Live At Kingston Mines reviewed by Rick Davis

Live At Kingston Mines

Nick And The Ovorols

Self Released

www.nickandthe

ovorols.com

8 Tracks

The Chicago-based blues band Nick and the Ovorols is establishing a strong fan base in the Chicago area, as they have performed regularly at the legendary Kingston Mines. The Chicago landmark has been a venue for world-renowned artists like Muddy Waters, B.B. King, Buddy Guy, Mick Jagger, Bob Dylan, David Bowie, Robert Plant, Stevie Ray Vaughan, and contemporary artists like Eddie Clearwater, Joanna Connor, Sugar Blue, and Studebaker John just to name a few.

Nick Peraino is certainly in good company as this rising star has now been added to the list of celebrities. After listening to his CDs or attending a live show, you will understand why he is gaining notoriety in a city known for it's blues legends. Nick moved to the "windy city" from New England to study music in 1998. After finishing college, he toured the Midwest from 2003-2004 with his band Nick Peraino and Blue Moon Risin' releasing his debut album Noisy Picks and Humbars in 2005. He also started touring with Joanna Connor in 2005, playing nationally and locally at Chicago’s Buddy Guy's Legends, Kingston Mines, and The House of Blues. In 2009 Nick was selected by Grammy Award winning blues artist Sugar Blue to join him on a two week tour of Europe to perform in a number of showcase events.

Nick decided in 2011 to once again become a band leader and this time formed his current group Nick and the Ovorols. As a result of establishing a residence at Kingston Mines from December of 2011 to April of 2012, they decided to release the album Live at Kingston Mines from one of their Wednesday night shows. Nick handles vocals and guitar with Carlos Showers also on guitar, Vic Jackson on bass, and Lance Lewis on drums. They open the show with the Mack Rice tune "Cadillac Assembly Line," injecting one of the funkiest rhythm guitar grooves along with one the most electrifying guitar performances I have ever heard in a live show. The only similar version was done by Stacy Mitchart. With Jackson on bass and Lewis on drums, the opening tune is a hard act to follow until Nick explodes with his superb slide guitar expertise on the Nick Peraino hard drivin' roadhouse blues number "Chitown Via Greyhound." On a modified rendition of the Elmore James tune "Dust My Broom," Nick shows his versatility with this great new arrangement. The band takes that funky groove and energy to whole new level on the Barry White hit "It's Ecstasy When You Lay Down Next to Me" written by Ekundayo Paris and Nelson Pigford. The band excelled on the 1965 R&B single "People Get Ready" done by the The Impressions and written by Curtis Mayfield. Adding to his accomplishments, Peraino creates a more contemporary arrangement of the T-Bone Walker classic "T-Bone Boogie." On the Sam Cooke original "Somebody Have Mercy," Nick performs a more traditional blues version like Luther "Guitar Jr." Johnson. The band concludes the set with "Me and My Guitar" by Leon Russell and Chuck Blackwell, reminiscent of Freddie King in his prime. Nick's red hot guitar licks and the band's funky rhythm section make this a night to remember at Doc Pellegrino's Kingston Mines.

After listening to this award winning performance by a very progressive new blues band, Nick and The Overols is a force to be reckoned with. You can add this one to your collection as soon as possible.

Review by Rick Davis

Dr. DuPree’s Love Shop reviewed by Steve Jones and reviewed by Rick Davis

Dr. DuPree’s Love Shop

Stevie DuPree & The Delta Flyers

Soulbilly Music Group

www.thedeltaflyers.com

12 tracks

Betsie Brown and Blind Racoon have got to stop sending us stuff like this to review- I just want to listen to it over and over again!  It’s another great CD by lead singer Stevie and guitar player Travis Stephenson.  With Quentin “Q” Calva on bass and Steve Bundrick on drums, these guys blend blues and bluegrass with a little Cajun and country music into a wonderful set of tunes.  Marcia Ball plays piano on one track, Mark Kaz Kazanoff adds tenor sax, harp, harmonies and percussion, Nick Connelly is on keys, and the Texas Horn of Kaz on tenor, John Mills on baritone and Al Gomez on trumpet also add their spark to the set.  DuPree has a hand in the writing of each song here.

