how you slice and dice it!

Reviewed by Steve Jones

No More Promises reviewed by David Stine

No More Promises
Jimmy Warren
Electro Glide Records
www.jimmywarrenband.com/
www.electrogliderecrords.com/
12 tracks/50:081 min.

My default thinking when I receive a CD to review the displays a Stratocaster prominently on the cover is, urgh, here we go again, another Stevie Ray Vaughanabe. Downstater (IL) Jimmy Warren’s CD, No More Promises displays a Stratocaster prominently on the cover. However, rather than the over-the-top, I can blow you away attitude of many Strat players, Warren’s tone is closer to Gary Moore and with this collection of slow to mid-tempo songs, his emphasis is on fluidity over being a note factory. Warren wrote and produced all the songs on the CD and his band adds just the right amount of support--no show offs here. Rhythm guitar chores are handled by John Digregorio; bass by Mike Boyle; and drums by Charles Price. Warren sings, plays lead, sometimes Hammond B-3 and bass.

One of Warren’s ongoing themes is money troubles. “Watermelon Money,“ song one, is about trying to support a woman in the manner she’s accustomed to on “watermelon money.” Warren finds himself a “Mean Mistreater” on song two. Yes, Warren is not the most clever song writer but he does avoid overused blues stories. Song three, “I’m Gonna Love You,“ borders on an anthem and is reminiscent of Clapton’s “Wonderful Tonight.“ The instrumental “Darker Shade of Grey,” contains a lot of “Albatross” era Fleetwood Mac. Warren’s use of the humbucker on his Strat most of the time produces a thick tone so favored by British blues guitarists Warren seems to have heard. Back to Warren’s playing: on headphones you can hear him play every note, even when doing fast runs, Some players get so cluttered that the notes bleed into each other and it becomes noise. Thank you Jimmy Warren for avowing this pitfall. Bob Margoling guest on slide guitar for Warren’s “It Ain’t Fair,“ yet another song about working for the man who makes all the money. At number five this song is the first song that’s not slow-to moderate tempo. Warning--Jimmy you may have lost some reviewers by this point--mix it up! “Standing In My Shoes,“ again, brings in the plight of the worker whose job has been outsourced. It’s and SRV-type shuffle but much appreciated at this point in the near-bogged-down disc. Warren slows a bit for the title track, “No More Promises.“ The final four songs remain in the moderate to mid-tempo ranges. The closing song, “Send me On My Way,” will sound most like the blues to most listeners.

Warren doesn’t have the strongest voice or the most clever writing skills, but he seems to know his strengths and those are arranging and playing tasty guitar. If you’d like to hear a less-caffeinated Gary Moore, you might want to check out Jimmy Warren. I was surprised in a pleasant way by Warren’s approach to modern day blues with emphasis on guitar that won’t send you looking for a harmonic CD. Recommended. And he’s local folks!

Reviewed by David Stine

American Patchwork reviewed by David Stine

American Patchwork
Anders Osborne
Alligator Records
www.alligatorrecords.com/
10 tracks/44:11 min.

Because Anders Osborne, the crazy Swedish transplant to New Orleans sometimes puts on a slide to play guitar, he ends up being categorized as a blues musician. But even with Alligator’s clout behind him, Osborne is hard to classify or pigeonhole. Like New Orleans itself, Osborne’ s maiden Alligator release is a molten stew of blues, R&B, rock, and New Orleans soul. To me it’s maybe Osborne’s most accessible and still quirky release to date. The title aptly point out that this is, indeed an patchwork. The deep roux under most of the songs is a Hammond B3 organ and bass pedal accompaniment. Osborne employs a lot of mushy, fuzz-infused guitar as well. Yet everything is well-employed to convey the angst not-so-well hidden here. American Patchwork contains songs about sin and redemption, regret and joy, the loneliness of the road, the loss of a friend and escape. He does, indeed lay some slide work over top of the occasional song not so much to “solo” as to add a second voice.

