WFHB Music - Bloomington Community Radio

Cathi's CDs -- 4/24/2011

2011-04-24T10:25:00.003-04:00

Burke, Solomon & De Dijk – “Hold on Tight” (Verve-Forecast) B+

Solomon Burke, one of the most influential soul singers since forever, died last year, going out as many a musician might hope to--en route to a gig. These last few years he’d been stretching out in/with different musical styles/musicians (“Nashville” etc.) making just about every style of musical soulful. This one—largely rockin’-- is the result of a four-year association with Dutch rock and roll band—De Dijk. Co-writing most all tunes on this—De Dijk’s first album in English—Solomon Burke undauntedly fronts an 8-piece, European R & R band with aplomb, though for my money this band sometimes crowds the musical landscape. They’re good though. Burke’s daughter Cindy and granddaughter Sophia provide backups and he claims to here be “at last a full member of a band.” Only Solomon could make a soul tune out of “Text Me.” We’re sure gonna miss this guy.

Gray, Henry – “Lucky Man” (Blind Pig) A

Blind Pig is re-issuing some old blues recordings now and this one features New Orleans/Chicago blues pianist Henry Gray who became renowned in Chicago beginning with a 12-year stint as Howlin’ Wolf’s pianist and then went on to back up just about everyone there on recordings before dropping out of the scene for a couple of decades (when he worked as a roofer in Baton Rouge for 15 years (!).Yet, like many before him, he re-emerged to great acclaim later in his life. These sessions were recorded in the late ‘80’s and demonstrate Gray’s great rollin’ piano work and some wonderfully expressive vocals over GREAT blues. He’s got the creds, the abilities and only in the 90’s came to prominence as the star, not the sideman. A great player and bluesman…we miss him.

Rachell, Yank – “Blues Mandolin Man” (Blind Pig) A

This is a re-release of Yank’s 1986 recording (Random Chance) featuring Bloomington’s own Pete Roller, Lenny Marsh and harper Peter “Madcat” Ruth, along with Yank’s granddaughter Sheena on bass. Tight album from the old-time mandolin master who played with Sleepy John Estes (and Hammie Nixon) for 40 years, paired with Sonnyboy Williamson and moved from his native Brownsville (TN) to Indy in the ‘50s, where he died and was laid to rest. Arguably one of the best blues mandolin players on the planet . Roller provides beautifully supportive slide guitar work along with Madcat’s soulful harp and Sheena/Lenny’s solid rhythm section driving the bus. A great disc…and a wonderful man. Good for all mixes.

Sullivan, Quinn – “Cyclone” (Under the Radar) B+

Whiz kid Sullivan is the young guitarist who appeared on Ellen Degeneres at age 6 and wow’d Buddy Guy on stage at age 8—copying his guitar licks fearlessly and taking the crowd by storm. Championed by Buddy, Quinn was quickly launched (managed by Guy) and now at age 12 has already shared the stage with Eric Clapton, Derek Trucks and who knows who else. This disc features an original Buddy Guy tune and 11 of renowned songwriter and producer Tom Hambridge. This kid is taking the place by storm, though it’s strange listening to some ripping guitar and a wicked back-up band with a little boy’s voice fronting the storm. He’s already dangerous with that wicked guitar; when his voice changes, he’s gonna be lethal. This disc is a rocker with some alarming pop tunes.

Thackery, Jimmy and the Drivers – “Feel The Heat” (Indie/Telarc Distrib) B+

Guitar samurai Thackery, a Pittsburgh native, grew up in Washington, DC where he became known as the blistering guitarist for the Nighthawks, with whom he worked for 13 years and recorded over 20 albums. In 1987 he launched himself as a front-man with various power trios (Jimmy Thackery and the Assassins, Jimmy Thackery and the Drivers) and remains at the top of his game with muscular blues guitar work that takes no prisoners, makes no apologies and also nears the 20-album mark. A glutton for road-work, Thackery is recognized as one of the premiere blues-rock guitarists on the scene today. His vocals are adequate and his songwriting continues to progress (he writes 10 of the 12 tunes here) though I find these tunes a strange collection. It’s his guitar work that still soars and is his true gift.

