No Lie reviewed by Mark Thompson

No Lie
Sanctified Grumblers
Self-released
www.sanctifiedgrumblers.com
17 tracks/54:17

Crossroads members should certainly be well-acquainted with Eric Noden from his frequent trips to Rockford over the years to participate in our Blues in the Schools program as a solo artist or with his musical counterpart, Joe Filisko. This project finds Noden in his familiar roles as lead singer and songwriter for half of the tunes. He also plays guitar and banjo guitar. He shares the spotlight with the multi-instrumentalist Rick Sherry, who plays washboard, harmonica, guitar, banjo guitar, clarinet and kick drum in addition to handling some of the lead vocals and composing five of the songs. The band is filled out with Beau Sample on bass and jug plus Mike Hogg on sousaphone. Additional support comes from Jim Becker on fiddle, saw and mandolin – Tom V. Ray on banjo & ukulele – and Mike Reed on drums.

As you can tell from the list of instruments, the Grumblers play music in the old-time string band style, with Hogg's sousaphone giving a nod to the New Orleans brass band tradition. Up-tempo tracks "Stump Grinder" and "Ramblin, Ramblin, Ramblin" give the group a chance to show that, given a chance, they'd have no problem filling the dance floor. Noden's delicate guitar lines play off the booming sousaphone on "9 Bar" while Sherry and Noden do a vocal duet. The insistent beat and Noden's expressive singing make "Broke & Dead" a standout track. Sherry's mournful harp and Becker's fiddle playing dance around the vocal line to great effect.

The Mississippi Sheiks are one of the Grumblers main influences. They cover a Sheiks tune, "Jailbird Lovesong" with fiddle and banjo featured behind Sherry's lead vocal. "Stain on the World" takes a humorous look at the people who claim to see miraculous images in things like toast or bedsheets. Sherry, the founder of Devil in the Woodpile, is a magnificent washboard player, spinning out dazzling rhythms on cuts like the the instrumental "Push Reel" and on the band's theme song, "EZ Ridin' Grumblers", with Noden once again taking vocal honors. "I Hate You Gin" is well-played the band but it exposes Sherry's vocal limitations. The New Orleans connection is highlighted on "SG Blues" with Sherry's clarinet adding charm to the cut.

Along with groups like the Carolina Chocolate Drops and the South Memphis String Band, the Sanctified Grumblers are doing their part to fuel the renaissance of pre-war blues and jug band music. These guys really have a knack for the older styles – and they don't forget to have fun along the way. If you're yearning for a break from the standard electric blues format, No Lie is a fine introduction to a band that will bring a smile to your face and set your feet to tapping.

Reviewed by Mark Thompson

Gospel Blue reviewed by Mark Thompson

Gospel Blue
Brick Fields
Self-released
www.brickfieldsmusic.com
10 tracks/48:15

Based out of Eureka Springs, Arkansas, Brick Fields is a six member band lead by the husband and wife team of Rachel a & Larry Brick. The group is unique in several ways. First, the nine tunes written by the couple have lyrical content heavily influenced by their Christian faith. Next, Rachel Brick plays flute -an instrument rarely associated with blues - on several tracks. The final defining characteristic of this ensemble is Rachel's magnificent alto voice that is capable of turning anything she sings into a memorable experience.

“On the Vine” opens the disc with Rachel joyfully espousing the value of holding on to the promise from Jesus that love will grow through the hardest times if we keep our faith. Larry, Rachel and Rain Equine combine their voices on a beautiful acappella segment to open “In the Light of Love”. Rachel's flute serves as a counterpoint to her dynamic vocal and Casey Terry accentuates the arrangement with one of his engaging sax solos. Larry's sensitive acoustic guitar accompaniment on “Hopelessly Addicted” serves as a springboard for more of Rachel's earthy vocalization on love in it's many forms.

The rhythm section of Johnny Ray on bass and Caleb Bomar on drums create a funky backbeat on “Talk About the Weather” while Terry delivers another solid tenor sax solo. Rachel can barely control her passion as she sings about the impending final reckoning on “These Are the Days”. The band slows the pace on the ballad, “How Long”, which is not the classic blues tune but an original that finds Rachel interspersing tender moments with emphatic statements that blur the lines between the secular and spiritual realms. Another highlight is “Cryin'” as Rachel pours her heart out over the misery of life with Randy Fairbanks on organ adding depth while Larry plays a short but dramatic guitar solo.

