Victim of the Blues reviewed by Mark Thompson

Victim of the Blues

Tracy Nelson

Delta Groove Music, Inc.

www.tracynelson.com

11 tracks/40:41

First order of business – this is the Tracy Nelson recording I have been waiting on for several decades, one where she unleashes her magnificent voice on a collection of solid blues tunes and takes us deeper into the music than we've been in a long time. It is a perfect summation of a career that stretches from her stint with Mother Earth that brought her wider fame, through her collaborations with stars like Willie Nelson, Marcia Ball and Irma Thomas, and a batch of solo projects that embraced her country, blues and rock influences.

Second point – this is an early contender for the best blues recording of the year. Spurred on by a strong supporting cast, Nelson seems to wring emotion from every note her voice touches. Mike Henderson's guitar work almost matches the intensity of Nelson's vocals. He had several acclaimed discs in the 1990's with his band the Bluebloods and is now a member of Grammy-nominated bluegrass band, The Steeldrivers. Byron House on bass and John Gardner on drums provide the essential foundation. Longtime member of the The Robert Cray Band, Jimmy Pugh, fills out the band with his marvelous keyboard work.

Ironically, the album title had been picked out before a fire last summer destroyed Nelson's 100-year old farmhouse in Nashville. The tracks she had recorded for this project somehow survived the destruction, thanks to the efforts of the local fire department. The theme of the disc was simple – get back to singing some of the blues songs that had inspired Nelson in the early stages of her career. She attacks “You'll Be Mine” just like Howlin' Wolf did and then romps through “Howlin' For My Baby” with an assist from Angela Strehli. Henderson's wicked slide guitar sparks “Shoot My Baby”, a duet with Marcia Ball with both singers expounding on their plans of revenge for their unfaithful lovers.

One transcendent performance occurs on Jimmy Reed's “I Know It's a Sin”. Nelson takes her time, her powerful voice under control, steadily building to the closing catharsis when she holds the final note for more than ten seconds, almost pinning your ears to the wall. She delivers another exceptional performance on the title track, written by Ma Rainey. Henderson switches to the banjolin and Pugh plays barrelhouse piano while Nelson shakes your soul as she bemoans her troubled life. Another highlight is “One More Mile”, a Muddy Water's song Nelson first heard on an Otis Spann record. The backup vocalists add a touch of church to tune as Nelson's voices caresses each line until she again displays the power of her voice in the closing flourish.

Nelson mixes soul and gospel on her rendition of “Lead a Horse to Water” with stellar slide guitar from Henderson. Pugh's organ dominates the arrangement of Percy Mayfield's “Stranger in My Own Home Town” while Nelson sings with soulful conviction on “The Love You Save(May Be Your Own)”. John Cowan joins Nelson the final track “Without Love (There is Nothing)”. Her commanding vocal will send shivers through your soul.

The liner notes describe the events that helped shape this project and Nelson provides brief notes on why she selected each of the songs. But all you need to do is listen to her honor the music that she loves with one majestic performance after another. This one gets our highest recommendation!

Reviewed by Mark Thompson

Blues Nation reviewed by Mark Thompson

Blues Nation

Luther Badman Keith

BMB Records

www.badmanbluz.com

17 tracks/68:17

Hailing from Detroit, guitarist Luther Badman Keith did not get interested in music until he attended a marathon live show in the 1980's by the late Luther Allison. Keith has been steadily building his career, which includes reaching the semi-finals at the 2006 International Blues Challenge and being named the winner of the 2007 Detroit Music Award for Outstanding Blues songwriter. His latest release is comprised of fifteen original tunes, six of which include “blues” in the title.

The title track will remind you of Santana's”Evil Ways” with the Badman's half-spoken vocal riding over percussion and an energetic horn section as he lays out his vision for a better world for all. The deep, funky groove on “Blueswoman, Looking for Love” is set-up by Jim David on the organ with Mark Croft on trumpet and Billy Furman on sax adding some additional spice. “Keep the Good Blues Bad” has strong piano work from David and some nasty guitar picking from Keith. The rollicking music on “Menopause Woman” belies the serious tale of heartbreak Keith describes in the lyrics. The final track is a live recording of “Nose Wide Open” featuring a energetic vocal from the leader and a fine sax solo from the late James Payton.

On a few tracks like “Intoxication Love” and “Magical Girl”, Keith's singing misses the mark as he can't quite hit all of the notes. He also struggles a bit on “Seven Days into the Blues” but the power of his performance and his blistering guitar solo carry the day. He is more effective on the slower blues tunes like “Cream in Your Coffee”, which opens with a nice guitar solo. Even better is Keith's examination of life's twists and turns on “Life Got in the Way” with another excellent sax solo from Furman. It is vastly superior to “What Happened to Rock N Roll”, a generic rocker that finds Keith name-dropping many of the early greats of rock and soul. He does a duet with Paul “Bluesman” Miles on “Talking Old Bluesmen”, with Furman playing some down-home harmonica licks.

It's great to hear a disc of all original blues tunes, especially since many of Keith's tunes hold up through repeated listens. Badman Keith is a solid guitar player and singer with lots of energy plus  plenty of enthusiasm for blues music. If he can maintain a fresh approach to songwriting and continue to develop his vocal skills, he could one day garner comparisons to the legendary musician that once inspired him.

Reviewed by Mark Thompson

Left For Dead reviewed by Mark Thompson

Left For Dead

Dudley Taft

Big Woody Music

www.dudleytaft.com

12 tracks/52:45

After spending fifteen years building his career as part of the Seattle rock scene, guitarist Dudley Taft made the decision to turn his attention to the music that had inspired him as a teenager. So, for the last five years, he has been honing his version of rocking blues with an attitude.

The first cut serves notice that Taft’s music is not for the faint of heart. The crunching guitar chords that open “Ain’t No Game” would be right at home on a Black Sabbath disc. Taft belts out his frustration at his lover’s failure to treat him right.  Next up is an interesting take on  “Back Door Man” with Taft expertly channeling the SRV guitar style and sound. The same approach is used the next tune, “Broken Down”, a Taft original. His cover of “Have You Ever Lover a Woman” takes you deep into the pain of human heart as he wrings plenty of emotion out of his guitar’s fretboard. The cut benefits from the presence of Frank Holman on the Hammond B3 organ.