Various – “The Best of Mustique Blues” (Wolf) B

Every January in Mustique (West Indies) Basil’s Bar (which boasts a stage surrounded on three sides by beach and water) hosts a blues festival for charity. It began with the love of the blues, and the hope to raise money to pay for children there to go to school. This disc is a collection of the best performers of the last 15 years—performing live. Produced by Dana Gillespie (blues fan/player) and the bar owner, Basil Charles, who for his charity work was subsequently awarded an O.B.E. by the Queen. Not bad for blues eh? And a bad collection of blues from a wide variety of players.

Vickers, Brad & His Vestapolitans – “Travelin’ Fool” (ManHatTone) C

Cathi's CDs -- 4/17/2011

2011-04-16T13:57:00.002-04:00

Ball, Marcia – “Roadside Attractions” (Alligator) B+

Marcia Ball chuckles at an old bluesman’s warning: “Women are too smart to stay long in music.” She’s been at it nearly 40 years…through many albums on the Rounder label and with Alligator since 2000. She’s a road dawg too…loves performing and although based in Austin, TX, she’s away more than home, playing that East-Texas-Blues-Meets-Louisiana-Swamp-Rock on her keyboard and double-daring everyone not to dance. On this fifth disc for Alligator she works with famed songwriter and producer (Nashville, TN) Gary Nicholson. Her vocals are a combination of singing and shouting—a bit wobbly on the slow ones and her trademark remains those rollin’ piano that also signifies there’s a party goin’ on.

Bartley, Geoff – “Put The Big Stone Down” (Indie) A

New England is a great place for acoustic music, and Cambridge has long been a supportive center for it. Bartley is a long-time veteran there, a songwriter/guitarist very well-known and appreciated for his old-style (pre WWII) finger-picking and skills with flat-picking and slide guitar. He’s been at it for decades, and regularly hosting the Tuesday open mic nights at Central Square’s Cantab Lounge, and working with Tom Paxton. His playing is a delight, moving smoothly through rag time, jazz and blues. So refreshing to hear all that style and maturity on guitar. Like a cool drink after a long, parched day. Gruff vocals reflect the years, but somehow enhance the whole. Several original songs…very good for all mixes.

Budd, Andy – “Ragtop Monterey” (Red Bush Records) C+

Singer Songwriter from Virginia, by way of Nashville, Budd pulls together a Nashville band to do his bluegrass/country style of tunes. Nice, and often comic lyrics tell decent stories in each song, with a back-up band that delivers a straight country and bluegrass bed for him to sing over. Nice, but nothing really stands out.

Chapin Sisters, The – “Two” (Lake Bottom Records) B

After a tantalizing 6-tune sampler whetted the appetite for these ladies tight-knit, ethereal vocals, they’ve dropped off one sister to motherhood, and made this disc as a duet. The tunes are very dark and seem to sink slowly under the weight with not enough change-up in style to have the impact the sampler had. Yet the two still have hauntingly beautiful voices and mesh and interweave through an abundance of slow and mournful melodies that tell tales of abandonment and loss, sometimes fading to drones. No dance music here! Songs for introspection and slow piano tinkling with heavy focus on their (admittedly) fine vocals.

Curtis, Stony – “Cosmic Connection” (Blues Bureau Intern’l)

Power trio…going for guitar electro-sizzle sainthood. Sonny can play…he pounds the songs together with plenty of notes leftover. Cosmic indeed…helps if you’ve smoked a big spliff and have the day off tomorrow. Not recommended.