“Go On with the Soul” finds Rachel as she utilizing every facet of her powerful voice as it dips and soars through the gentle gospel ballad. Larry's tasty guitar work and Terry's sax stand out on the up-tempo workout “Lord I'm Coming Home”. The lone cover is the gospel standard “Amazing Grace”. The band uses a bluesier arrangement which surprising falls short of energy and conviction found on the rest of the disc, although Fairbanks on organ adds some sense of church.

Those of you who might be put off by the references to God, Jesus and religious beliefs should know that the lyrics on Gospel Blue are not always overt statements of faith. The songwriting often blurs the separation of the heaven and earth, so that the material can be enjoyed no matter what your beliefs. And once you hear Rachel Brick lift up her voice, it really doesn't matter what she is singing about. Her voice will comfort and soothe you while the band gives her expert support. If you enjoy outstanding singing, you need to check out this recording.

Reviewed by Mark Thompson

Boom! reviewed by Mark Thompson

Boom!

Tom Hambridge

Superstar Records

www.tomhambridge.com

11 tracks/38:00

Tom Hambridge has captured the attention of the blues world through his work on Living Proof, Buddy Guy's last release. Hambridge was the producer, drummer and songwriter for this project that has captured numerous Blues Blast and Blues Music awards, including Song of the Year honors for the title track.

His latest solo recording finds Hambridge enlisting the services of several Nashville-based musicians – guitarist Rob McNelley and keyboard wizard Kevin McKendree from the Delbert McClinton band plus Tommy MacDonald on bass. Their expert assistance allows Hambridge to explore all of his musical interests while maintaining a consistently exciting sound.

“Upside of Lonely” takes a humorous, tongue-in-cheek look at the advantages of being single with McNelley's taut guitar licks sparking the basic blues rhythmic pattern. On “Never Gonna Change”, Hambridge sings with authority while guest Mark Jordan pounds the piano and McNelley plays slide guitar with a dirty, nasty tone that makes this track another highlight. Hambridge switches to a lighter country-rock sound on “The Best in Me” before demonstrating his mastery of the current country music sound on “I Got Your Country Right Here”, complete with soaring vocals, raging guitars and references to several of the classic southern rock bands. “I Keep Things” has bright, ringing guitar parts that echo the Tom Petty sound as Hambridge runs through some his important possessions.

The band channels the Rolling Stones sound on “Two Thumbs Up”, a spirited, straight-ahead rocker about a woman with star quality. McNelley once again sets the pace with his outstanding playing as Hambridge's vocal leaves you wondering just what exactly are his intentions. “The Pistol” tells the tale of death, stolen money and a lifetime of looking over the shoulder, waiting for retribution. The full-blown arrangement features an insistent beat from Hambridge and lots of guitars while McKendree on piano fills in any open spaces. Each band member gets to stretch out a bit on the driving instrumental “Bangin' Around”. The reflective “Things I Miss the Most” finds Hambridge yearning for his loved ones back home as he deals with the rigors of life on the road. McKendree's pumping piano propels the ramped-up tempo for “I Had a Real Good Time”, with Hambridge once again showing his skill as a rock-n-roll singer.

Despite his success, Tom Hambridge has no intentions of limiting himself just to blues music. And the world is a better place for that decision as Boom! is an outstanding rock-n-roll recording. Hambridge and friends wrote a engaging batch of songs that his veteran band brings to life in performances that will burrow into consciousness and stay there for days. When was the last time you listen to a recording like that? Highly recommended !!!

Reviewed by Mark Thompson

Hoodoo Man Blues reviewed by Mark Thompson

Hoodoo Man Blues

Junior Wells' Chicago Blues Band, featuring Buddy Guy

Delmark Records

www.delmark.com

26 tracks/63:03

The best-selling title in the Delmark Records catalog, Hoodoo Man Blues presents an actual  Chicago blues band recorded in all of its glory without an concerns about commercial potential. The album has long been considered a essential classic of modern electric blues, in no small part due to the presence of two legendary musicians. Among the many accolades it has received is the 2008 induction into the GRAMMY Hall of Fame.

Delmark owner Bob Koester let Junior Wells dictate the direction and tone of the sessions. It proved to be a wise decision as Wells dominates with his hard-edged vocals that add a dose of south-side funk to the proceedings. His dynamic harp playing shows that Wells learned plenty when he replaced Little Walter as a member of the Muddy Waters band. Originally billed as “Friendly Chap” on the initial album pressing due to contractual concerns, guitarist Buddy Guy proves he was the ideal partner for Wells. His clean, jangly rhythm lines are an integral part of the band's tough, hardened sound. When Guy's amp failed at the start of the sessions, engineer Stu Black ran Guy's guitar through a Leslie speaker normally used for the Hammond organ. It resulted in an unusual tone that added another unique quality to the album.