The album opens with the jumping cut “Broke Up.”  Derek O’Brien adds slide and it makes for a great sounding performance.  DuPree howls and the band cuts a groove and the guitars wail.  It’s a nice piece to set the stage for the rest of the album.  “First Dance” follows, a bit of a swing/jump tune with Ball on the piano.  The horns add their sound to the mix, too.  It’s nicely done with the keys being tickled so prettily and the horns blazing oh so well.  Up next is the title track.  Alice Stewart sings the lead with help from Lisa Tingle and Stevie.  Stephenson gets funky on the guitar and then Kaz blows a mean horn solo.  At this point I was completely sold and the next nine tracks did nothing to dispel the good feelings.

“St. Paul’s Bottoms” is a big up-tempo tune about the former Ledbetter Heights area of Shreveport.  Harp and guitar solos abound- well done!  They take it way down next with “Angel of Mercy” and DuPree wails how his Angel of Mercy from the red light district gets him through the night.  The boys then get into a groove with “Soulbilly Music” and how it’s uplifting power makes everything alright.  Then “Ain’t Gonna Be Your Dog” gets us up and dancing.  DuPree sings of his relationship reprieve and Stephenson wails on slide.

“It’s My Life” gives us DuPree’s take on life.  Despite being “pitched high and tight” he’s happy with his life as he and the band swing and pick through this song showing us that he finer things in life pale to having a decent ride with your radio playing loud and your baby by your side.  Connelly lays down a nice keyboard solo here, too.  DuPree then testifies on “The Witness Tree” in this scaled down piece with just him and the piano starting off.  The band comes in soulfully after a minute or so as Stevie pledges his lover with his girl “under the old witness tree.”   The tenor sax solo complements the vocals here with its’ own beautiful testimony.

“The Old Mule” pops and percolates with some nice harp work and a cool lyrics as DuPree delivers another great performance; he’s not gonna be some girl’s old mule.  “Lucky Seven” is a rockabilly track  where DuPree likens his lifes’ successes to rolling a lucky seven the hard way.  Stephenson sounds a little like Dickey Betts here on the guitars he layers in.  Connelly takes us to church on the organ as the final track opens, but then it transforms into a love song about a hot number who DuPree is ready to follow around the world.  The organ solo is huge and the band gets into a great groove.

This is a great album.  I loved it from start to finish and just enjoyed the heck out of it.  DuPree and Stephenson are masters at reaching out, grabbing you and keeping you listening.  This is their best effort yet and I highly recommend it!

Reviewed by Steve Jones

Dr. DuPree’s Love Shop

Stevie DuPree & The Delta Flyers

Soulbilly Music Group

www.thedeltaflyers.com

12 Tracks

The Delta Flyers started as acoustic duo, playing traditional Delta Blues and incorporating different blues styles into their repertoire. Joining the group later on were Stevie DuPree and songwriter/guitarist Travis Stephenson forming the current group. Their 2007 release On The Levee Road earned the group a trip to the 24th annual International Blues Challenge held in January of 2008 in Memphis to represent the Houston Blues Society. In 2008, the group wrapped up a successful tour of the Southeastern United States with a sold out show in Nashville, Tennessee and an opportunity to attend the 2nd Annual T.A.G. Bluesfest in Mentone, Alabama.

Stevie DuPree & The Delta Flyers will keep you on the edge of your seat from beginning to end with their new CD Dr. DuPree’s Love Shop. This is the fourth CD that the group has released. It is a CD loaded with guest artists like Alice Stewart and Lisa Tingle on lead vocals, Nick Connolly and Marcia Bell on keys,  Mark "Kaz" Kazanoff, John Mills, and Al Gomez of The Texas Horns, and Derek O'Brien on slide guitar. This is in addition to the core group comprised of Steve DuPree on vocals, Travis Stephenson on guitar, Quentin Calva on bass and Steve Bundrick on drums. This should give you an indication of the musical expertise assembled for the release of this new CD.

