Rhythm and Blues Experience reviewed by David Stine

Rhythm and Blues Experience
Andre Bisson
Self-produced CD
www.andrebisson.ca
10 tracks

One of the cool things about being in a blues society is getting non mass-market CDs to review. Many of these CDs are where the hopes and dreams of new and un-heard artists are pinned. However, the gamut of these CDs runs from great to pitiful. The Andre Bisson CD I have in front of me, I would put somewhere near the high middle. I’ll explain my “issues” in a minute. First off, Bisson, a Canadian with boy-next-door-looks has thrown his hat into a pretty big ring: R&B singer. Thanks to the popularity of a certain reality show for wannabe singers, the ring is REALLY big. Where once the guitar gods ruled, now everyone wants to be a singer. When a singer, unadorned with a guitar (or other instrument) steps up to the mic, he or she is saying this is my instrument. The competition, if I can use that term, is might stiff these days.

I think Andre‘s instrument is OK. I don‘t think it’s great nor do I think it‘s terrible. I just think it will get better in time. Compared to his obvious influences, Joe Cocker, Ray Charles, and the blonde kid in The Commitments, I think he‘s currently lacking the breadth, depth, and nuances of the aforementioned. Bisson‘s range is limited., and there’s more gravel than sand in his delivery. Most of the CD is horn-band driven numbers in the Blues brothers/Commitments vein, but on the slow ballad, “Second Chance” there’s no sweetness in his voice: it’s the same gravel as the rest of the tunes. Because Bisson’s delivery is so similar, the songs seem to blend together. None really stick out. On the CD itself, there is quite a bit of gap between songs. I didn’t check the length, but at 10 songs I’m guessing a bit over 40 minutes of music. On the plus side, Bisson arranged all and wrote all but one song on the CD; and they show a lot of promise from a young (20-something?) artist. His session band adds everything a singer could want: tight, funky and on the money. From the “Hey Bartender”-like “One More Gig,“ to the swinging “Four Shots” to the cover of homeboy Neil Young’s “Heart of Gold,” (nice version by the way).

This CD, with a more seasoned singer, would jump right out at you. I must confess that I do watch American Idol very passively, AND I have heard A LOT of R&B singers in my day. With more range, control and nuance I think we will be hearing more from Andre Bisson. I know this sounds like a luke-warm review and maybe it is. Bisson has talent, but like I said, there’s a lot of competition out there. I wanted to be knocked out, and maybe next time I will be.

Like I Do reviewed by David Stine

Like I Do
AZ Kenny Tsak and 56 Deluxe
56 Deluxe Productions, LLC www.56deluxe.com
11 tracks

South Florida’s 56 Deluxe is a throwback band. AZ Kenny “Tsak” Tsakanikas himself seems to be somewhat of a throwback to 80s blues. His dress, his playing style and sound (and “the babes”) indicate that maybe Tsak has created a cool little South Florida niche market that is a world unto itself. The name “AZ” is a bit mysterious and remains unexplained (at least to us non-South Floridians who at think we know it’s not Arizona) as are the 56 Deluxe girls. Besides sideling up to Kenny on the cover of his album, they also seem to be selling the “56 Deluxe” lifestyle. Hmm, what an interesting concept. Oh yeah, the music …

Tsak puts in a fiery performance on his guitar, but I think maybe his voice has seen better days. He can still float a tone, but the highs are gone and when he reaches up, the notes choke off. Imagine a very nasal Jim Morrison with a bad head cold and you get a feel for Tsak’s voice. My guess is Kenny has been screaming for awhile and it affects his vocals.

Musically, his guitar playing is fast and accurate. The band, made up of Avery T. Horton (bass), James Holt (keys), Andy “G” (drums), and the occasional sax of Frank Perez, is solid and supportive. Besides the originals by Tsak, there are two songs penned by bassist Horton, and covers of “Stoop Down Mama” (a duet with South Florida’s Joey Gilmore) and “I Just Want To Make Love To You.” I doubt that Tsak will win any best new blues song crowns; there’s just too many of the old clichéd themes and “noon, June, soon” rhyming devices here. The song I found most enjoyable was written by Avery, “12 Step Boogie,” a clever take on having fun with sobriety. There’s a nice doubled sax in “Down South Florida” where the band generally cooks as they do on most of the tracks.

