More Like Me reviewed by Steve Jones

More Like Me
Webb Wilder
Blind Pig Records
www.blindpigrecords.com
11 tracks

Webb Wilder came to Blind Pig Records
And released his first CD with them early last year (reviewed in our May-June 2008 Newsletter). It was a solid album, and while not truly a “blues” album, it hearkens to the roots of rock and roll music.

The same is true for this effort. The artwork on the album cover sets the tone, mixing the serious with the tongue and cheek.. This album is Wilder’s joyride through the blues via rockabilly, surf music, country, a little punkiness and other musical styles. To say Webb Wilder is witty and irreverent would be like saying that a big, juicy hamburger is a comfort food. It’s obviously true, and yet he is also able to perform seriously with equal skill.

This studio CD opens to the driving beat of “Ju Ju Man”, with some wicked guitar licks. Wilder’s guitar is pretty hot throughout this effort. He intersperses his hot licks with a more restrained approach in the slower tunes where his guitar work is equally sharp. Old standards like “She Said Yeah” get a great treatment; I don’t think I’ve seen this covered with as much applomb since the Stones sang the “Dum deedle dee dum dum” in the mid 60’s. And in “Don’t Slander Me” we get Webb doing outer space based surf guitar. His guitar stings here as it does in “Honk Tonkin’ (In Mississippi). This CD is another great showcase for how this man can handle his Gibson.

Wilder may never take himself seriously yet this guy appears to be a serious artist. Billboard describes Webb and his band as “part Georgia Satellites, part Dave Edmunds, part Elvis Costello and altogether wonderful.” I can’t argue with that assessment. He’s a solid guitar player and vocalist, and has a strong band backing him including three other guitar players. The sound is big and complex.

The slower stuff bears some mention, too. In the original cut called “Too Cool for Love”, we have a song about a chick who acts too cool to let her guard down. It is one of several new songs by Wilder that feature some interesting lyrics. “You’re a piece of work,
I’m sorry if that is too judgmental.
I don’t wanna be a jerk,
Even if it’s experimental.” These are not humorous thoughts, but some serious stuff. Wilder’s a pretty good songwriter who can play it simple and fun or really express himself.

A solid effort from a guy who has been making music since the mid seventies. Don’t expect traditional blues when you hit the play but, but do expect to be entertained by a guy who understand the roots of rock and roll.

Brand New Blues reviewed by Steve Jones

Brand New Blues
Cyril Neville
MC Records
http://www.mc-records.com/
10 tracks

This is the first new solo album in over eight years from Cyril Neville, the youngest of the famous siblings and probably the most socially conscious of the Neville Brothers. He wrote or co-wrote half the songs on this CD and it really sounds fresh and new. Even the covers of songs like Jimmy Reeds “I Found Joy” and “Blue, Blue Water” and Brooks Benton’s “I’ll Take Care of You” get a very fresh sounding coat of paint in this nice little CD.

The style is certainly blues delivered pretty much straight up, with Cyril backed up by the likes of brothers Art and Ivan on B3 organ, Brian J and fellow Wetlander Tab Benoit on guitar, and Johnny Sansone on harp. This is not a funked or tricked up New Orleans album, it is raw blues served up hot and steaming. No clinkers here, just some great blues.

The tile track features Cyril describing all the types of blues he’s lived through, but when his new woman walked into his life he experienced some “Brand New Blues.” He gets a little funky and quite bluesy in this new track. “Shake Your Gumbo” is as funky as it gets here, with the heavy percussion grinding out a beat on this track.

We are way beyond the concept of double entendres with the tracks “Cream Them Beans”, another new song. Suffice it to say that Cyril and co-author Brian J give us a song that the band can get down and dirty with.

The album closes with “Slave Driver,” featuring a stinging solo blues guitar by Brian J and some emotional vocals by Cyril on this Bob Marley song. A very bluesy rendition of a reggae song!

This is a strong effort by the youngest Neville Brother, if “young” is appropriate for a man born in 1948. It is a great set of tracks delivered with a variety of emotions from love and pleasure to anger and pain.