The album opens with guitar drivin' shuffle "Broke Up" with a hint of John Fogerty style guitar riffs looming throughout. This is also one of many tracks with superb slide guitar work.  Marcia Ball is brought onto the scene along with the fabulous horn section of the The Texas Horns and Stevie DuPree's gritty vocals for the New Orleans flavored "First Dance." After the explosive intro by The Texas Horns, Alice Stewart and Lisa Tingle along with DuPree deliver the soulful vocals on "Dr. DuPree’s Love Shop." Superlative harp solos from Kazanoff and fiery guitar licks engulf  the tune "St. Paul's Bottoms." They slow things down for the ballad "Angel Of Mercy," featuring the soulful guitar solos of Travis Stephenson and the harsh, rough, husky vocals that only DuPree can provide. The spicy soulbilly music label provides the foundation for the tune "Soulbilly Music," mixed with gospel background vocals. According to DuPree the ingredients are simple "you take a roadhouse boogie and a taste of New Orleans and stir in some Texas mojo and a cup of ju ju beans." "Ain’t Gonna Be Your Dog" delivers some of the hottest slide guitar by Stephenson on the entire album. The entire band lays down a steady groove on the juke joint classic "It's My Life." The slow ballad "The Witness Tree," offering brilliant sax solos, could be a page from the Neil Young songbook. His use of the old mule as a metaphor in the New Orleans  tune "That Ol' Mule" expresses DuPree's lighter side. "Lucky Seven" almost conveys an Allman Brothers Southern rock sound throughout the song. The concluding song "A Hard Act To Follow" opens with a Procol Harum style intro and then takes a dramatic about face with an explosive Texas Horns entrance, followed by a high energy finale.

This studio CD would indeed be a hard act to follow with it's all-star cast of award winning R&B, gospel, funk, Cajin, and blues collectively on one CD. You owe it to yourself to pick this one up to enjoy.

Review by Rick Davis

 

Get Up! reviewed by Diane Mandell

Get Up!

Ben Harper with Charlie Musselwhite

Stax Records

www.benharper.com

www.charlie

musselwhite.com  

10 tracks

"Get Up!" is the 12th studio album for Ben Harper.  Two-time 2005 Grammy winner for Best Pop Instrumental Performance and Best Traditional Soul Gospel Album, Harper began playing guitar as a child growing up in California where his grandparents owned a music store frequented by the likes of Leonard Cohen and Taj Mahal.  Influenced by musicians like Robert Johnson and Bob Marley, Harper combines song writing, vocals and guitar instrumentals to create a mix of blues, gospel and R&B.  He owns and plays three Weissenborn guitars manufactured in the 1920's and 1930's.  The signature of these lap slide guitars is their hollow neck body chamber which runs the entire length of the body.  Harper is also an activist whose well-organized website contains links to numerous environmental and social responsibility networks.

Charlie Musselwhite, a six-time Grammy nominee, 14-time W.C. Handy Award winner and Blues Hall of Fame inductee, has recorded over 20 albums since 1967 as well as guested on many more before collaborating with Harper on "Get Up!".  Born in Mississippi, Musselwhite spent most of his childhood in Memphis.  He moved to Chicago as a young man, soaking up the blues scene there.  Eventually he moved to California where he and Harper recorded sessions together and performed a dozen live concerts.  They were encouraged to collaborate by fellow musician John Lee Hooker after both joined Hooker for a 1997 session.  The result of that encouragement is "Get Up!"

Joining Harper and Musselwhite in the band are Jason Mozersky on guitar, Jesse Ingalls on bass and keyboards and Jordan Richardson on drums.  Harper wrote or co-wrote each track on the CD.

"Get Up!" is musically diverse, with powerful, often dark lyrics attesting to the pair's first-hand encounters with heartbreak and heartache.  As Musselwhite points out, "These songs are all from the heart, more so than from the head.  More than just music, they are reflections of life."  In "You Found  Another Lover (I Lost Another Friend)", Harper sings "I may lie to my heart, but my heart never lies to me."  while Musselwhite's harmonica croons in sweet and yearning harmony.  "We Can't End This Way" is a plea for unity between the "haves" and the "have-nots".   "I Ride At Dawn" was written in honor of a friend's Navy Seal son with Harper's signature Weissenborn slide guitar leading the battle.  This album is a serious two thumbs up and should not be missed.

Reviewed by Diane Mandell

Stone Blue reviewed by Diane Mandell

Stone Blue 
Willie May

Booman Music
www.williemay
music.com
10 tracks/37:10

This is the 12th album out of 13 for Willie May.  The Buffalo, NY area native and his original band members (Ron Kain - guitar, Tom Corsi - bass, Randy Corsi - drums) have played together since the band formed in 1984.  May has performed on stage with a host of musicians such as Buddy Guy, Chris Duarte, James Cotton, Alvin Lee, Steppenwolf, Bachman Turner Overdrive, Otis Clay, Edgar and Johnny Winter, and The Climax Blues Band, among others.  May has played thousands of venues including Attica Prison.  He has written all the songs on this CD.