Delta Generators – “Hard River to Row” (Delta Generators Music) B+

Grooveadelic four-piece from New England who swear they were dragged feet-first up the Mississippi, collecting rocks in their socks and that’s why they blast this very bluesy rock with Led Zep vocals. Ain’t afraid of fuzz guitar, but can live without it too (thank Gawd). Not sure they can live without slide guitar and a dirty-bottom rhythm section…even the slow ones growl. Cleaned up on blues awards in the NE and even tripped the lights fantastic at the Memphis Blues Fest. They’ve been takin’ vitamins, but have the skills to back it up. Mostly rock-blues with some very interesting songwriting palette-cleansers (#11) and quite a singer. Collected a lot of rocks – it was a hard river to row.

Etheridge, Riley, Jr – “Powder Keg” (Rock Ridge Music) B

Southern rock guitarist (now working from New York) runs through a selection of Southern blues-rock with a New York shine on them--big band backs with horns, and Mickey Rafael (Willie Nelson) on harp. Reminiscent of Little Feat catalog. Can also move through quieter vocal and minimal backup (#4) tunes—all with great players. but big band blues-rock are his forte with kinda plain vocals.

Gaines, Roy – “Tuxedo Blues” (Black Gold Records) A-

Brother to Little Richard’s saxophone player, Grady Gaines, Roy started out on piano emulating Nat King Cole, but moved to guitar as a teenager after being stunned by the playing of T-Bone Walker. He grew up playing clubs in his native Houston and was even dubbed “T-Bone Junior” for a time. He then relocated to Los Angeles and became a force to be reckoned with in Roy Milton’s band, followed by stint with Chuck Willis. Here he brings out six originals and some favorites from Quincy Jones, Nat King Cole, and others with his Orchestra. Once more we’re deailing with big band blues (a la B.B. King) with guitar that sails over the top and sweetly mature vocals. He’s gotten his guitar-tone DOWN baby! Nice record of big-band blues ‘n jazz..

Gilkyson, Eliza – “Roses at The End of Time” (Red House) B+

Singer songwriter Gilkyson gives us another collection of Americana story-telling. From a family of performers and songwriters, she’s woven her own trail of introspective and descriptive tunes, finding a home on the Red House label. John Gorka and Lucy Kaplansky guest on the disc (produced by her son Cisco), filled with fairly dark prospects on the world and its politics, sorrows, and saving-graces…painted in poetic descriptions. A little humorous projection (#8) even.

Goldberg, Mark “Pocket” – “Off the Alleyway” (PocketGoldberg Prodns.)

Southern California bassist/vocalist Goldburg pulls together a number of South Cal studio musicians (Joe Sublett-horns, Terry Evans-vocals, etc.) and issues a listenable album with horns, some slide guitar and songwriting of the eclectic kind. Nevertheless, overall not recommended for WFHB.

Great Caesar’s Ghost – “What’s Done is Done” (Great Caesar’s Ghost) B

Southern rock cover band puts out a double CD of it’s greatest “hits” – culled over eight years of playng on the road. Lead vocalist Larry Schmid sings over a full band of musicians who have obviously honed their skills out there in the trenches. Band is good, reminiscent of the Allman Brothers (who indeed, they thank on the sleeve). Very nice musicianship though heavily influenced/rife with Almans, Dickey Betts, Jeff Beck, Stones…and three Schmid originals…all rock, even when lightly restrained. Covers are very like originals.

Grills, Steve – “After Hours—with Ernest Lane” (Toogaloo Records) B+

New England guitarist who, after being turned on to rock/blues via Chuck Berry, swiftly fell in love with the blues, befriending Robert Nighthawk Jr., and Albert Collins. He gathers some VERY cool sidemen here to back him on a collection of blues selected to pay tribute to his blues influences. Ernest Lane, pianist for Earl Hooker, Ike and Tina Turner, etc., holds the keyboard position here, and Steve Gomes, Bassist Extraordinaire (Darryl Nulisch, Severen Record house musician, etc.) create a pocket you can’t slip out of if you tried. They certainly give him a rock-steady foundation over which he plays some fine guitar. Joe Beard also provides guest vocals on #5. The grooves are very good, as is his fretwork. His vocals…not so much. Nevertheless, this is a tight band and none too shabby in the blues groove.

Hobson-Compact, Erin – “Fortune Cookie Philosophy” (Choking Chicken Rec.)