I’m sure 56 Deluxe puts on a great show, but I found the CD somewhat commonplace and Tsak’s voice a bit irritating. I am further baffled by the little “cartoon” included in the liners notes of what I assume is Kenny holding a Firebird (one of his chosen axes) stating “Guitarus Maximus - Playing To Save The World From Fakers.” Furthermore, there is an auspicious quote: “A crime fighting super music man who despises fake computer-generated lip-synced “muzak” using blazing guitar licks to restore dignity to the way music should be played.” Well, I’m not completely sure what they mean but they certainly are not super heroes but they appear to be a fun live band from South Florida who have created a somewhat below average studio set released in this CD.

I Got The Blues For You reviewed by David Stine

I Got The Blues For You
Homemade Jamz Blues Band
Northern Blues Music www.northernblues.com
12 tracks/55 minutes

I tend to shy away from artists that receive a lot of hoopla out of the gate. The blues community, it seems to me, is always looking for the next big thing. And the next big thing always seems to be young blues prodigies. So pardon me, but I bypassed the Homemade Jamz Blues Band initially simply because I’d heard too much about their youth, homemade instruments, and race. They were the darlings of last years’ blues fest circuit, so I avoided getting interested. I’ve learned my lesson.

Their second CD, is titled “I Got The Blues For You”. This is my first exposure to the group, and I must say it‘s really enjoyable. The HJBB, as you know, are siblings Ryan Perry (guitar and vocals), Kyle Perry (bass), and little sister Taya Perry (drums). They are 17, 15, and 10 years old respectively. On this CD their father Renaud adds some tasty harmonica on a handful of cuts. Renaud is also the builder to the guitars used by Ryan and Kyle that began life at twin exhaust-type car mufflers (while I’m on the subject, listen to this CD with headphones to really hear the unique quality of Ryan’s double neck muffler guitar--quite nice!). The CD, besides being engaging, is generous in length at 55+ minutes and 12 songs. All songs were written by daddy Renaud except song 11, Titus Turners “Grits Ain’t Groceries” (a very funky version, I might add). Obviously, this is a VERY musical family.

The CD kicks off with a “Thrill Is Gone” groove entitled “Hard Headed Woman.” Ryan Perry tends to run his words together, so I popped on the headphones and “har hey woman” became “hard headed woman.” Renaud Perry doesn’t write any earth shattering new blues lyrics, but the band’s performance makes them fresh and funky. Song two, “Rumors,” allows dad to add harp to some nice guitar work by son Ryan. This is a nice juxtaposition of new and old: old school harmonica licks augmented by wah wah guitar. Welcome to the brave new world. Luckily, the CD doesn’t try to be too new, rap or hip hop infused, or clever. The songs work from progressions we’ve heard and themes used before: from king snakes, to hobos, to hard drinking women, to “going down to Clarksdale.” In the hands of less talented kids, I’d roll my eyes and pass on. However, the youthful enthusiasm of these youngsters jumps from the disc and you almost feel the joy they felt while it was recorded. Ryan Perry is a very accomplished guitar player--check out his extended solo on the tour-de-force “Heaven Lost An Angel.” As I said, the homemade nature of the guitars gives them a unique sound quality, Kyle Perry’s bass fairly rumbles and roars throughout the disc. Young Taya is not afraid to smack her snare or cymbals.

I am disappointed that I initially ignored these kids and their music. This musical family of youngsters and their dad are quite the group and they make beautiful music together!

It Ain’t Easy reviewed by Steve Jones

It Ain’t Easy
Aaron Williams and the Hoodoo
Self-Produced
www.aaronwilliamsandthehoodoo.com
11 tracks/43:56

What’s the Hoodoo all about? It’s all about three young guys from Madison, Wisconsin who play some roadhouse style blues-rock-funk that will make your toes tap and hips shake! Aaron Williams leads the band on vocals and guitar, Eric Schackelford also sings and plays the drums and “Z” plays bass and provides some vocals, too. They are a tight little trio backed up occasionally by some of their friends and they deliver some hot and steamy blues.

I first listened to this CD while traveling home from the Mississippi Valley Blues Festival late Saturday night/Sunday morning after three days of blues music. I left Davenport and I was barely across the bridge to Moline from Bettendorf when I put the CD in to play. I was tired but happy after the festival but needed something to get the blood pumping at midnight. The opening chords of “Hypnotize” told me this was not going to be a CD for the faint of heart. They continued to pump out some intense music in the second track, “Seven Days” and by the next song (the title track) I felt like I’d had a couple of cups of Joe in me!