The album is a nice mix of blues, jazz, country, and rock.  "Stranger In My House" is a blues-jazz number about the breakdown of a love relationship featuring Ken Parker on sax.  May's distinct gravelly voice laments "I got a stranger in my house where my baby used to be."  Another track, "Where Did We Go Wrong" is a hill country-flavored tune featuring the guitar-pickin' twang of Carl Eddy.  "Showtime" is another jazzy number featuring Ken Parker on sax and Ken Parker on harmonica.   One of the best tracks is "So Long Ago" with May singing about loss and moving on with lyrics like "I don't look back anymore...that was so long ago." Another album definitely worth a serious listen.

Reviewed by Diane Mandell

The Town Crier reviewed by Diane Mandell

The Town Crier
Robert 'Top' Thomas
WildRoots Records
Facebook.com/

RobertTopThomas
13 tracks/42:57

This album is New Smyrna Beach, Florida native, Robert 'Top' Thomas' first solo album endeavor.  Thomas has toured and recorded with the likes of Noble 'Thin Man' Watts, Lazy Lester, Bill 'Sauce Boss' Wharton, and Alex Taylor since he was 13.  Thomas was also a founding member of Smokehouse, recording four albums on the King Snake Records label in the 1990's to define Florida Swamp Blues as a distinctive genre in the world of blues.  Twelve of the 13 tracks were written for the disc project with album producer Stephen Dees noted most often.  The third track, "The Same Thing Could Happen to You" is the only tune composed for another project.  Previously written by Jerry West and recorded by first-generation swamp blues musician, Lazy Lester, Thomas' vocal interpretation is similar and Thomas notes his thanks to Lester on the cd liner for inspiring him to make this album.

"The Town Crier" is a compilation of down and dirty delta swamp blues.  Thomas' voice is gritty and gruff yet clear enough to carry the album's simple short stories.   Good guitar riffs are ample throughout.  The instrumental "Yeehaw Junction" has tenor sax and harmonica complementing the riff.  Stephen Dees' "Bad Seed" has Thomas grinding out the words, "Why do you water your garden with the tears of the broken hearted?".  "Blues Grass" and "What's the Matter Ma" croon about hard economic times.  "Sugar Shop" is one of my favorite tracks with Wainwright's boogie piano accompanying Thomas' guitar riffs and gravel vocals.   Another favorite is the title track, "The Town Crier" with great piano and smoky harmonica.  "Lazy Little Daisy" is a humorous number about a deadbeat spouse.  I recommend listening to this album more than once as it will definitely grow on you.  Two thumbs up.

There's a Time reviewed by Mark Thompson

There's a Time

Doug MacLeod
Reference Recordings
www.doug-macleod.com
www.reference
recordings.com
13 tracks/58:09

Over his thirty year career, Doug MacLeod has consistently honored the lessons he learned from legends like Big Joe Turner, Eddie “Cleanhead” Vinson and George “Harmonica” Smith. MacLeod's original songs take a hard,  honest, and often humorous look at world as he sees it. His heartfelt tales are delivered with his masterful storytelling skills, consistently connecting with listeners on deep emotional levels while his immaculate phrasing on a bevy of guitars creates a rich backdrop for his riveting vocals. Nominated for numerous Blues Music awards, including “Acoustic Artist of the Year”, MacLeod is firmly established as one of the reigning masters of the acoustic genre.

On his latest release, he changes course a bit by adding long-time associate Denny Croy on bass and the renown Jimi Bott on drums, both men adding rich rhythmic textures to the proceedings. MacLeod switches between his personally hand-crafted National M-1 Reso-phonic he calls “Moon”, his older Gibson C-100 “Little Bit” acoustic, a National “O” called “Owl” and a borrowed 12 string National El Trovador.

The recording was done live in the recording studio by Grammy-winning engineer Keith Johnson, who is known for his ability to capture and accurately recreate the magic of a live performance. MacLeod admits that he initially had some hesitation about this method of recording but the trio quickly settled into a relaxed comfort zone based on their years of playing together. The result is a sonically superior recording that articulates each note from Bott's subtle use of his drumsticks to the notes that ring out of the leader's guitar.

Highlights abound, starting with “Black Nights”, a worrying blues about nightfall and the intense feelings it conjures up. “Run With the Devil” is a descriptive portrait of a man from MacLeod's past who “..played music with a cross-eyed mind.”. The talking blues is set up by sharp slide licks on 'Owl'.  MacLeod paints another vivid picture on “St. Elmo's Room and Pool”, making you feel right at home at a neighborhood joint that offers” ..a fine selection of real cheap blues” in addition to a variety of illegal entertainment options. On “I'll be Walking On”, he delicately picks on 'Moon' while his voice rises in a mournful cry as love fades. The shimmering tones of the 12 string  El Trovador compliment MacLeod's voice as he slips into the falsetto range  on “The Up Song”, delivering a positive message about the power of hope.