The latest version of this classic features the original twelve tracks plus six alternate takes, including three of “Yonder Wall”. There is one unissued cut, “I Ain't Stranded” and seven brief segments of discussion during the recording sessions. The crystal clear sound lets you hear every note, making it clear that the rhythm section of Jack Myers on bass and Billy Warren on drums laid down a solid foundation for their more famous colleagues. The stunning gatefold package designed by Kate Moss at Moonshine Design includes a sixteen page booklet with updated liner notes and eight unpublished photos from the studio, one of which is the lone shot of Guy.

As you listen to this classic, it is hard to believe that it only took seven hours of recording for the band to create classic performances like the three Wells' originals, “Snatch It Back and Hold It”, “Ships on the Ocean” and the brooding slow blues, “In the Wee Wee Hours”. They prove to be equally adept at

at updating classic songs in their modern (for that time) style. Wells adds an extra layer of bravado to “Good Morning Schoolgirl” before the band roars through a lightning-quick rendition of “Hound Dog”.

On the title track, Junior's confident vocal rides over Guy's otherworldly guitar tone while the Kenny Burrell instrumental, “Chitlins Con Carne”, allows Wells to demonstrate his mastery of the harp.

Whether or not you already own a copy, this remastered version offers enough additional material to justify your purchase of the latest edition. Voted a Desert Island disc by Living Blues magazine, you can't go wrong with two blues legends captured in their prime, at the start of a partnership that brought both musicians international acclaim. Hoodoo Man Blues is a defining moment in the blues tradition – no collection should be without it.

Reviewed by Mark Thompson

Holler and Stomp reviewed by Mark Thompson

Holler and Stomp

The Cash Box Kings

Blind Pig Records

www.cashboxkings.com

12 tracks/41:01

It is getting harder and harder to find a hardcore blues recording amidst the steady stream of releases that promise blues but deliver rock music with faint blues influences. Thankfully, the Cash Box Kings celebrate their new association with the Blind Pig label by delivering a recording that is full of authentic, Chicago-style electric blues that is sure to excite blues fans around the world. The rotating line-up of the band is anchored by Joe Nosek, Oscar Wilson and Kenny “Beedy Eyes” Smith, who keep the music suitably grounded in the blues. The rest of the participating musicians are all highly regarded veterans who bring a wealth of experience to the group.

Check out the driving rhythm on Nosek's original “Fraulein On Paulina”, a musical tribute to sweet-loving woman from the northside of Chicago. Smith sets the pace on drums with help from Jimmy Sutton on bass. Joel Paterson lays down a swinging guitar solo followed by some fine harp from Nosek. The band brings the sound of the Louisiana swamp to the southside as singer Oscar Wilson goes off in search of his woman and some hot links on another original, “That's My Gal”. The easy-rolling groove on “Barnyard Pimp” recalls the Jimmy Reed style and features a call-and-response between Wilson's robust vocal and Nosek's echoing harp lines.

On “Feel Like Going Home”, the band captures the deep blues sound that defined the Muddy Waters legacy, primarily due to Wilson's eerie recreation of Muddy's vocal style while Paterson lays down plenty of nasty slide guitar licks. The buoyant rhythm of the title track frames a strong vocal from Nosek and more of Paterson's stellar slide guitar work. The proceedings shift to country blues on the instrumental “Hayseed Strut”, with Billy Flynn on mandolin and Barrelhouse Chuck on piano getting solo space. Both men regularly perform as members of the Cash Box Kings. Nosek pays tips his hat to a regular visitor to southside Chicago clubs on the closing track, “Tribute to the Black Lone Ranger”. Smith lays down one of his patented shuffle beats while Nosek threatens to blow the reeds out of his harp.

The breadth of the band's musical interests comes to light in their choices of tunes to cover. Wilson's exhilarating singing and Barrelhouse Chuck's Farfisa organ spark a rendition of an early Rolling Stones cut, “Off the Hook”. Sutton's high-pitched voice takes the lead on a rocking version of RaySharpe's “Oh My Baby's Gone”. A remake of Hank Williams “Blues Come Around” retains the country influences while some dazzling piano from Barrelhouse Chuck and a spirited solo from Paterson inject an equal amount of blues feel to the performance. Wilson's earnest singing on Lightnin' Hopkins “Katie Mae” is another memorable highlight.