Essence reviewed by MArk Thompson

Essence

Marion James

EllerSoul Records

www.ellersoul-records.com

13 tracks/68:29

Recorded in 2003, this project features singer Marion James who has been dubbed Nashville’s “Queen of the Blues”. Her history includes a top-ten hit for Excello Records in 1966 and a touring band that once included Jimi Hendrix and bass player Billy Cox. Like many other singers of her generation, James started out singing in church before making her mark as an R&B performer.

While time may have robbed James of some of her vocal range and power, she understands how to deliver a quality vocal. She takes her time, letting the songs unfold gradually, extending a phrase an extra beat or picking just the right moment to add a raw-edge shout to the proceedings.  Listen to her captivating performance on the funky, horn-driven arrangement of “My Mama”.  When she switches to a softer approach on “Until the Real Thing Comes Along” with backing from the Beegie Adair trio, James turns in a sublime jazz vocal treatment that demonstrates the depth of her talent.  They use a similar approach on “Be Anything”, which features some fine tenor sax from Denis Solee.

On straight blues tracks like “Please Don’t Waste My Time” and “You’re History, Baby”, James adopts a sassy attitude; her voice taking on a harder edge – but James never pushes her voice beyond its capabilities. Her spoken introduction opens a cover of Latimore’s “Let’s Straighten It Out”. Then James delivers an earnest vocal that makes this one of the better renditions of this oft-covered classic. Equally fine is her cover of Johnny Taylor’s “I Should Have Known” as James expresses the right amount of disdain for an unfaithful lover.

Musical support on this project comes from a variety of talented musicians including organist Reese Wynans (Double Trouble), guitarist Jack Pearson (Allman Brothers) and drummer Chuckie Burke (Issac Hayes).  They create strong musical backdrops for James’ dynamic vocal excursions. The last track is a twelve-minute interview with James that finds her discussing different parts of her career. She also performs two songs, accompanying herself on piano.  The second one, “Fool For a Young Man”, clearly illustrates the emotional depth that James can infuse into her work. It is a fitting ending for this marvelous recording that deserves to get a listen by anyone who appreciates a great singer.

Reviewed by Mark Thompson

Jimmy Bowskill Live reviewed by Rick Davis

Jimmy Bowskill Live

Jimmy Bowskill

Ruf Records

12 Tracks

Billed as The Three J's, Jimmy Bowskill will be a force to be dealt with, when he opens for Jeff Beck and Joe Bonamassa in Bonn, Germany July 19th. Combine the guitar licks of Jimi Hendrix and Jeff Healy and the young voice of Gary Moore and you have described the talent of Jimmy Bowskill. He was discovered in a Toronto club by Jeff Healey at the age of 11 and has since opened for groups like ZZ Top, Dickey Betts, Garth Hudson, Paul Rodgers, and Deep Purple, while touring in Canada and internationally in Germany, France, Mexico, Ukraine, and at the World Expo in Japan.

On his current CD Jimmy Bowskill 'Live', Bowskill provides an earth shattering, ground shaking, explosive display of blues rock music heard live in one of the best live concerts that I have heard. He opens the set with a fiery version of the tune "Far From Reality" and continues with Peter Green's "Rattlesnake Shake" which in my estimation is worth the price of admission. Peter Green would be proud! Included in the concert are the tunes from the group Free "Walk in My Shadow" and "Ride My Pony." In fact, Bowskill is so talented,  Free/Bad Company vocal legend Paul Rodgers, has exclaimed, "He's got a great feel. He reminds me of Paul Kossoff [Free], who we sadly lost all those years ago. He's almost the spitting image of him which is incredible." The song that really shows the range of his vocals and displays his incredible guitar mastery is "Loser."  Some of the best slide guitar can be heard on "Be Mine" a concert by itself! "Be Mine" transitions right into "Broke Down Engine" which reminds me of the incredible vocals of the late Gary Moore gaining a rousing applause from the audience. Jimmy once again displays the range of his vocals in "Drifting Haze". "Diamond Ring" moves away from tradition blues and more towards the heavy rock side. "Kardag" is more of a Hendrix inspired tune featuring Dan Neill on a drum solo and bass player Wayne Deadder supporting Jimmy on guitar. He takes the B.B. King tune "Three O’clock in the Morning" and creates his own explosive arrangement as only Jimmy can, taking his vocals completely over the top. As he concludes the concert with the number "Link Into Your Chain," I can almost hear Jeff Healey playing through Jimmy's fingertips as he tears into the fretboard.

As we have recently lost some of the most powerful blues-rock artists and performers like Jeff Healey and Gary Moore, I see the torch passed to a younger generation of incredibly talented artists like Jimmy Bowskill. It appears the soul of rock and blues is here to stay for an eternity!

Reviewed by Rick Davis

The Goods reviewed by Steve Jones

The Goods

Al Basile

Sweetspot Records

www.albasile.com

13 tracks

Another fantastic CD has arrived from horn player Al Basile from the old Room Full Of Blues Band.  Al has written 13 impeccable songs in his great poetic and lyrical style, added some swinging and some mellow melodies, and once again enlisted the support of former RFOBB musicians to accompany him.  Produced by Duke Robillard, who is also featured on guitar,  Al is joined by Brad Hellen on bass, Bruce Bears on keys, Mark Texiera on drums and percussion, Doug James on saxes and woodwinds, and the Blind Boys of Alabama as guest vocalist on the fantastic spiritual “Lie Down in Darkness (Raise Up the Light)”, one of the album’s highlights.  A haunting horn solo on this one adds to the superb vocal workings.

The majority of the CD is down tempo (7 tracks) and the other 5 in a more swinging style. “The Price (I Got To Pay)” opens the set, a grooving tune he wrote for Duke that he switched to a horn player’s confession.  Basile’s cornet is sweet sounding here and throughout.  He keeps swinging in “Along 

Come the Kid”, a interesting story about the young protégé who come along and changes things for those who thought they had it made.  Nice keys by Bears and stinging guitar by the Duke also sell this one.