The young Erin Hobson leads her four-piece group comprised to three very veteran and skilled musicians with confident electric guitar playing and supple vocals. Songwriting is a combination of pop flavored with funk and professional arrangements…no doubt heavily influenced by multi-instrumentalists Steven Ross (here mainly playing bass), Ross Rice (a touring studio musician and guru on keyboards/synth), and drummer Gary Burke (Dylan, Graham Parker, Shania Twain, Joe Jackson). Hobson’s voice is almost childlike, non-assertive, but smooth. She caresses the lyrics that are nearly overwhelmed by the players’ musical prowess. I’m not much of a pop fan, but this disc is invitingly quirky and several tunes have a Paul Simon feel.

May, Willie – “Nights of Luna” (Black Rock Entertainment)

Player from “western” New York with rough voice and okay backup band with horns. No cigar.

Moss, Joe – “Drive Time: Live at Chan’s” (Joe Moss & His Brothers Records) B-

Massachusetts guitar player’s 8-tune disc on an independent label. Nice grooves along the rock-funk line with blues occasionally visiting. Super long intros (as much as a minute) of comping before vocals start on most tunes. Instrumentation pretty nice, but singing only adequate. Nice bar band, probably fun live.

Quiett, Terry – “Just My Luck” (Terry Quiett Music) B

Oh no…another power trio…comin’ in blastin. But wait…here’s a soulful acoustic number with resonator guitar. Then here’s one with jazzy touches. All band tunes bristling with muscular guitar attacks and Quiett’s in-your-face vocals…that still manage to sing, not yell. Songwriting reveals the man’s got a host of alien women encounters…but the music is an electric rocker’s delight….along the Robben Ford trail.

Randolph, Robert & The Family Band – “We Walk This Road” (Warner Bros) B+

Randolph learned pedal steel guitar from church. In church, it’s referred to as “sacred steel” guitar. Randolph added soul and funk as he learned and came to the attention of several people, eventually landing a gig working with the North Mississippi Allstars. Forming “The Family Band” with cousins, he began opening for Derek Trucks and others, then recording with Eric Clapton. On this release Ben Harper, Doyle Bramhall and others guest with T-Bone Burnett producing. “We Walk This Road” is a “celebration of African-American music over the past 100 years…with old-time (original recordings) leading the listener to new songs/versions by Randolph and guests. Funk, soul, gospel and rock. Vocals are quiet stars on this disc, and the combined work of T-Bone Burnett and Randolph make the tunes amazing, yet hard to classify. Innovative work.

Rodriguez, Carrie & Ben Kyle – “We Still Love Our Country” (Ninth St. Opus) A

Austin, TX native Rodriguez toured for years with Chip Taylor and then became very well known for her fiddle playing, singing and songwriting. She has been dabbling with different partners, and this one with Irishman Ben Kyle (Romantica) sure hits the spot. His mellow vocals are the perfect foil for her dazzling pure sound as they sing. The do a beautiful remake of the Townes Van Zandt “If I Needed You” – a song I thought might be too tired to survive yet it is revived ever sweetly here. These type of harmonies are so fine and so hard to find. WOW. They also do some wonderful Texas two step, country, and even a sweet version of Boudleaux Bryant’s Love Hurts. Wow. This CD is too short…more please.

Sweany, Patrick – “That Old Southern Drag” (Nine Mile Records) C

Rough-voiced rock with traces of southern soul, but not a lot of nuance…not recommended.

Waters, Ben – “Boogie 4 Stu: Tribute to Ian Stewart” (Eagle Records) A

A young fan of Ian Stewart set out to make a CD in tribute of his hero after studying him for years (even after Stewart’s death) and as he began, notice of his project came to the Rolling Stones and several others who knew him – all who asked to participate. The result of a year’s project lie on this disc. Waters really demonstrates a solid command of Stewart’s style with his own flourishes thrown in, and as always – the Stones jump it up about 10 notches. The whole disc not only sounds great, but it’s clearly a project of love. As Keith Richards told Waters…”There’s only two people I never heard a bad word about…Ian and Charlie Watts.” This is a beat.