Patchwork kicks off with “On The Road To Charlie Parker,“ our introduction to the heavy B3 work and fuzzy guitar work. Osborne’s high voice is well anchored by instrumentation and production throughout this CD. “Echoes Of My Sins” continues in a similar vein. Guitar freaks don’t shy away here. There are lots of examples of Osborne’s I-never-would-have-guessed-that playing style. Song three, “Got Your Heart” is reggae type song that conveys the message that it’s OK to love, I’ve got your heart--it’s safe. Song four, “Killing Each Other,” however, snaps you back into the reality of what strong opinions can do to relationships, both personal, professional, and political. “Acapulco” is the first of Osborne’s “escape” songs and begins in a somewhat Beatles-meets-Dylan way. “Darkness At The Bottom” might give a hint as to what Osborne wants to escape. Osborne adds his scariest guitar solo of the disc to this song. “Standing With Angles” is his mostly acoustic guitar tribute to his friend Christopher Carter. Again, so as to not be TOO comfortable, Osborne throw in a weird coda at the end of the song. Ever been too much in love? Try a dose of “Love Is Taking Its Toll,“ song 8. With lines like “I’m lovesick and sick of love too/I hold on to soon and maybe/I wish I was sick of you” this might not be the best love song to play for your significant other. “Meet Me In New Mexico” is Osborne’s other “escape” song, and like “Acapulco” finds Osborne longing to sunnier and simpler climes. The CD ends with “Call On Me,” a quieter, mostly acoustic guitar lament about missing those at home while on the road.

Quirky and keen and buyable is American Patchwork. To me, it’s the best thing Anders Osborne has done. I might not be blues but it’s a great CD from song one to the end. New Orleans has so many musical elements, that it sometimes takes an artist awhile to find his or her voice in the gumbo of influence. I think Anders Osborne has found his. VERY highly recommended.

Reviewed by David Stine

270 Haystack Rd. reviewed by Mark Thompson

270 Haystack Rd.
Benton Flippen & The Smokey Valley Boys
Music Maker Recordings
www.musicmaker.org/
20 tracks/77:42

There are a number of musicians, most notably the Carolina Chocolate Drops, who are renewing and revitalizing interest in dyed-in-the-wool, old-time string band music. Benton Flippen is an eighty-nine year-old fiddler with over six decades of experience. His music harkens back to time when music was played for dancers, with a strong rhythm the key musical element over instrumental prowess. Flippen’s earthy style is soothing one minute, hard-driving and raw the next moment. There is no doubt that his fiddle playing has remained unchanged since the early days of his career.

His backing band, the Smokey Valley Boys, is comprised of Andy Edmonds on guitar, banjo and vocal, Frank Bode on guitar and vocal, Kevin Fore on banjo and Wesley Clifton on mandolin. This combination of instruments is more common in bluegrass than traditional old time music. The band does an outstanding job in support Flippen’s fiddle, sometimes providing musical counterpoint as Edmond’s does on “Cider” with his three-string banjo. The group never fails to envelope the fiddle with a vibrant rhythmic foundation.

On tracks like “Lost Indian”, “Sugar in the Gourd” and “Sugar Hill”, the swirling music and Flippen’s keening fiddle would fill many a dance floor in short order. The disc opens with Flippen imitating a train sound before breaking into an intense fiddle breakdown on “Lost Train Blues”. Bode lays down a solid vocal on “Sittin’ On Top of the World” with the banjo and fiddle playing off each other to great effect.

His voice rings out on “Ain’t Gonna Work Tomorrow” after some fine guitar picking to open the cut.  Flippen more than holds his own with his younger band members. Most of the tracks sport medium to fast tempos but when the pace slows on “Wednesday Night Waltz”, the octogenarian fiddler spins a delightful melody. He navigates the faster changes of “Soppin the Gravy” with ease. His duo with Edmonds on banjo on “The Girl I Left Behind Me” is another highlight.

Benton Flippen continues the tradition of old time string music through his playing and the tutoring of younger musicians. This release shows that his efforts have not been wasted. His music doesn’t shine with flashy solos and studio production techniques. It is a music that harkens back to a bygone era - music that still resonates today for those willing to take the time to listen - or better yet, get up and dance along !!

Reviewed by Mark Thompson

Shake for Me reviewed by Rick Davis

Shake For Me

The Mannish Boys
Delta Groove Music
www.themannishboys.com/
16 Tracks

The Mannish Boys are perhaps one of the best blues collaborations by some of the best contemporary blues artists today. Reviving the spirit of such legendary revues of the past as the American Folk Blues Festival, the Johnny Otis Show or The Ike Turner Revue, The Mannish Boys have carried this timeless tradition forward into the 21st century. The core of the band include an all-star cast of changing musicians with the current lineup of Finis Tasby, Bobby Jones, Kirk Fletcher, Frank Goldwasser, and Randy Chortkoff, joined here by an entirely new and incredible rhythm section comprised of Willie J. Campbell on bass (The James Harman Band, The Fabulous Thunderbirds) and Jimi Bott on drums (Rod Piazza & The Mighty Flyers, The Fabulous Thunderbirds, Woodbrain).