“I Want to Put it There” is full of fun double entendres about his dog playing in his girl’s yard and such– a very New Orleans stylied beat makes this cool, too.  “The Itch” tells the story about times we need relief; he blends a suave vocal line in with his muffled cornet, bouncy key work, and a grooving guitar.

I could single out most every song but for spaces sake suffice it to say if you are a Roomful fan you’ll love this.  The tunes are new and refreshing; nothing stale and old sounding here. If you want to hear swinging blues, this is the place.  I must commend Mr. Basile for creating a fine set of musical stories.  Highly recommended!

Reviewed by Steve Jones

Lucky Man reviewed by Steve Jones

Lucky Man

Henry Gray

Blind Pig Records

www.blindpigrecords-.com

12 tracks

Henry Gray arrived in Chicago in 1946 after serving his country in the Pacific.  He built on the influence of Big Maceo and was one of the piano stalwarts of the era.  He was an artist on many Chess and VeeJay records and spent a dozen years with Howlin’ Wolf’s band, but he returned home to Louisiana in 1968 when the blues fell on some hard times.

He returned to the recording world for a rare album in 1988 which is re-released here by Blind PIg; back in Chicago at Acme Studio to play with some great band mates, Gray gave some superb performances.  Steve Freund on guitar, Bob Stroger on bass except for two cuts with Andy Cornett, and Willie Smith on drums.  Gray had lost nothing over the 20 years he was gone.  His fingers tickle the ivories so very well.  I have seen him play live and this CD really captures his fantastic sound near it’s peak.  What it also captures are some moving vocals by Mr. Gray.  He growls and starches out some meaty lyrical lines while beating the keys oh so well.

If you are new to Henry’s charm, go grab this.  And if you need some CD’s of his to round out your record collection, this would be a fine place to start.  Just listen to the tile track, “Mean Old World” or any of the cuts and you will be sold immediately!

Reviewed by Steve Jones

Memphis Still Got Soul reviewed by Rick Davis

Memphis Still Got Soul

Johnny Rawls

Catfood Records

11 Tracks

Johnny Rawls, a native of Mississippi, inspired by his grandfather's blues guitar, began playing professionally in high school. As a teen, he backed singers like Joe Tex, Little Johnny Taylor, Willie Hitower, the Sweet Inspirations, and Z.Z. Hill. Eventually he took over as the band leader of one of his idols, O.V. Wright. Despite Wright's death, the O.V. Wright Band stayed alive for over a decade with Rawls as the director. After 1985, he began touring as a solo artist making his first recording as a solo artist on the Rainbow label. Rawls is no stranger to the music industry, having done it all as a producer, songwriter, horn arranger, playing rhythm, lead, and bass guitar, as well as singing lead and background vocals. Johnny started his own record company, Deep South Soul, in 2002 and has released his CDs Lucky Man, Live in Montana, and The Best of Johnny Rawls. He is known for his national and international tours playing well over 200 shows a year.

His latest CD Memphis Still Got Soul is an absolute rhythm and blues showcase. It accentuates "Soul" with a capital S from the delta to the streets of Chicago! He is backed by a magnificent band consisting of 16 different artists. Johnny is pictured on the CD cover in a white suit on Beale Street really tailor-made to the quality of music found inside.

The entire CD is composed with probably the best horn arrangements that I have heard on any studio album. After listening to this CD, I would have to consider Rawls the King of  Rhythm and Blues. Memphis Still Got Soul opens with the Bob Trenchard/Johnny Rawls title track "Memphis Still Got Soul" which says it all about the legends that made Memphis famous. "Blind, Crippled, and Crazy" a tune by Darryl Carter, Charles Hodges, Deadric Malone is a sensational tribute to the 1968 recording done by Johnny's idol O.V. Wright. "Give You What You Need" and "Take You For a Ride" will have you on your feet clapping and dancing to the music. "Stop The Rain," another Rawls/Nichols tune, a deep soul ballad is based on a true life experience. "Burning Bridges" the funky hard driving blues number and "My Guitar" feature superior guitar solos by Rawls and Johnny McGhee. "Flying Blind," a Bob Trenchard tune, really captures the essence of this rhythm and soul masterpiece. The CD returns back to another funky blues style with the Rawls/Nichols tune "Blues Woman." Rawls concludes with the words of advice "Don't Act So Innocent" and completes his latest sweet soul collection with the soul strut number "Love Stuff."

If you haven't heard Johnny Rawls, you owe it to yourself to hear Memphis Still Got Soul produced by Johnny Rawls and Bob Trenchard. It is truly another great  achievement by a master of soul music.

Reviewed by Rick Davis

Roadside Attractions reviewed by Steve Jones

Roadside Attractions

Marcia Ball

Alligator Records

www.marciaball.com

12 tracks

It’s hard not to love Marcia Ball.  Her music warms the cockle s of my heart, it makes me want to dance and thoroughly entertains my soul.  This new album features the illustrious Ms. Ball with 12 new tracks she has written.  Some are familiar because of her style but all are fun; it seems like her party is running 24/7.

Ball writes of loves won and lost, the joys of going or being home, and having fun with life.  She performs basically with two sets of musicians.  Recorded in part at Austin Texas’s Bismeaux Studio and in part at Fearless Recording in Nashville, she is surrounded by some pretty talented folks.  The Nashville stuff features Colin Linden on guitar, Steve Mackey on bass and Lynn Williams on drums.  Reese wynans also adds some sparkling B3 to a few of those tracks.  Mike Schermer is on the guitar, Don Bennett on bass, Damien Lanes is on drums in Austin with her. And assortment of others add backing vocals, horns and other textural music inputs to this fine and fun CD.

The title track sings of all the attraction and distractions one sees on the road but her true love resides at home and she is eager to go home for that love.  “That’s How It Goes” is a bouncy cut with the B3 added that jumps out and gets you dancing and ready for a good show; Marcia talks to us about how life goes and tells us all to loosen up.  “This Used to Be Paradise” is a lamenting song where she sings about the oil industry killed the Cajun’s fishing business. “Everybody’s Looking for the Same Thing” is sort of a swamp boogie tune that is basically a reworking of the old Willie Dixon song’s idea, except here it’s plain old love and not the more physical side it.  Cuts like “Sugar Boogie”, :”The Party’s Still Going On” and others show that she’s still the queen of the swamp boogie woogie.