Whiptails, The – “The Whiptails” (Basilhead Records) C+

This Texas trio plays eclectic country & rockabilly and are described as “Patsy Cline meets Elvis Costello.” I’m not sure that describes it. Lead singer/guitarist Jeanne Sinclair has a clear,-but-warbly voice laden with yodel and bassist Chris Cessac, and drummer Garrett T. Capps provide an underpinning to her careening,but breathy phrasing and unadorned guitar work, Strange, not terribly melodic.. I think I’d need a different kind of vitamins to call this good..eclectic certainly…good?

Cathi's CDs -- 4/10/2011

2011-04-10T08:32:00.000-04:00

Bohler, Kaye – “Like a Flower” (Indie) B+

Lots of promo noise being made about Bohler, here backed by Robben Ford and Tommy Castro on guitars, horn and big vocal-backups behind a collection of blues-pop-rock tunes. Power vocals with lots of vibrato. Killer musicians put down a bed over which Bohler soars with plenty of vocal power. I’m not much into big band blues, but she can hold her own with what it takes to stay out in front of it. Castro and Ford sure put this disc in the pocket and nice vocal backups polish it nicely.

Handley, Randy – “You Don’t Know My Mind” (Way INTUIT) B+

Long ago, but not far away, Randy Handley was a prominent figure in Bloomington’s music scene. A wonderful songwriter and singer, he held together a band that kicked booty (with Kenny Aronoff doing some of the kicking). Went the way of the buffalo for beaucoup years, and here he is again on a CD produced by another local musician (lately of Nashville, TN), Mark Robinson. Handley’s songs have been featured on “platinum and grammy winning” albums. He checks in here with five originals (two co-written with Robinson), and one killer cover of a traditional tune—the title cut—which he puts over deliciously in both acoustic and electric-band fashion. With a voice wizened by time, he fills his tunes with vivid description, maturity, and the weary observation of Dylan/ Springsteen/Knopfler. The disc starts with slow songs, moves into medium rock and finishes with some righteous rockers – all bristling with thoughtful lyrics and a keen musicality. It felt good to hear Handley still delivers, even from the land of the buffalo.

Nelson, Tracy – “Victim of the Blues” (Delta Groove) B

Tracy Nelson has been around a lonnnnng time on the music scene. Born in California, but raised in Wisconsin, she began singing there in the early 60’s and recorded her first (blues) record while paling around with Charlie Musselwhite in Chicago. Then she moved to California and a wildly eclectic catalog of music, recording (and garnering fame akin to Janis Joplin) in country, soul, and pop, first by forming the famous “Mother Earth” California band in 1968, moving to Nashville, TN and then returning to California. In ’93, after recording on many labels, performing with just about everyone, and garnering beaucoup awards, she returned to blues/Rounder, and here (on her 26^th album) she delves into her formative blues influences. With gritty and fierce vocal style she puts it over “as well as a Norwegian White Girl can.” The disc is reflective of sixties rock-blues (Cocker/Russell/Ball) with big-mama belter out in front and multi-back-up lady singers (Angela Strehli/Marcia Ball guest.)

Cathi's CDs -- 3/13/2011

2011-03-13T10:43:00.002-04:00

Bonamassa, Joe – “Dust Bowl” (J&R Adventures) A

Guitar wunderkund Bonnamassa puts out his 12^th CD – with pumped up versions of some of his older tunes, and collaborations with John Hiatt, Vince Gill and Glenn Hughes. Each successive CD testifies to his growing prowess with guitar protechniques and high volume vocals. Seemingly effortlessly, he manages to push both to the outer edges of control, then draw them back—keeping excitement high. He does his mentor—SRV—proud. Bonamassa clearly loves his work and that passion is communicated to the listener. He ain’t afraid to bring it down acoustically too – every CD just gets smoother and better. He’s got the goods…and though he’s always classed as blues, I’d say he leans more toward rock, but who cares? Gill and Hiatt kick booty on their trademark “Tennessee Plates!”