Shake For Me is the 5 year anniversary cd star studded with this current cast as well as guests like Nick Curran, Mike Zito, and Kid Ramos on guitar, Lynwood Slim, Mitch Kashnmar, and Rod Piazza on harmonica, Rob Rio and Fred Kaplin on piano, Johnny Dyer and Arthur Adams supporting on vocals and an unequaled brass section rounding out this collection of blues. The cd opens with "Too Tired" including Finis Tasby on vocals and Nick Curran on guitar embracing that famous Albert Collins style. That "Bo Diddly beat" can be heard in "Mona/Wille And The Hand Jive" with Bobby Jones and Mike Zito on vocals and Mike on lead guitar. Lowell Fulson's "Reconsider Baby" features Finis Tasby back on vocals and Frank Goldwasser and Kirk Fletcher on guitar. Bobby Jones returns on vocals for "Educated Ways" and the Otis Span tune "Half Ain't Been Told." Frank Goldwasser handles both vocals and guitar on "Number 9 Train." The Walter Jacobs number "Last Night" combines Finis on vocals and Rod Piazza on harp with Frank Goldwasser and Kirk Fletcher sharing the guitars. Bobby Jones is superb on the Ray Charles classic "Hey Now" joining forces with the aggressive guitar style of Kirk Fletcher on this tune and also Chester Burnett's "You Can't Be Beat." Finis returns to the spotlight in "Black Nights" with Kirk and Frank burning on guitar. Kirk Fletcher and Nick Curran tear into an instrumental titled "The Bullet" featuring Fred Kaplin on piano, Willie Campbell on bass and Jim Bott on drums. Bobby Jones once again takes charge as they slow things down on "Those Worries" featuring Lynwood Slim on the chromatic sharing harmonicas with Randy Chortkoff. Arthur Adams launches the down and dirty blues number "Raunchy" with his vocals and guitar. Johnny Dyer follows up with "Champagne & Reefer" featuring Mitch Kashmar on harmonica and Frank Goldwasser and Kirk Fletcher back on guitar. Bobby Jones returns on vocals for the last time singing "You've Got Bad Intentions" with Kirk Fletcher ripping it up on lead guitar. "Way Down South" features "Big" Pete van der Pluijm on harmonica and vocals and Kid Ramos on guitar.

I don't think I have ever had the pleasure to review a cd with group of stars this magnificent! This cd is worth twice the price!

Reviewed by Rick Davis

The Fight is On reviewed by Rick Davis

The Fight Is On
Popa Chubby
Blind Pig Records
www.blindpigrecords.com/
12 Tracks

From his early hit "Sweet Goddess of Love and Beer" to his Hendrix influenced "Electric Chubbyland", Popa Chubby's career has spanned over ten years with his latest cd being the first in almost two years. Born Ted Horowitz in the Big Apple, he was influenced by the sixties rock and R&B played on the juke box in his parent's candy store. Poppa Chubby made the statement "When I first heard Freddie King my world was turned upside down".

The Fight Is On is the latest release on Blind Pig Records by the blues rock star. He opens the title track with the roar of his guitar and the sound of his booming vocals as a tribute to many fighters who have entered the ring to take on their opponents. He charges right into "We Got Some Rocking To Do" never slowing a bit from the the opening line to the end with guitar and vocals blazing away. "Another Ten Years" is a rockin' tribute to the fallen rock and blues artists over the past ten years including Hendrix, Lennon, SRV, and Willie Dixon done with an Allman Brothers guitar style. "The Right Time" focuses on Popa Chubby's masterful guitar work using a wah wah pedal through out the number. He keeps rock n' roll alive with "Rock And Roll Is My Religion" and a live recording of Motorheads "Ace of Spades". The cd kicks into overdrive with "The Conpany of Thieves" followed by a ballad style number "Switchblade Combs And Candy Cigarettes". The energy level increases two fold with his blues guitar explosion "Noisemaking Love Machine" and the instrumental "Steelhorse Serenade". Poppa Chubby completes this collection of high energy numbers with the hard drivin' "It's Over" a Tom Principato guitar style original about "Wicked Wanda".

If you have been a Popa Chubby fan, you need to add this one to your collection. This is raw electric energized rock and blues from start to finish.

Reviewed by Rick Davis

I Need a Hat reviewed by Harmonica Joe

I Need a Hat

Downchild

True North Records

http://www.downchild.com/

11 Tracks/45.7 Minutes

Donnie Walsh has been known as Downchild since he formed The Downchild Blues Band in 1969. The band changed its name to Downchild in the 1980's. Over the years Downchild has released 16 recordings. "I Need A Hat" is the latest and a fine one it is!