Lot’s of other good tracks here, too.  Marcia’s new and old fans will love this one– she continues to put out some great stuff for Alligator.  Well done!

Reviewed by Steve Jones

Shake 'Em On Down: A Tribute to Mississippi Fred McDowell reviewed by Rick Davis

Shake 'Em On Down: A Tribute to Mississippi Fred McDowell

Rory Block

Stony Plain Records

12 Tracks

Aurora "Rory" Block grew up in Manhattan listening to musicians like Bob Dylan, Maria Muldaur and John Sebastian all making occasional appearances in and around her father's Greenwich Village sandal shop. By the age of 10, she was playing guitar and as a teenager was sitting in on the Sunday jam sessions in Washington Square Park. She soon became influenced by the Delta blues through personal contacts with 20th century masters like the Reverend Gary Davis and traded stories and guitar licks with Son House who kept asking "Where did she learn to play like this?" She made visits to the hospital to see Skip James and traveled to Washington, DC, to visit with Mississippi John Hurt and learn his technique and his creative guitar style. Labeled as a traditional blues artist, Rory Block has dedicated her life to capturing the essence of the Delta blues with her deep rooted vocals and acoustic guitar style. The New York Times describes Block by stating: "Her playing is perfect, her singing otherworldly as she wrestles with ghosts, shadows and legends."

Shake 'Em On Down: A Tribute to Mississippi Fred McDowell is part of her project to continue a series of tributes to her mentors. The CD exemplifies her acoustic country blues guitar style and traditional slide guitar that is her trademark. The CD begins with "Steady Freddy" a tune written by Block which is a brief history of Fred McDowell. "Mississippi Man," another song penned by Block, is a first hand account of a personal encounter with McDowell. It takes Rory back to the first time she met Mississippi Fred McDowell creating that image of the Mississippi Delta bluesman that changed her life forever. She covers a lot of McDowell's music in her tribute CD, including her own version of "Kokomo Blues." Block takes the Sonny Boy Williamson song, "Good Morning Little School Girl," changes the gender, and creates a sound in tune with the McDowell version. She continues with her own traditional Delta blues sound on three more McDowell blues numbers "What's The Matter Now," Worried Mind," and the title track "Shake 'Em On Down." She continues with McDowell's "The Girl That I'm Lovin'" making it her own by changing it to "The Man That I'm Lovin'." She talks about the many hours she spend trying to create just the sound she wanted on that particular number. "Ancestral Home" penned by Rory, has a very distinct African sound influenced by songs she had heard on a family album. Another Block tune "The Breadline" started as an instrumental and developed into a story about life during the depression experienced by others like McDowell in 1926. The CD concludes with the gospel inspired McDowell tune "Wake Up This Morning" and finishing with the McDowell number "Write Me A Few Of Your Lines."

After listening to Rory Block's Shake 'Em On Down: A Tribute to Mississippi Fred McDowell, it is obvious that she really provides that link back to that original Delta blues that was recorded shortly after the turn of the century with her gritty vocals and smooth finger picking/slide guitar style that is all her own. With her music, she creates that visual image of Delta artists like Big Joe Williams, Charley Patton, Robert Johnson, Bukka White, Son House, Muddy Waters, and or course Mississippi Fred McDowell as they entertained throughout the South.

Reviewed by Rick Davis

Blues Mandolin Man: The Life and Music of Yank Rachell reviewed by Harmonica Joe

Blues Mandolin Man: The Life and Music of Yank Rachell

Yank Rachell

Blind Pig Records

www.blindpigrecords.com

9 tracks/36:28

The mandolin is a very unique blues instrument but it is also an essential part of the blues. Some people like it, some people hate it and others just find it annoying. I think that a lot of blues fans just do not know about mandolins and its presence in the blues scene. Among the early and most notable mandolin players in the 1920’s – 30’s were Johnny Young, Charlie McCoy, Howard Armstrong, Willie Hatcher and of course Hank Rachell. The new players now are Rich Del Grosso, Billy Flynn and Gerry Hundt to name a few.

Blind Pig Records release of “Blues Mandolin Man” on CD for the first time presents us with a real piece of blues history. This recording was first released in 1990 as a record album. Rachell plays his style of mandolin and sings on all the tunes on this recording. Yank’s granddaughter, Sheena Rachel, plays some really awesome though out the CD. On drums is the very capable Leonard Marsh Jr. You must keep your ears open and catch his drum solos. Also joining the rhythm section is Peter Roller on both the acoustic and electric guitar. Peter “Madcat” Ruth treats us to some very fine harmonica licks on two of the tunes.

Yank Rachell started his blues career in the late 1920’s. Somewhere in the 40’s he took a long break from the music scene. In the late 1960’s Yank returned to perform again until he passed away in 1997 at the age of 87. Yank teamed up with Sleepy John Estes for quite a period of time. This pairing was a great combination. Some of this music can be found on You Tube and is really a treat to see and hear. He also performed with Sonny Boy Williamson, Sonny Terry and Taj Mahal to name a few.

This CD, “Blues Mandolin Man” features 9 songs written by Yank Rachell. The lyrics are really outstanding and tell stories about true life blues. One of Yank’s statements is “I’ve had the blues so long that they became the blacks”. Rachell’s vocals are raspy, to the point and very distinctive. The quality of his voice, to me, is a pumped up version of Sleepy John Estes.

“My Baby’s Gone “ is the opening tune for this collection of Yank Rachell songs. This is a very good tune which shows off the interplay between the mandolin and the guitar. Listening to this tune lets us discover Yank’s improvisational style of blues mandolin. He takes a unique approach as he ventures along the frets of his mandolin. Sheena Rachell’s base line can really be appreciated on “My Baby’s Gone”.

“Cigarette Blues” features Yank Rachell on mandolin and Peter Roller on the acoustic guitar. Joining these two we have Peter “Madcat” Ruth playing some really outstanding harmonica licks for us. We get to hear some real wailing and moaning from “Madcat” on this tune. Pay attention to Rachell’s mandolin solo on this track. This tells us what he is all about. This tune is the tale of his lady dying from smoking 12 packs of cigarettes a day. This is the blues.