Grana’ Louise – “Getting’ Kinda Rough! (Delmark) B

Midwestern belter, Grana’ Louise is relatively new to the blues scene, but taking it by storm. She’s entertaining live, which though it doesn’t always translate well to CD, garners fans wherever she goes. She’s got a full-throated voice and doesn’t care what genre her songs come from as long as they “speak.” This is her second CD and behind the first one she won the Chicago Blues Challenge and completed several European tours. Arriving in Chicago in ’98, Grana’ “inherited” Big Time Sarah’s band and their solid blues backing has suited her well as she stepped immediately into her role as a new female belter…Chicago singers whose numbers have sadly diminished in recent years. Her beginning songwriting efforts are crowd pleasers, though not necessarily too delicate (“Lead Foot Mama”; “Big Dick, MS”).

Rich, Richie & Chi-Town Blues Band – “From the Streets” (Chi-town Music) B+

Big-man, husky-voiced Chicagoian Rich (“Richie Rich”) Ryan steps out to sing vocals in front of Chicago musician stalwarts (Billy Flynn-gtr/mandolin/harp, Barrelhouse Chuck-piano, and Kenny Smith-drums, etc.). It would be hard to go wrong with that back up bunch…who pull off a change-up of nice blues throughout this CD. Rich’s gravelly voice gives the music a certain gin-soaked feel, and all tunes are his originals, but I’m not sure it stands up to the talents of the back-up miusicians. Billy does some of his rare and beautiful blues mandolin (#2), Smith keeps the beat absolutely solid, and Barrelhouse Chuck lipsticks up the solos somethin’ fierce. Sounds like it was a fun project.

Schmidt, Danny – “Man of Many Moons” (Red House) B+

Missouri-born, Austin-based singer-songwriter, Schmidt is indeed of “many moons.” After a short musical, commune-living, and recording career, Schmidt moved to Austin where upon being diagnosed with cancer, he wrote/recorded a CD to pay medical bills. It was highly successful (as was his cancer treatment) and long-story-short, he’s now signed to “Red House” and delivers this—his second—CD to major acclaim. His songwriting is imagery laden and rich, and his soft, minimal-instrumentation is the perfect setting for it. With largely just vocals and fingerstyle guitar, the CD also offers Ray Bonneville guesting on harp, and an array of vocal backups by friends. Nice listening..mostly midtempo tunes…good for all mixes.

Sicilia, Gina – “Can’t Control Myself” (VizzTone) B+

Young singer from Philadelphia who at 26 has sprung onto the music scene with ferocious publicity and on this – her third CD – garners the musical support of the “insanely talented” Dave Gross (who plays all instruments on this record but trumpet, sax and one lap-steel track). Gross’s reputation as a gritty blues artist/major talent is renowned, and he sure sets Sicilia’s liquid-but-weighty vocals off well. With supple voice in the neighborhood of Susan Tedeschi and a touch of Raitt, she tackles seven originals and three notable covers here. Sicilia garnered awards straight out of the box, and has stepped from straight blues to some country, a little Americana and on this disc…more soul and R & B. She’s certainly established a solid base for just about any direction she targets. She’s good lookin’ too – damn it.

Cathi's CDs -- 2-20-2011

2011-02-20T07:09:00.000-05:00

Anderson, Pete – “Even Things Up” (VizzTone) A-

Guitar master (long tenure as Dwight Yoakam’s guitar player, and grammy award winning producer, this Michigan native busts out from time to time with his eclectic interests. Loves blues though and dives in when he can. This is billed as his return to get his blues ya-ya’s out. No matter what style he tries, he sure has interesting ideas of guitar work…always something new added…a guitarist primer of sorts. He’ll play some boogie, and throw in some country chords, a little space music…he’s all over the place and brings it on home in style. Bristles with styles. Check out the Booker T stuff on cut 2—interwoven with funk and a touch of rock. Then moves right into a Latin beat with a twang (#3). And later – some cool guitar and vocal acoustic numbers. Interesting. What a player--this guy just won’t be tagged.