MacLeod's wry sense of humor gets a workout on “My Inlaws Are Outlaws” over a light, swinging groove while he takes dead aim at the self-absorbed on “The Entitled Few”, calling out those who ignore the suffering all around them. Another stand-out track revisits a street-corner debate MacLeod had with a zealous ”Christian” over the merits of Biblical scripture and who will receive salvation. “A Ticket Out” is a gentle ballad relating how regret eats away at you when the time comes to end a relationship. On “Rosa Lee”, MacLeod wrings some razor-sharp slide licks from 'Moon' and you can hear how  the three musicians are in perfect sync.

Croy's bass provides powerful foundation on “East Carolina Woman” as the singer expounds on another relationship that left him with a troubled mind. The emotionally-charged rendition of “The Night on Devil's Road” reaffirms MacLeod's mastery as a storyteller. The haunting “Ghost” closes the disc with hair-raising cries and a hypnotic guitar line.

Doug MacLeod has earned the many accolades and honors that have come his way in recent years. He continues to find creative ways to rework the blues traditions, honoring the legacies of the legends he learned from. Keeping in mind that he has over twenty recordings to his credit, There's a Time might be his best yet. He takes us into the darkness, then pulls us out, offering a glimmer of hope that some day we can make the world a better place. Until then, be thankful that we have him around to continue to guide us to look at the world with brand new eyes. This one come highly recommended!

Reviewed by Mark Thompson

Long Walk Home reviewed by Mark Thompson

Long Walk Home 

Kevin Selfe

Delta Groove Music, Inc

www.kevinselfe.com

www.deltagroove

music.com

11 tracks/50:11

A move to Portland, OR six years ago has really paid off for guitarist Kevin Selfe. Along with his band, the Tornadoes, Self quickly became a fixture on the Northwest scene, winning a number of area blues music awards and capturing plenty of accolades for his Playing the Game release. With the backing of the Delta Groove label, Selfe is looking to reach a larger national – and international – audience.

Selfe plays guitar and handles the lead vocals. He also wrote all of the songs and served as the Producer for the project, using the studio that drummer Jimi Bott built in his home. Allen Markels is the other half of the strong rhythm section. Veteran Gene Taylor appears on four tracks on piano. The same tracks are bolstered by a horn section comprised of Joe McCarthy on trumpet, Chris Mercer on tenor sax and Brad Ulrich on baritone sax.

There is plenty to like, starting with Selfe's commanding performance on “Mama Didn't Raise No Fool”. Doug James' honking baritone sax props up the low end, Steve Kerins fills out the arrangement on piano and Mitch Kashmar blows a memorable acoustic chromatic harp solo. But it is the leader's brawny voice and gut-bucket guitar that make the biggest impression. Tracks like “Duct Tape on My Soul” and “Moving Day Blues” show display a strong T-Bone Walker influence, robust horn charts and smooth vocals. The later track is another highlight as Selfe's penetrating guitar licks ride the riffing horn section, building the slow blues to a cathartic finish.

Bott lays down a swinging shuffle beat on “Walking Funny” as Taylor rocks the 88's. The horns get to stretch out a bit on “Second Box on the Left” as Selfe's deep voice articulates the hard times that befell him after losing his job. Selfe plays acoustic slide on a resonator guitar on “The Blues is My Home”, singing with unerring frankness about the music he loves. The frantic “Last Crossroads” is less effective in the acoustic format despite Bott's sure-handed work. Despite Selfe's spirited efforts, the track is weaker lyrically than the rest of the program and fails to impress.

Selfe regains his footing on “Dancing Girl”, utilizing a guitar lick from “Lonely Avenue” to set-up another solo full of cascading runs up and down the guitar neck. He generates a raw, menacing electric slide tone on “Midnight Creeper” as Bott once again kicks things into gear. Kerin's piano propels the first half of the closing track, “Put Me Back in Jail”, before Selfe tears it up on slide on a tune that reworks “Give Me Back My Wig”.

One listen to this recording will make it clear that Kevin Selfe is a very talented musician. At times the disc could use a bit more greasy textures as some arrangements are spot-on recreations of music of by-gone eras. But Selfe avoids cliches, demonstrates his versatility and ends up with a recording that warrants your consideration. We will be hearing a lot more from him down the road.

Reviewed by Mark Thompson