Yank Rachell is not only a major part of blues mandolin history; he is also a blues treasure that we should all discover. If you are not familiar with mandolin blues, Yank Rachell’s “Blues Mandolin Man” is a good place to start learning about them.

Reviewed by Harmonica Joe

Troubadour Livereviewed by Steve Jones

Troubadour Live

Eric Bibb

Telarc Records

www.

13 tracks

I finally got to see Eric Bibb live about 5 or 6 years ago.  If you have never seen him live, you are missing out on something that you must try to get to see and hear.  Sure his CD work is spectacular and when captured live on a special recording like this one you get to hear and feel his depth and power in singing, songwriting, lyrics and playing.  But live he is even better.  Kudos to Telarc for capturing the electricity and spark of a fine live show- it really transmits the feel of a spectacular show!

Recorded in Upsala, Sweden, about 50 miles north of Stockholm, Bibb is joined by Swedish guitarist Stefan Astner who has recorded with many of the music industry greats including Ray Charles, Ian Hunter and Celine Dion.  Glen Scot, Andre De Lange and Paris Renita are known collectively as the gospel trio Psalm4, who Bibb worked with before (both individually and as a group) and join him in the latter half of the live show..

The set opens with “The Cape”, a tune that hearkens back the child-like innocence of putting one’s mind to impossible tasks and achieving them despite what adults would deem impossible odds.  It is a nice opening track from one of the top blues story tellers and it precedes even more great tunes.  He then introduces Astner and the two get into a rousing “New Home” and the title track; Bibbs acoustic guitar and Astner’s electric guitar blend beautifully on top of Bibb’s storybook lyrics.

They slow it down for the next four cuts, again harmoniously blending acoustic and electric guitar in a tasteful and delicious blend and then raise the tempo up slightly for two before a final slow number encore entitled “For You”.  The Pslam4 singers do an amazing job with Bibb.  On “Connected”, Bibb features DeLange in a moaning Zulu chant.  Paris is amazing “For You” while all three harmonize nicely with Bibb on “New World Comin’ Through” and “Thanks for the Joy”.

The final two tracks are from the studio that first goes down to the country and then into a reggae style.  “Put Your Love First” is a slow country duet with Troy Cassar-Daley and “If You Were Not My Woman” is pretty much a joyful, straight up reggae Bibb delivers sweetly.

This is really a fine and amazing CD that shows this talented man and the talented people he makes beautiful music with.  I give Bibb high marks for this great high CD and recommend it for anyone who wants to see how amazing acoustic blues can be and how they can be jazzed up with electric guitar tastefully and yet maintain the spirit of raw, acoustic blues.

Reviewed by Steve Jones

The (R)evolution Continues; Chicago Blues: A Living History reviewed by Mark Thompson

The (R)evolution Continues; Chicago Blues: A Living History

Various artists

www.chicagobluesa-livinghistory.com

Disc 1 – 10 tracks/34:52

Disc 2 – 13 tracks/53:47

Producer Larry Skoller has gathered together noted members of the Chicago blues community for a second volume that celebrates the music’s history over the last seven decades. The first release earned a Grammy nomination in the Traditional Blues Recording category and won a BluesBlast Music in 2009 in the same category.  The premise is simple – get the leading blues musicians together to play a program of tunes composed by many of the most prolific blues songwriters.

Special guests include Buddy Guy, James Cotton and Magic Slim along with Ronnie Baker Brooks, Zora Young and Mike Avery, a cousin of the late Magic Sam.  The other headliners are Billy Boy Arnold, John Primer, Billy Branch, Lurrie Bell and guitarist Carlos Johnson. The backing band is the same as the previous release – Billy Flynn on guitar, Johnny Iguana on piano, Felton Crews on bass and Kenny Smith on drums.

With such an impressive line-up, you would expect plenty of musical fireworks. And that is exactly what you get!  The first disc opens with some exquisite guitar work from Flynn in support of Arnold’s vocal on “He’s a Jelly Roll Baker”.  Biily Boy breaks out his harp on “She Don’t Love Me That Way”, with Iguana’s piano playing driving the arrangement. John Primer channels Muddy Waters on “Canary Bird” with only the rhythm section in support before tearing through “Chicago Bound” with Matthew Skoller on harp. Even better is Primer’s spirited vocal on “Reelin’ and Rockin’” with Flynn and Iguana providing  the instrumental highlights.  Lurrie Bell takes the lead on two songs and really shines on Floyd Jones’ “Stockyard Blues” with Skoller blowing’ some upper register harp licks. Cotton and Branch stage an all-too-brief harp showdown on “Rocket 88” before Branch closes the disc with a version of “Mellow Down Easy” that segues into an energetic rendition of “Bo Diddley” with plenty of dynamic harp work from Branch.

Buddy Guy opens the second disc with a taut vocal and plenty of his patented guitar on “First Time I Met the Blues”.  Next up is Magic Slim with former bandmate Primer lending a hand on “Keep a Drivin’” to capture the leader’s forceful style.  On “Easy 

Baby”, Avery proves to be a talented singer while Flynn recreates Magic Sam’s classic guitar licks. Arnold delivers another exceptional vocal on “My Daily Wish” before Branch pays tribute to Junior Wells on “Yonder Wall”. Zora Young storms through “Be Careful How You Vote” in memory of her mentor, Sunnyland Slim, with Flynn and Iguana matching her intensity.

Some listeners may not be familiar with guitarist Carlos Johnson but that will change once they hear his impressive covers of “Somebody Loan Me a Dime” and “Ain’t Enough Comin’ In” . It takes courage to cover songs by two Chicago bluesmen with distinctive styles – Fenton Robinson & Otis Rush – but Johnson sings and plays with a heartfelt passion that will capture your attention. Lurrie Bell pays tribute to his father on “Got to Leave Chi-Town” with Branch on harmonica.

Not to be outdone, Ronnie Baker Brooks covers one of his father’s best-known tunes, “Don’t Take Advantage of Me” before delivering one of his high-energy performances on “Make These Blues Survive” with a healthy sample of his forceful guitar playing. The disc ends with a bonus track of “The Blues Had a Baby (and They Named It Rock & Roll)”.  Arnold, Primer, Branch and Bell share the vocal lead while Primer joins Flynn on guitar. It brings this release to a fitting close.