Neville Brothers fan will love this album as will blues fans. It is a solid, well produced and musically superb set of tracks. These post-Katrina inspired blues are hard hitting and show us the great stuff transpiring with the blues scene as it evolves down in the Big Easy. This CD is well worth adding to your blues music collection!

Blues Attack reviewed by Harmonica Joe

Blues Attack
Shirley Johnson
Delmark Records
http://www.delmark.com
14 tracks

Shirley Johnson's new disc, "Blues Attack", released by Delmark Records, is well worth the wait! Her last CD was Killer Diller, released in 2002, also was a great project. "Blues Attack is a great combination of 14 tunes with a good mix of blues, soul, funk and gospel. All but two of the tunes, "Unchain My Heart" and "634-5789", are originals for this project.

Shirley Johnson is a hard working awesome blues vocalist. Her voice is just a treat to listen to. She can be very powerful one moment and the very next she can be just soft and subtle. One never has to strain to hear the clarity of the lyrics as Shirley sings with every word with emotion and meaning. The lyrics are very important to her and she is sure to bring them out as intended.

On "Blues Attack", Shirley has surrounded herself with a fine band. If you are a piano/keyboard person, you are treated to the skillful playing of Roosevelt Purifoy.His presence is well placed thoughout the cd. This is good stuff! Luke Pytel is on lead guitar playing very tasteful riffs and doing awesome solos. The presence of a really good horn section is another plus for "Blues Attack". You can check out Lawrence Fields and Hank Ford on tenor sax, Willie Henderson on baritone sax and Kenny Anderson on trumpet. Bringing up the bass line is Lovely "JR" Fuller and Cordell Teague is on drums.

The title song, "Blues Attack", is a catchy, funky tune. The lyrics, "I've got the blues, ain't nothing wrong with that", is a great line. This tune in itself is a "Blues Attack". Luke Pytel does one awesome guitar solo during this track.

"You Shouldn't Have Been There", is one of my favorite tunes on the cd. This is a great blues tune with awesome lyrics. Shirley's interpretation and feeling for the story in the song really comes out on this one. The guitar work and subtle presence of the organ make this a standout to me.

"Blues Attack' has tunes for everyone's music likes. I was really impressed with "Selfish Kind Of Gal". This track has great lyrics, an awesome keyboard solo, and very nice guitar licks. "Let It Rain" is also a standout tune for me. One can really get that blues feeling with this one. Shirley Johnson controls this song with her great vocals and feelings for the lyrics.

Shirley Johnson's "Blues Attack" CD from Delmark Records is just one really good project. There is something in it for all blues lovers and also not a bad tune in it

Upside Down reviewed by David Stine

Upside Down
Aynsley Lister
Ruf Records
www.rufrecords.com www.aynsleylister.co.uk
12 tracks

Somewhere on the way to his fourth CD, Aynsley Lister was misdiagnosed as a bluesman. Although the promo sheet that came with the CD mentions Aynsley’s cutting his teeth at 8 on his dad’s Freddie King and Eric Clapton records, I have to believe that he found his dad’s AC/DC, Black Sabbath, and Deep Purple records as well. Several listens to this CD revealed NO blues, no blues structure, no blues references and no bluesy playing. What I did hear were some near-country singing and some very heavy in-your-face guitars. The CD kicks off with the fast rocker “Find My Way Home.” Sure doesn’t sound like Clapton or Freddie King. “Getaway” slows things down ad bit with a guitar only intro, then it becomes a song that could have easily come out of modern-day Nashville. Don’t get me wrong, I enjoy some of modern-day Nashville’s artists, but what’s with all the genre jumping? Are the pop/rock and country field’s so overloaded that “Blues” is the last refuge of a young artist looking for a label? Anyway back to the CD: song three begins as a pleasant break from the barrage--a nearly acoustic ballad entitled “Always Tomorrow.” As the song builds, here comes the big guitar sound to add emotion and push it to the end. I should mention here that Lister’s songsmith is fine, and his playing is great, AND he has a pleasant enough voice, but blues fans will be disappointed in the lack of blues. Even more country leaning (to my ears) is song four, “Ice I’m Upon.” (Expect to see Lister wearing one of those folded up cowboy hats on his next CD, NOT a blues chapeau.) Aha! It’s the slight whine in Lister’s voice that I hear. Song five, “beautiful” IS an all acoustic ballad delivered without the country mannerisms, and it is my favorite of the disc. So much of the rest sounds like stuff I’ve heard too many times before. Song six is a standard fare arena rocker (see previous statement). At song seven, “With Me Tonight,” we hear a bit of the shuffle intro worked to death by SRV, and I guess, if I were a blues radio DJ, this is the tune I would pick to play, because it‘s soooooooooo Bonamassa-esque!. “Rain” is a quiet acoustic outing that begins with some fancy Jimmy Page-type open-tuned picking. This is another nice, listenable song. Lister begins “In The Morning” with some metal-bodied finger work that jumps, you guessed it, into a fast rocker. Sounds The title track “Upsidedown” is, hmmmmmmmmmmm, a Hip Shake-meets-metal riff on steroids sung (partially) through a harmonic mic (or control room mic) that rockers will love. Oops, here’s that SRV shuffle groove again for “Disorderly Me.” Still, I refuse to call this a blues CD. (I don’t consider Joe Bonamassa blues either, BTW.) Ted Nugent would love the final cut “Falling Down” because it’s a fast “Stranglehold” meets Fleetwood Mac’s “Fighting For Madge.”