This is one of those discs that will find a permanent place in your cd player. Even though the musicians change from track to track, the Cash Box Kings maintain a consistently high standard of performance throughout the disc. Equally impressive is their varied approach, expertly mixing various aspects of the blues genre into an outstanding collection. This one deserves your undivided attention – and comes highly recommended !!!

Reviewed by Mark Thompson

AWARE reviewed by Mark Thompson

AWARE

Trent Romens

New Folk Records

www.trentromens.com

10 tracks

The debut recording from this eighteen year old from the Twin Cities quickly establishes that Trent Romens is a compelling vocalist and songwriter who also is a skillful guitarist. At times, it is hard to believe that Romens has only been playing guitar for seven years, His music displays a maturity typically found in more experienced musicians.

On his covers of two classic songs, Romens shows that he has absorbed plenty of lessons from the blues tradition. His blazing slide guitar work invigorates “Going Down Slow”. He switches to acoustic slide on “Key to the Highway”, his aching vocal capturing the longing in the lyrics.

The rest of the playlist is filled with original tunes. The brief “Material Blues” is a haunting number with strong backing vocals from Cate Fierro and Shalo Lee. The crunching rhythm on “Right Back Where I Started” provides the springboard for more high-energy slide work from the leader.

The rest of the tracks contain some blues influences but are predominately rock tunes.  “With You” features Toby Marshall on the Hammond organ and Allman-esque guitar work from Romens.  The rhythm section of John Wright on bass and Jordan Carlson on drums navigate the shifting tempos on “Stimulate Me” while Romens some arena-rock guitar licks. The gentle, lilting rhythm on “Hey Now” closes the disc with Romens contemplating the future of mankind.

There are plenty of hotshot guitar players out there looking to break out to wider audience. Trent Romens provides some evidence that he may possess talent and skill that could lift him above the crowd. It will be interesting to see how his career develops as he straddles that spot where rock and blues music intersect. In the mean time, there is enough blues content on this release to warrant a visit to Romens website to give his material a listen.

Reviewed by Mark Thompson

Real Good Friend reviewed by Steve Jones

Real Good Friend

D’Mar & Gill

Airtight Productions

http://www.cdbaby.com/
cd/dmargill

10 tracks

D’Mar & Gill are two accomplished musicians who got together and to tour and put this CD out and I am a little intrigued by it.  Chris Gill is a slide guitar wizard and D’Mar is a big-time percussionist.  They don’t have their own web site but I stole this info from their Facebook page: “Derrick D'MAR Martin has toured as the lead drummer for Little Richard for the past sixteen years. D'MAR pairs his energy and magnetism with bluesman Chris Gill. Gill gained knowledge of the blues firsthand from Bentonia legend Jack Owen, with whom he spent days on the porch pickin' and nights soakin up the blues at the Subway in Jackson, Mississippi. Both performers are accomplished solo artists in their own right and bring the wealth of their experiences two this musical partnership made in heaven. The skill and energy of D'MAR mixes with a greasy slide from Gill for songs that come straight from the soul of their home -- Mississippi.”  They also competed as a duo in the 2011 IBC this past January.

Okay, so now we all know who they are, but what is this record all about?  It’s an acoustic/resonator steel guitar player and singer who is deeply based in the blues who is accompanied by a percussionist who offers up a variety of styles and instruments that go back to even traditional African sounds.  Frankly, the highest points of the recordings for me were the percussion work by D’Mar. It is gripping and quite interesting.  Chris Gill is a more than adequate guitar player and vocalist, but the beating of the skins is unique and quite cool, and D’Mar also sings backing vocals.  The overall sound is not what you’d expect of a Delta based acoustic duo due to D’Mar’s congas and other somewhat extraordinary drums (at least in this setting). 

The duo offer up nine original cuts and one cover, Willie Dixon’s “My Babe”.  It is a bit disconcerting at first to hear the congas doing the lead in for this familiar song, but once you get over that it was kind of interesting.  The original cuts are ok.  I think they are set up well to show their talents on guitar and percussion.  They aren’t anything really new and completely different, but they are good.  The vocals throughout are also good but sometimes left me wanting a bit more.  Gill’s guitar work is excellent, but it’s the drums that keep you listening.  I can’t say I have ever said that about any blues song let alone a complete album of them.

If you are an acoustic blues fan who likes to hear a new twist on things, this may be the CD for you.  For damn sure this CD is different; these two guys are talented.  It’s worth a listen if acoustic blues and traditional African percussion are your thing.

Reviewed by Steve Jones