The driving guitar and beat are the hallmark of these rocking blues lads. Williams’ guitar licks are sweltering and the groove backing it makes your heart pump quickly. These guys are also quite unique vocally, with a punky, often nasal tone to their songs. They sometimes reminded me of how Jim Morrison delivered some of his Doors vocals. The title track brings in some nice background vocals to add depth to the song and they use them well on other tracks, too.

“Living on Love” introduces us to the softer side of Williams and band. Acoustic guitar and some laid back vocals are complimented nicely with the addition of Cadillac Joe Anderson on Hammond B3 organ. The song flows into a strong river of blended vocals, organ and guitar picking. This is the only down-tempo track on the CD, and it nicely shows that the guys have some variety in what they can deliver.

The guys lay out some funk on “Porterhouse 650”, with some rapping lines that talk about both their steaks and their women. “Drinking Blues” gives us some rockabilly licks with Aaron screaming out the chorus line “I’ve drinking blues!” with the band echoing his “problem.” It’s non-stop action; the remaining tracks are equally hot and are just as much fun as the others!

The guitar work by Williams is sweet as it motors thorough each tune in a hot charging, rev-ed up style. By the time the album finished I was almost halfway home and wide awake, so I queued it up for another play. I have listened to the CD a few times now and I appreciate it more and more with each subsequent play. It is an excellent set of original tunes in a cool carney-circus graphics laden package featuring tattoo art of a buxom tattooed lady on the back cover that makes the packaging as roadhouse as the sound within it. If you want your blues hot, sweaty, and rocking then this is a CD for you!

Give ‘em as Little As You Can…As Often As You Have To…or..A Tribute to Rock ‘n’ Roll reviewed by Steve Jones

Give ‘em as Little As You Can…As Often As You Have To…or..A Tribute to Rock ‘n’ Roll
Swamp Dogg
Self-Produced
www.swampdogg.net
12 tracks/

Jerry Williams, aka Swamp Dogg, may be nuts. He’s gotta be one brick shy of the proverbial load. In more modern parlance, his Happy Meal is perhaps one or two fries short. A distinguished songwriter and music man, he’s been around forever and now releases CDs as the mood hits him and I don’t know what kind of mood he was in here. We find him doing a dozen rock standards of various sorts in his own, err, style? Hard to tell. This is an eclectic collection of rock standards done in some weird styles.

The CD begins with a funked up and heavy rockin’ “Ain’t That a Shame”, with heavy solo guitar lines and William’s screaming vocals. It’s weird but it’s palpable. Jimmy Reed’s “Ain’t That Lovin’ You Baby” (sans the “Baby” in the title listing here) is slowed done a bunch but shouted out quite loud by Swamp Dogg in a frenzy of chords and vocals. “Johnny B. Goode” is next and it ain’t Chuck Berry-like in delivery. Over-laid vocal tracks and synthesized funky sounds almost harass the listener while some mean guitar is being laid down amongst it all, another overdone piece of work that gets one wondering “why?” But I persevered.

Jerry Lee Lewis was murdered next. “Great Balls of Fire” had some more great fuzzed up guitar licks but the song overall was just shouting and hollering in a seemed attempt to be different. “Heartbreak Hotel” is served up next in a swamp funk so thick that I think I felt some Spanish Moss hit me in the head. Springsteen’s “Hungry Heart” gets the business next. Jerry tries to turn it into a thoughtful soul song but to me it just falls flat.

“I Shot the Sheriff”, “I Wanna Hold Your Hand”, “My Girl”, “I Never Loved a Woman (The Way I Loved You), “Satisfaction” and a visit to his old song (slightly updated) “Total Destruction of Your Mind 2009” all fall short for me, too. The songs are a bit overdone and the Dogg’s vocals are failing. Then I thought, “Maybe this is all tongue in cheek,” but I don’t think so. I don’t know what’s really going on here. As a tribute to rock, Swamp Dogg certainly puts his own spin on these tracks, so there is no denying that he’s doing something new with them and really going out on a limb with these covers. But his cracking, straining vocals and overdone production really are not my cup of tea. I was intrigued by the first few tracks but then it stopped growing on me. If you want something different with blues and R&B, this is certainly it!