Fans of big guitar sounding blues-like-country-like music might want to check out Upsidedown. Aynsley Lister does have talent and fire. If you like bands who have taken 70s British blues rock to the next level and some of the heavier Nashville acts, then this CD is probably for you. Old school guys like me, well. . . Who’s Next?

Clean Getaway reviewed by Mark Thompson

Clean Getaway
Curtis Salgado
Shanachie Ent. Corp.
www.shanachie.com
12 tracks/50:15

Curtis Salgado has a story to tell, one that includes a liver cancer diagnosis and mere months to live unless he had a liver transplant. Thanks to the efforts of musicians like Taj Mahal, Bonnie Raitt and Robert Cray as well as a legion of friends from around the world, close to half a million dollars was raised to cover the cost of the successful surgery. Now the singer who inspired John Belushi to form the Blues Brothers Band celebrates his medical miracle with a rousing new release that clearly proves the extent of Salgado’s talents.

Back by the Phantom Blues Band, Curtis explores the roots of American music, proving to be adept at down-in-the-alley blues. He funks it up on the title track, a tribute to Johnny “Guitar” Watson, his vocal soaring over the horns and deep bass groove. Another original, “20 Years of B.B. King”, features a lyrical narrative formed from the titles of various King songs, with a chorus that states “ I’ve learned more about the blues in two weeks from you, than 20 years of B.B. King.” Salgado’s performance is so compelling that you quickly ignore the novelty factor of the tune. The band cuts loose on “What’s Up With That” and “I Don’t Want to Discuss It” but Salgado shows that his voice has retained the power and gritty edge necessary to match the raging ensemble.

Curtis is even more impressive when he delves into deep soul music. Not many singers have the nerve to cover one of Al Green’s classic tunes but Salgado takes on “Let’s Get Married”. He sings with a deeper tone than Green and turns in a performance that comes close to the original without simply copying it. Equally fine is the Hi Records feel on “Drivin’ in the Drivin’ Rain” with Salgado’s vocal pleading with a growing intensity. Further proof of his talent is delivered on “Who’s Lovin’ You” as Salgado’s voice swoops and soars with ease as he tells this tale of emotional heartbreak. “Alone” is a smooth soul ballad with another magnificent vocal performance from Salgado as well as a taste of his harmonica playing.
Surrounded by a bevy of world-class musicians and twelve outstanding tunes, Curtis Salgado turns in the best recording of his career. The passion and joy he pours into each track overshadows everything going on around him. Based on this disc, Salgado deserves to be placed in the top tier ranking of blues/soul singers. Highly recommended - not to be missed !!!!

Visions reviewed by Mark Thompson

Visions
Hans Theessink & Terry Evans
Blue Groove
www.terryevansmusic.com
www.theessink.com
13 tracks/54:33

This release features two veteran musicians on a collection of classic tunes and a handful of originals. They share the vocal leads and their guitars provide most of the musical accompaniment. Phil Bloch adds percussion on eight tracks while Richard Thompson adds his electric guitar on two songs.