The packaging is first-rate with plenty of liner notes, wonderful photos and personnel listings as well as individual notes on each song. While some may fear for the future of blues music, this project offers a convincing rebuttal. There are still plenty of musicians around who can keep the music vibrant and meaningful. Make sure you do your part and buy a copy of this stellar release. Highly recommended !!

Reviewed by Mark Thompson

Bringin' It reviewed by Rick Davis

Bringin' It

Tweed Funk

Tweed Tone Records

10 Tracks

Tweed Funk is a hard group to categorize. On their new CD Bringin' It they mix a little R&B, soul, jazz, hip hop, blues, and a lot of funk together for a super funky CD. The group consists of Joseph "Smokey" Holman handling the vocals with a James Brown style delivery at times, originally a part of the band Love's Children touring in part with the Ohio Players around 1971. JD Optekar joins the group on guitar from the blue band Hounds Tooth, an acclaimed Wisconsin blue band playing some of the top regional blues festivals including Big Bull Falls, Prairie Dog Blues Festival, Nothin' But the Blues Festival, Paramount Blues Festival, and many others. Rounding out the group is Donnie Mac on bass, keyboards, and vocals with Marcus "MG" Gibbons on drums. Mac, grandson of the legendary Howlin' Wolf, has played with some top names such as BB King in the late 80's and Chaka Khan. Marcus Gibbons has toured and recorded with some of the biggest names in US over the past 15 years, including Keisha Cole, Aaron Moore, Harvey Scales, The Esquires, and as a member of BB King's house band in Memphis. 

"Blues Is The Truth" and "I Know" short tunes written by Optekar deliver a fine funky instrumental blend along with Holman belting out his smooth soulful vocals. "Super Mad Woman," a song written by Gibbons, is a blues based tune with Holman building his vocals as the song progresses. It is one of the best originals on the CD. Songs "B-Line" and "Testify" are funky tunes written by D. McGregor." "Testify" is guaranteed to put the funk in your step! Blues tune "My Baby's Alright" a blues tune written by JD Optekar features the excellent guitar work of Opterkar. The CD includes an incredible funky arrangement of Sly Stone's "Thank You (Falettinme Be Mice Elf Agin)." The CD concludes with a Gibbons/McGregor instrumental tune "Salsa Blues," showcasing the instrumental expertise of the entire band. The final number is a new and sensational arrangement of Optekar's blues tune "Black Coffee" done on both of the CDs produced by the Hounds Tooth this time with the smooth vocals of Joseph "Smokey" Holman.

I think a first class horn section would put this group over the top. This CD is great collection done by a world class funk band and hopefully we will hear more of Tweed Funk in the future!

Reviewed by Rick Davis

Medicine reviewed by Steve Jones

 

Medicine

Tab Benoit

Telarc Records

www.tabbenoit.com

11 tracks

Tab Benoit is an iconic figure in the swamp pop/blues scene.  His heart and soul are bared for all to see in each of his performances, both live and on CD.  This new effort is another great effort and I was impressed with the playing by him and everyone on the CD.  Seven new songs grace this CD, co-authored by Benoit and Anders Osborne.

Sometimes you get a sort of mailed in effort on all-star recording sessions and other times you might see artists trying to one up each other.  Not here.  Benoit has assembled some great artists and they blend together with great musicality into a wonderful sound.  Recorded at Louisiana’s Dockside Studio and produced by David Z who has produced and engineered another great Benoit classic.  The artists here are obviously Tab Benoit on Guitar and Lead Vocals, Anders Osborne on Guitar and Background Vocals, Ivan Neville on Keyboards, Corey Duplechin on Bass, Michael Doucet on Fiddle and Vocals and Brady Blade on Drums.  Mostly recorded live on one take, this is a magical set.  Also to note, Osborne is using BB King’s Lucille on Medicine and half the CD’s tracks, adding a nice acoustical touch to the proceedings.

From the opening notes on the title track to the final cut Benoit gives us a good sampling of his gumbo enhanced Cajun guitar and vocal goodness.  “Medicine” opens with a slow, down home beat with a deep groove with Benoit and Osborne trading guitar licks that gets you ready for a fine set of tunes.  He keeps it low tempo as he transitions into “Sunrise”, a beautiful swamp ballad where Tab’s vocal art work will have the ladies eating out of his hand and the guys wishing they had just an minute bit of his magical mojo.  On “A Whole Lot of Soul” we get more of the throbbing, pulsating slow blues Benoit that delivers with great style.  There is also a nice, ringing guitar solos midway through that is hard not to love.  Benoit cuts loose on the fourth track with the driving beat of “Come and Get It”, a tune that will have them up on their feet and dancing at festivals this summer.

“Broke and Lonely” returns to a slower beat in a down tempo cut with some sad lyrics where he bemoans that “now when women see me they won’t even wave their hand”; obviously this is not a biographical piece, but it’s a cool little number.  Doucet’s fiddle come in on “Long Lonely Bayou” another slow and mournful song that is beautifully done.  Doucet gives a great performance here and on the other cuts he fills in on; the acoustic guitar work with the fiddle here is also quite haunting.  “In It to Win It” brings the tempo up to a medium beat, and Benoit speaks to us about being yourself and getting into the game of life to win it.  Doucet returns in “Can’t You See” and sets the stage for a cute down home track with a more country fried flavor.

Benoit returns back to the soulful ballad next with “Nothing Takes The Place of You”; he is obviously in his element here with heart throbbing vocals and guitar play.  The CD closes a little more upbeat with “Next to Me” and then certainly upbeat with “Mudboat Melissa”.  The final cut is another big-time dance tune with fiddle and big guitar sounds and gives the CD a rousing finish.

Benoits’ fans will eat this stuff up and newcomers to Tab will get a good representation of his talents.  I enjoyed this new album by Benoit; it is well worth adding to your collection if you are a fan of his and the Louisiana music scene.  It’s hard not to enjoy Tab’s work!  I also enjoyed hearing Anders Osbornes’ contributions here.  Highly recommended!