Many changes have been made in the band over the years. The great songwriters and performers James Cotton and Jimmie Reed influenced Don Walsh, the bands leader. Walsh is an outstanding guitarist, harmonica player, vocalist as well as a songwriter. He brings some great lyrics to the tunes he does write.

Downchild has surrounded himself with a really outstanding band. Chuck Jackson has been the main vocalist for the past 13 years. On the saxophones is Pat Carey wailing away, Michael Fonfara plunking the keys on the piano and organ, Gary Kendal on bass and Mike Fitzpatrick on drums. This combination produces on fine full band sound for us to enjoy. This is good stuff. You can check them all out at www.downchild.com.

The title song, "I Need A Hat", written by Mr Downchild is a neat little tune with catchy lyrics. "To be a star you need a hat", is a great line, but I do not think that this fits Don Walsh. He is really a fine blues star. This tune with Walsh's guitar licks and Chuck Jackson vocals makes this tune really work for us.

"You Don't Love Me" is a tune for all you harmonica lovers out there. It features Dan Aykroyd on a really good harp solo as a guest player. Downchild also adds his harp playing on the tune. Also featured on this track is Colin Linder with an awesome guitar solo. Here again we have Chuck Jackson's outstanding blues vocals.

Down Walsh's slide guitar skills are showcased on a couple tunes on the CD. For you slide guitar fans check out "Rendezvous". This is an upbeat blues tune with plenty of slide work by Mr Downchild.There is a whole bunch of good stuff going on in this tune including the piano work by Michael Fonfara.

Of the 11 tracks on Downchild's new CD, "I Need A Hat", I cannot pick a favorite or one that I do not care for. This is a great CD filled with blues tunes done really well Good job by the Downchild Band. Downchild Band is a very accomplished band with it's own fat bluestone. The saxophone, trumpet and three people on harp really add to this sound. The lyrics of Don Walsh and Chuck Johnson make this a CD that you cannot go wrong with. This is a keeper.

Reviewed by Harmonica Joe

Bad Case of the Blues and Live Performances reviewed by Steve Jones

Bad Case of the Blues
Electrofied
Marva Records (Self Released)
http://www.electrofied.us/
10 tracks

Live Performances
Charlie Sayles and the Blues Disciples featuring Tony Fazio on Guitar
Self Released
http://www.charliesayles.com/
12 tracks

I got this pair of CDs in the mail together from Tony Fazio. These two CDs feature this Washington, DC based guitar player and also feature Charlie Sayles on harp. Scott Taylor provides vocals on the former while Charlie Sayles sings on the latter. The songs on both are original, written by Fazio, Sayles and the other band members. Fazio plays a thoughtful and well mannered guitar, laying out beautiful licks all over the place. Sayles’ harp and vocals are down and dirty traditional blues. Taylor’s vocals are soulful and a little more poised. The quality of the Electrofied studio recording is much better than the live performances. The live CD is pretty much cuts taken from club dates without the luxury of a high quality recorder, but they still give the listener a good idea that these guys can sing and play.

With the exception of Sayles, these are young guys who have produced their second album and they’ve done a great job. The music is a blend of blues, jazz, R&B, and a little gospel. I think I was most impressed with Fazio’s guitar work, but the vocals by Taylor and the backline of Bob Rusteburg and Richard James Burgess are equally solid. “Bad Case of the Blues” is a well done set of tracks delivered in great form. Charlie Sayles has been around the pond for a long while; his career has spanned 35 years. He’s had some high up and very low down times in his life, but here he works with these DC area guys and shows why he was nominated for the 1990 WC Handy Best Blues Import award for his first release on JSP. His harp and vocals are greasy, low down and authentic roots music. Once can contrast the clean, cool sounds of Electrofied and the more guttural Live Perfromances; both are fun, but they are different styles. Greg Phillips and Clarence Turner back up Sayles and Fazio on the live CD.

I enjoyed both CDs. The rawness of Sayles and the smoothness of Taylor are striking contrasts, but that’s what makes life and music interesting. These guys are worth checking out.- Sayles and Fazio have many YouTube cuts you can sample and so do Electrofied. Electrofied CDs are available on their web site and on CD Baby. The Live CD appears to be available through their gigs; it’s not on Sayle’s web site. In any case, Tony Fazio and his efforts on these CDs are solid and it’s nice to see him working with both Charlie Sayles and his own band.