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.

Burnin' Love reviewed by Steve Jones

Burnin’ Love
Dave Weld and the Imperial Flames
Delmark Records
http://www.delmark.com/
www.myspace/daveweldandtheimperialflames.com
13 tracks

It has it been almost fourteen years since Dave Weld recorded and released the Earwig album “Keep On Walkin’”.  Time sure does fly.  Dave spent most of those years caring for his ailing mother, Donnie Lee.  If you’ve spent any time at all with Dave, you know how much family means to him; his touring and recording took a distant second place to his family commitments for much of that time.  Now he is back on the scene in full swing with a brand new Delmark CD, his first for the label, about eleven years in the making.  Dave and his band members wrote most of the songs for the CD, and it is some great original stuff!

In addition to Dave on guitar and vocals, the band consists of Abb Locke on sax, Jeff Taylor on drums and vocals, Dave Kaye on bass and Monica Myhre on vocals and tambourine.  Harry Yaseen fills in on piano and Bernard Reed and Herman Applewhite are on bass for two and one track apiece. Weld was schooled by many of the Chicago greats, but certainly Grammy winning Blues Hall of Famer J.B. Hutto had the biggest impact on Dave.  Hutto also introduced Weld to his nephews Ed and Pookie which cemented into a long term relationship that continues to this day.  Lil’ Ed appears on this CD to support his old friend; both he and Dave play a style of guitar that pays homage to the late great Hutto.

“Sweet Shiny Brown Eyes” has been a staple at Weld’s live performances for 12 years now, but he says it now fits Monica to a tee.  Weld is so adept in his song writing style, telling vivid stories which he sings with great gusto.  Myhre harmonizes with Weld nicely here and Welds’ guitar just blows you away with the solos. “She’s Mine” is similar, a Weld tune they’ve been playing live for a good while to the delight of their fans.  Weld complains about the problems with living in Chicago in “Ramblin’”, a Weld/Myhre song where Locke unleashes his tenor sax for a his first sweet long solo on the CD’s second track.  The title track was inspired from some of Weld’s old girlfriends whose “hot lovin’” unfortunately lasted long after the actual act, requiring penicillin to clear things up.  It’s a jumping tune with lots of great guitar riffs and more from Locke and Weld.

Taylor ’s vocals on his songs “I Got Mad” and “All of These Things” are a little more restrained in comparison to Weld but showcase his smooth, suave and cool vocal style.  Locke, Weld and Lil’ Ed also have greats solos on these tracks.  Myhre fronts the band on her tracks “Talk Dirty” and “Listen to Mama”. On the first song she is very much doing so in a “Debbie Harry does the blues” sort of style, which sounds pretty darn cool.  Her main man Dave inspired the song while her Mom was motivation for the latter.  “Listen to Mama” also shows off her inspired, sultry voice.

Lil’ Ed Williams wrote and sang on “Ed’s Boogie”, a swinging boogie woogie tune with Abb, Dave and he giving up some fine solos.  Weld also covers a Hutto song, “Things Are so Slow”, which is quite appropriate for these economic times.  More compelling vocals and solos by Locke and Weld.  “Donnie Lee” is a tribute to Dave’s Mom, giving us a taste of how great a woman and what a role model she was.  Weld closes with “She’s Lyin’”, a jumping song with a boogie woogie beat that was also inspired by Weld’s past loves.

This is a fun album that will give the world some exposure to what we in the local area already know- that Dave Weld and the Imperial Flames are a hot and inspired blues band worthy of broader acclaim.  This is a fine CD done in the Chicago style with great vocals, guitar and saxophone.  I highly recommend it!