Reviewed by Steve Jones

Mirage Cartography reviewed by Mark Thompson

Mirage Cartography

Paul Mark

Radiation Records

www.paulmark.com

13 tracks/47:43

I reviewed the last release from Paul Mark –Blood & Treasure - and found plenty to like about his heady mix of blues and rock. On his latest project, Mark ventures off in an entirely different direction. From the award winning CD cover created by Steve Buzell to the lush sound of each track, it is clear that Mark paid attention to all aspects of this project. He composed all of the tunes, plays all of instruments except on one cut and produced the disc.

Much of the all-instrumental program falls into the folk music vein. Cuts like “Kings Counsel” show an affinity for the music of the Beatles while cuts like “Ariel Island” give you an idea of Mark’s skill as a fingerpicking guitarist. The overdubbed guitar parts on “Mud River” form a gentle rhythm that will calm the soul.

Mark includes some familiar blues progressions on the last half of the disc. “Bug Jar” sports some elaborate picking that alternates with some darker, more pensive moments. “Circus in Roma” shows the influence of Piedmont style of acoustic blues. Mark also utilizes some country blues riffs on “In Desoto County”. The leader switches to electric guitar for “Mirage Avenue #2”, with James Strain on bass, Harry Peel on drums and Al Gamble on the Hammond organ.  The music still retains the ethereal quality found on the rest of the disc. The final cut, “Enterrement”, features Mark using slide on a resonator guitar on a piece that uses a distinct gospel feel to bring the project to a dignified ending.

One has to admire Mark for making such a huge stylistic switch from one release to the next. His abilities as a guitar player allow him to make each composition interesting, especially if you take the time to listen to how skillfully Mark mixes the various guitar lines on each song. This is the disc you’d want to play on that night where all you want to do is sit in a comfortable chair with your favorite drink, in peaceful contemplation of the state of the universe.

reviewed by Mark Thompson

NIghtshade reviewed by Steve Jones

Nightshade
Steve Dawson
Black Hen Music
www.stevedawson.ca
12 tracks

We gave this CD first to one of our reviewers who likes his blues fairly traditional.  He told me this was not blues, why don't you give it a listen and review it?  So I did.  I am still trying to pin a genre on this album.  Despite the fact that it touches on blues, folk, rock, country and such, it is a damn fine album despite the fact that it transcends having a true label in any genre.

Dawson's voice is described by others as "laconic".  His slow, easy style to singing gives me a picture of a warm summer after noon on the front porch, listening to a story telling bard slowly telling us  of his exploits and tales.  His guitar work is done flawlessly.  He is the spider who weaves a beautiful web and ensnares those  get too close.  Lulled by the beauty, they fall prey to the spider whose music puts them in a dream-like state until it is too late.  We've become fans.

The stories he tells are intricate and intriguing.  They have deep dark sides at times while others are lighter and less deep.  Either way, there are 11 original and crafted well tunes and one Mississippi Sheiks cover. Geoff Hicks is on drums, Keith Lowe is on bass, Chris Gestrin fills in on various keyboards, organs, pianos, accordions and whatever is needed with keys throughout.  Dawson's understated vocals can fool you.  At first listen they may seem to be monotone; as one listens they recognize that the style of singing is quite interesting and not monotonous.

From his opening "Torn and Frayed" through the title track and to the ending "The Time It Takes" we are fed a deep and intricate set f tunes delivered with direct and forthright vocals and Dawson showing us he is adept on all the string instruments that can be plucked. Various guitars, banjos, pedal steel and other stringed instruments woo us as we wind through the dozen tracks.  Even "the Sheiks Gulf Coast Bay " has a fresh coat of paint on it; he gave that one to us on the tribute album we reviewed last year.

I'm really happy our fist reviewer gave up the ghost on this one.  It might not be blues and while it might not be classifiable as anything more than great Canadian roots music, it is a super CD!

Five Horses, Four Men reviewed by Steve Jones

Five Horses, Four Men
Jeff Turmes
Fat Head Records
www.jeffturmes.com
13 tracks

Jeff Turmes has a strong foundation in roots and blues music. This CD perhaps leans more toward the folk side of roots music, but there are some straight up blues songs here. The good news is that there are 13 original tracks and every one of them is well crafted and performed in an even better manner. Musically speaking, this is a solid set, but don’t expect every track to be heavily into the blues.

No less than 18 musicians join Jeff in this endeavor. Jeff plays guitars, banjo, some acoustic bass, a little bariitnoe sax, and the bass clarinet and dumpster (yes, a dumpster for percussion) each on a track. He is a multi-talented musician who sings on all but the final instrumental track. Jeff Turmes has been a superb sideman and songwriter for many a year. He toured in his early days with James Harmon and Gary Primich. He is married to Janiva Magness (who records his compositions but the two tour separately to keep their marriage healthy). Magness does backing vocals on “Honey Man”, a slow and wailing number with a neat snare drum giving the tune a downbeat marching rhythm. He backing vocals wail in an almost funeral-like manner as Turmes delivers the lyrical message to the honey man where he wants to buy some honeycomb so he can draw his baby home.

Since 2007 he’s toured with Mavis Staples, playing slide guitar and bass. Her 2008 CD “Hope at the Hideout” was a 2010 Grammy nominee, where Turmes was joined by longtime friends Rick Holmstrom and Stephen Hodges to play on this acclaimed set. He’s been a sideman for Tom Waits (on the Tonight Show), Kim Wilson and the Fabulous Thunderbirds, Ronny Earl, Billy Boy Arnold, Robert Gordon, Duke Robillard, James Cotton, Jody Williams, Canned Heat, Pinetop Perkins, Koko Taylor, James Gadson, Mike Finnigan and recorded with Richard Thompson, R.L. Burnside, Gatemouth Brown, Peter Case, Norah Jones, Eleni Mandell and Jake La Botz. Check out his web site for the discography of discs and songs he’s written for others- amazing!