Big Head Blues Club – “100 Years of Robert Johnson” (Ryko Records) B+

Movin’ up on legendary Robert Johnson’s 100 birthday, the group “Big Head Todd and the Monsters” put together a combo with assists by BB King, Hubert Sumlin, Honeyboy Edwards, Charlie Musselwhite, Ruthie Foster, Cedric Burnside and Lightnin’ Malcolm to present some of Johnson’s song with the accent on the originator’s depth of emotion—not just one more (of thousands) remake by a blues band. This tribute album will be supported by a national tour (“Blues at the Crossroads: The Robert Johnson Centennial Concerts”) with many of the session participants performing. Backup is minimal, both electric and acoustic, which allows for more expressive presentations (stated as their goal here). Big Head Todd vocalist Todd Park Mohr sings most tunes with wavery vocals reminiscent of Johnson.

Big Shanty – “Collection” (King Mojo Records) C

Electric fuzz with volume and a shout-talk, gravel-rough vocal over plain songs revved up with electricity. Probably great for a biker convention. Not recommended for WFHB.

Blackwell, Jody – “Come & Gone” (Trespass Music) C+

Singer songwriter with a Carole King sensibility. English teacher and folk-club performer at night, Blackwell melds melody and a sweet mid-range voice into this collection of pop-folk and mellow listening disc. Relaxing, but nothing really stands out.

Hunt, Kelley – “Gravity Loves You (88 Records) B

Shouter singer, piano player and songwriter Kelley Hunt spreads her music around, throwing her voice around with abandon, bringing a sense of excitement in her live performances (check out #2 with her vocal slides up and down). Her style is mostly gospel-tinged R & B as she accompanies herself on piano. Songs tend to have a bit too many pop-key changes and odd transitions to be natural-sounding to my ear, but she makes them work with those expressive vocal chops.

Midnight Shift – “Rhythm, Rockin’ Boogie” (Cabernet Records) C

Pennsylvania four-piece (Gtr/harp/badss and drums) that plays a nice change-up of beats and okay musicianship with okay vocals, but nothing that stands out in particular. Not recommended for WFHB.

Sugaray – “Blind Alley” (Independent) A-

Six-foot five, hefty Texan (Caron “Sugaray” Rayford) has a voice to reckon with. He steps off immediately with testifying…vocalizing a remembrance to his single mom, who died of cancer, raising her boys. This leads into a stellar vocal of Son House’s famous “Death Letter.” He really puts over that vocal, and uses minimal backup while letting the amazing voice put over the feel. Band pulls its weight just fine (even backup horns and lady backs for smooth-voice contrast). So nice to hear great vocals driving the bus. Growing up mostly raised by his grandmother, his roots are in gospel in soul, but a decade ago, he moved into singing blues in his hometown—San Diego. After achieving notoriety there he moved to L.A. where he’s become a regular on the blues scene—especially leading a regular weekly jam with his newly founded Sugaray and the CK All Stars where he is accounted as being quite an entertainer as well as vocalist. Two tunes by Al Kooper and one from the great Arthur Adams only make this disc better. I ‘spect we’ll be hearing more from this guy. This is a great start.

Taylor, Larry – “Blind Alley” (Taylor, Larry – “They Were in This House” (Wolf) B

Step-son of famed Chicago guitarist Eddie Taylor, Larry grew up around the masters of the urban Chicago blues…Wolf, Muddy, Jimmy Reed & Elmore James were often jammin’ there or pickin’ up on Larry’s mom’s good cookin’. Larry played drums whenever he could and as a teenager, went on the road with blues bands. At 21 he toured with Lurrie Bell and other “Youngsters” of the blues. Then he decided to front a band and get into singing as well. This is a CD released of his music, honed in 30 years of road work. Chicago pals (Eddie Taylor Jr., Johnny Moore, Eddie Shaw, Willie Kent, John Primer, and a pile of others jumped in to help. His singing is of medium quality, overshadowed by the kickin’ backing of so many great musicians.