Theessink (pronounced Tay-sink) has been playing the blues for more than 40 years across the European continent, establishing himself as a first-rate guitarist in the country blues style. His powerful baritone voice easily conveys the resignation and despair in the song lyrics, especially on “Dark End of the Street”.

Terry Evans used to sing back-up for Ry Cooder before starting his solo career. His supple voice can range from tenor to bass with the gritty edge of the best soul singers or the fervent passion of the lead singer in the gospel choir. Evans has a fluid guitar style that forms the center of many of the arrangements.

Tracks like “Going Back Home” and “Glory of Love” feature Theesink’s expert guitar picking and booming vocals that command attention. The duo turns in a refreshing version of “Talk to Your Daughter”, the two guitars propelling the track along. Evans tears into another warhorse, “Don’t Let the Green Grass Fool You”, his energetic vocal riding the steady rhythm from the guitars. Even better is the closing track, “Come to the River”, an Evan’s original. He takes listeners to church with a stirring performance that builds in intensity, urged on by Theessink’s backing vocal and acoustic slide guitar. “Let the Four Winds Blow” features Thompson’s lead guitar dancing around the vocal lines.

Visions is a superbly crafted project that allows the combined talent of Theessink and Evans to shine throughout the recording. Using the simple guitar & vocal format, they manage to inject life into every track, even the well-worn classics. Be sure to give this compelling gem a serious listen.

Love Me Tonight reviewed by Mark Thompson

Love Me Tonight
John Nemeth
Blind Pig Records
http://www.blindpigrecords.com/
11 tracks/44:55

John Nemeth has received plenty of kudos from reviewers for his first Blind Pig release, Magic Touch. As a singer, songwriter and harp player, Nemeth used that disc to introduce his impressive skills and talent to the world . At the Blues Blast Music Awards last December sponsored by the Illinoisblues.com website, Nemeth was named the winner of the Sean Costello Rising Star Award and Magic Touch won the Best New Artist Debut Recording award. What was even more impressive that evening was the large contingent of fans that flew in from the west coast to show their support for Nemeth.

If you haven’t jumped on the Nemeth bandwagon yet, his latest release is guaranteed to convert into an enthusiastic fan. He delivers another strong batch of original material with only one cover. His musical support is top-notch. Bobby Welsh consistently delivers on guitar and keyboards. Elvin Bishop adds some star-power and his distinctive guitar licks to two tracks.

Nemeth’s voice is an impressive instrument, capable of handling hard-edge, gritty blues like “Just Like You” or “Daughter of the Devil” On the latter selection, his distorted vocal seems to be shouting from the graveyard over the ominous beat laid down by the band. “Country Boy” showcases some of Nemeth’s stellar harmonica licks before he turns things over to Bishop for a fiery solo. He breaks out his chromatic harp on “Where You Been”, a tough shuffle that ends too quickly.

But the real joy in listening to Nemeth is hearing his voice take flight on the more soulful cuts. There isn’t a note that is out of reach, his voice soaring without strain. Listen to how his gorgeous tone injects life into every syllable of the lyrics on “My Troubled Mind”. The lone non-original, “She’s My Hearts Desire”, authentically recreates the old doo-wop vocal sound and Welsh contributes a tremolo-laced guitar tone that pays tribute to the late Robert Ward. “Fuel For Your Fire” provides Nemeth with another opportunity to showcase his incredible vocal range.

The disc closes with a tour-de-force rendition of the slow blues “Blues in My Heart”. Nemeth channels the vocal style of Buddy Guy - circa late 1960’s , his tones wracked with emotional fervor, pleading for relief. Welsh contributes some biting guitar work as well as laying down some thick organ licks that really bring a spark to the performance. Not to be outdone, Nemeth once again dazzles with some killer work on the harmonica.
Sometimes a record company ‘s publicity department with promote an up-and-coming artist as the next big thing. Often reality sets in and proves the pen is mightier than the performer. John Nemeth has quickly validated all of the attention, awards and press he has received through his live shows and with this amazing release. You will marvel at the stunning quality of his performances throughout Love Me Tonight. This recording deserves to be at the top of blues charts. Highly recommended !!!