Turmes bio calls this CD, “less ironic, more contemplative but no less intense” than previous ones. I would have to agree; the songs are not so ironic but they all make you think/listen closely. The CD opens with electric blues on “Something Must Happen” with Hodges and Holmstrom on drums and guitar. The songs’ got a great groove with a little dirtied up and minimalistic guitar solo. Nicely done. “Give Satan a Chance” is roots and blues all rolled up together. “Weeds Like Us” is a folksy acoustic blues with an interesting cello solo and backing added by Tania Magidini. “Hew to the Roadside” is a little more acoustic blues with Turmes picking out a mean lead and blowing bass clarinet and baritone sax. “Jack-A-Hammer” alludes towards the blues in an almost James Taylor “Steamroller” manner, but it’s dirtier and a lot more rootsy with a heavy percussive beat. “God Came Down from Heaven” approaches blues on some levels. There is a haunting accordion backing Turmes done by Stephen “Doc” Patti making this track especially cool. More dirty percussion is offered up on “When My Baby Wakes Up”, with Turmes baritone sax blurting out a deep backing beat in this bouncing cut.

The rest of the tracks are mostly folk and country. That’s not an accusation, just a point of fact- they are all well crafted cuts. From the title track to the final instrumental “Iron City” we get a very folk-oriented set of roots tunes to accompany those that are bluesy. “Don’t the Moon Look Real” is a jazzy country song with a deep, twangy guitar style that will impress.

Turmes is a talented musician and song writer. The lyrics grip the listener and make one want to hear his stories. His vocals are clean and even maybe a little subdued, leaning perhaps towards more of a folk styled delivery than a blues sound, but never the less delivered with a cool style . I was very impressed with this CD. While the blues purist may shy away, music fans will love the diversity of sounds and instruments and the melding of instruments in this 13 song album. It’s a well done CD delivered by a man with a keen musical sense.

Reviewed by Steve Jones

That’s What I’m Talkin' About reviewed by Mark Thompson

That’s What I’m Talkin' About

Bill Edwards

Self-released

http://www.billedwardsmusic.com/

10 tracks/38:39

On his debut recording, Bill Edwards gets the opportunity to showcase his fine singing voice as well as his abilities as a songwriter. In the liner notes, Edwards thanks the late James Brown and Tower of Power for their life-changing music. While he doesn’t get as funky as the legendary Brown, Edwards comes up with an exciting mix of blues, r&b and soul.

“Twelve Step Program” is an Edwards’ original that finds him pleading for help to escape a bad love affair. Another stellar tune is “Powered by Patron”, with Edwards describing how a few drinks causes a transformation from wallflower to ladies man. The horn-driven track is stronger because Edwards ignores the humorous aspects of the subject in favor of a straightforward description of the liquor’s benefits. The proceedings take a darker turn on “Oh No No” with Donald Benjamin sharing writing credit with Edwards and providing most of the instrumental backing, including slide guitar. Edwards describes a failing relationship while Corrin Huddleston lies down some fine down-home harmonica licks.

Edwards hits the mark again on “Your Presence is Requested”, his voice soaring over the horns and  Nick Moroch’s taut guitar playing.  On “Love Oughta Come With Instructions”, the leader delivers a strong performance that typifies blue-eyed soul.

His cover of Denise LaSalle’s “Steppin’ Out” takes a harder edge as Edwards declares his freedom from a cheating woman before he trades vocals with Eve Soto on the closing passage.  Soto and Vaneese Thomas provide the backing vocals on “Be Careful What You Wish For” in support of another intensely soulful vocal from Edwards,

A couple of tracks miss the mark.  The lyrics to “Customize My Love” are too simplistic and wordy to make an impact despite another quality vocal effort from Edwards. The cover of “Rocket 88” is taken at a rapid-fire tempo that doesn’t seem to play to Edwards’  strengths as a singer.

Another plus is the strong support of musicians like Moroch on guitar and bass, Mennonna on keyboards and horns and Pete Generous on drums & percussion. They bring life to the musical  arrangements and Edwards has the savvy to know exactly what to do as well as the vocal skills to pull all of the pieces together. If you are looking for more than the standard 12-bar blues progressions, you should give this one a listen.

Reviewed by Mark Thompson

Love To Beg reviewed by Mark Thompson

Love To Beg

Dana Fuchs

Ruf Records

www.danafuchs.com

13 tracks/50:56

It is rare to get an opportunity to review a recording by a singer who has starred in an off-Broadway production as well as starring in a major motion picture. Dana Fuchs has both accomplishments on her resume, playing Janis Joplin in the Love, Janis musical. She also had a featured role in Across the Universe, a film based on the music of the Beatles, with Fuchs singing four cuts on the soundtrack including a raucous version of ”Helter Skelter” as Joplin might have done it.

Fuchs possesses a husky voice that is a perfect match for the material on this disc. Most of it bears a heavy rock influence with some blues licks occasionally creeping into the mix. There are also some soul elements, particularly on her tribute to her favorite singer, Otis Redding, on “I’ve Been Loving You Too Long”. Glenn Patscha’s Hammond organ work steers the arrangement of “Summersong:” into Al Green territory.

Fuchs unleashes the full power of her voice on “What You See” and really cuts loose at the end.  “Golden Eye” channels Aerosmith as Fuchs’ majestic vocal is surrounded by swirling guitar chords courtesy of Jon Diamond.  Her sassy, vocal channels Joplin over the steady-rolling groove on “Drive” while she belts out the lyrics on ‘Faster Than We Can” over the driving beat from drummer Carter MacLean and Whynot Jansveld on bass.  The title song features Diamond on slide guitar and harmonica as part of a full-blown arrangement with Fuchs belting out the lyrics.

“Nothing’s What I Cry For” is another rocker with Fuchs once again singing with power but showing restraint, avoiding the temptation to pepper her performance with an overdose of needless vocal gymnastics. The closing track, “Superman” employs a familiar blues riff and finally gives listeners a glimpse of what Fuchs can do in a more traditional blues setting. “Keepsake” is a gentle ballad that allows Fuchs to showcase her sensitive side. Even better is her tender, yearning vocal on “Keep on Rollin’ “ with Jenny Douglas and Vivian Sessions helping out on background vocals.

If you appreciate a great singer, take the time to listen to Dana Fuchs. While blues takes a backseat to rock for most of this disc, the consistently strong singing from Fuchs will quickly win you over. While there could have been a few more “shake your soul” moments, this recording provides ample proof of her vocal skills.

Reviewed by Mark Thompson