Finger In Your Eye reviewed by Steve Jones

Finger In Your Eye
Big Pete Pearson featuring The Rhythm Room All Stars
Vizztone Label Group
www.vizztone.com
www.myspace.com/bigpetepearson
10 tracks/

The world has not heard much about Big Pete Pearson yet. This is pretty strange since the guy was born in 1936 and he is a phenomenal vocalist. After hearing a few bars of his big blues shouting style you will understand how good he is, too.

Pete lives in Phoenix and has become somewhat of a local phenomenon. Bob Corritore is promoting this album of all new tracks and is part of the band backing Pete. The Rhythm Room All Stars feature Bob and his huge harp sound, Chris James on guitar, Patrick Ryan on bass and Brian Fahey on drums. A plethora of special guests also drop by to add their magic, including Pinetop Perkins, Henry Gray, Duke Robillard, Billy Flynn, Eddie Taylor Jr. and Doug James.

Pete is a big, round, gentle old man, so the album title and title track don’t do justice to the type of guy that Pearson is. But he has fun with it as he opens the CD and blasts his way through another nine great tracks. His voice is strong and sure, not overdone. He’s a blues shouter of the highest caliber. Complimenting the big vocals are Corritore’s equally big and equally controlled harp work and the great interplay of the band and guest musicians. It’s a joy to listen to these guys work together. I was quite impressed when I saw Pete live last year and his new CD really showcases this guy’s talent. I recommend that you discover him today!

Superhero reviewed by Steve Jones

Superhero
Candye Kane
Delta Groove Music
www.candyekane.com
www.deltagroovemusic.com
15 tracks/

Chanteuse. I love that word. So French. Some French words like this have both feminine and masculine versions. In this case, it is a woman singer, a songstress; especially a women who is a concert or nightclub singer. It especially comes to mind every time I hear Candye Kane sing. But now another word I think of when I think of her is ‘survivor’. After defeating pancreatic cancer in 2008, she is getting stronger and touring again and she is truly a ‘survivor’.

Her recent album, “Superhero”, is her tenth and showcases her ample talent, and I am not speaking about her physique. Her voice is as strong and vivacious as ever as she blasts her way through this 15 track CD of mostly new songs. If you love your blues delivered by a sultry chanteuse who can survive almost anything thrown her way, then “Superhero” is for you!

Candye penned a lot of songs while battling her cancer. Some were written when hope was dim and she figured she had only 6 months to live but she never gave up hope. These songs are not the songs of a quitter. They are upbeat and uplifting and show the resolve of this great singer.

26 year old Lara Chavez plays guitar on most tracks and she is also phenomenal. She also tours with Candye’s live shows. I was quite impressed with her fret work. Kid Ramos fill in on a couple of tracks, too. Paul Loranger plays electric and upright bass while Evan Caleb does most of the skins work; Stephen Hodges fills in on a couple of tracks for Evan. Mitch Kashmar provides some harp and a duet vocal, Dave Gonzalez some bass guitar, Greg Rutledge fills in some keys and B3 and Jonny Viau lends some good sax. A well crafted CD with a great regular band some super additions!

This album is full of Candye’s trademark jump blues along with a few ballads and slower numbers. Her vocals always have amazed me, even in the studio. She sounds like she is singing to and feeding from an audience all the time. I am fascinated how some singers and musicians can pull this off; it just tells me that they are really in synch with what they do and that it doesn’t matter where they perform their craft.

You readers can’t see me hemming and hawing here as I write to come up with some favorite tracks to comment on. There is a lot of good music here and to single out a few would be a disservice to the other songs. “I’m a Bad, Bad Girl” is a gritty blues shout out that hearkens to the old days of the blues but with Candye’s fresh approach. “Ik Hou Van Je (I Love You)” opens with and features some really nice Duke Robillard-styled guitar work along with a piano solo as Candye tells us how to say ‘I Love You’ in many different tongues. Kashmar’s innuendo-filled vocal duet with Kane on “I Like ‘Em Stacked Like That” with Kid Ramos backing them is another winner as is the Kashmar harp filled “Till You Go Too Far”. The title track opens the album with vibrancy and a short solo a capella number called “I’m Gonna Be Just Fine” show Kane’s resolve to beating her cancer and open and close a really good set of tunes.

If you like Candye Kane, this is a must-add to your collection. If you want to hear a woman revel in her determination and success in beating cancer, this is a must-add to your collection. If you like your blues swinging and jumping, this is a must-add to your collection. Hell, if you just like good music, this is a must-add to your collection!