Various – “Alligator Records 40^th Anniversary Collection” (Alligator) A-

Forty years of putting out good blues is indeed something to be proud of, and Bruce Iglauer trots out some of his more memorable stars with special hits. Good stuff throughout – largely urban Chicago, electric blues, but some of the best—both old and (more rock-n-roll new).

Wilkins, Rev. John – “You Can’t Hurry God” (Fat Possum Records) A

Son of blues & Gospel singer Robert Wilkins, John grew up in Tennessee and has ministered for years to people of Northern Mississippi and Memphis…just now putting out his first CD…on the subjects he most loves—the lord and gospel-blues. Laid back and soulful vocals over minimalist backup – these tunes speak loudly for all the feeling in them. Back porch gospel and boogie, then moving ballads with guitars sometimes out of tune, but who cares?!?. This is absolutely a golden album!

Williams, Jason D.– “Killer Instincts” (Rockabilly Records) B

Son of Hank and Marie Williams, Jason went big-time for Jerry Lee Lewis and took up piano, leaving home at age 16 to tour with Sleepy LaBeef. Took lessons from Memphis Slim and writes killer, comic, white trash songs. Kicks off CD with an original facing the “music” (“everyone wants me to be like Jerry Lee”). He describes his life as “cartoony” and he sure writes outrageous lyrics and lives on the eclectic of wild. Bet he’s a gas to see live. Throws in Todd Snider, Amy LeVere, and Bobby Bare Jr. in on background vocals…and song titles tell it all.

Cathi's CDs -- 2-13-2011

2011-02-13T07:26:00.002-05:00

Davidson, Terry & The Gears – “Damnation Blues” (Blue Skunk Music) C

Flat-out rock with an occasional blues chord. Mostly tequila-drinking, Rolling-Stones smashin’ rock and roll. Probably a great dance band behind some serious shots…not, however, recommended for WFHB airplay.

May, Willie – “Blue Decade” (Willie May Music) C

Gruff-voiced singer backed by band with good players and James Cotton sits in on harp (#7). Nice lady singer who sometimes duets with Willie. Overall, though, the music isn’t very compelling. Can’t recommend it.

Popa Chubby – “The Essential Popa Chubby” (Blind Pig) B

Little Ted Horowitz has been knockin’ those rockin’ guitar stingers back again…this time he lays in a few less than blastin’ tunes in the mix, but sticks to his usual bad-attitude rock ‘n roll….with an occasional blues chord (I think it’s a “G”). Still good for the rockers and guitarists who want to get down—right NOW damnit. A little more of a dynamic selection of tunes than usual (check out #6 for instance). Adept guitar playing and lots of it (also as usual)…this time with back-up vocals and a little more philosophy in the lyrics. Though fans probably think if it ain’t broke, don’t fix it…I think this is an improvement. Mostly rock though – t’ain’t blues.

Wolf, Todd – “Live” (American Home Entertainment) C

Live renditions of slam, distorto-guitar and head-bangin’ rock tunes…..Jim Dandy to the rescue…not recommended for WFHB.

Cathi's CDs -- 1-23-2011

2011-01-21T16:04:00.002-05:00

Blackman, Macy & The Mighty Fines – “Don’t You Just Know It” (Mamaru Rec.) B-

Old timer from the East Coast…studied music there in ‘70’s…took a side trip to New Orleans where he fell in love with their music and then ended up in California as a jazz teacher in Berkeley. Fond of old-time groups like the Drifters and Coasters, he was a road dawg for 15 years…befriending Dr. John and a bundle of others (including Keith Richards), and put together a side band to keep his favorite genres – New Orleans and 50’s R &B together. Good N.O. and jazz piano chops, backed by horns and fronted by Blackman’s not-so-great vocals, and peppered with some cool saxophone and jazz touches. A mix of old-time tunes and covers. Nice party band I expect.

Fowler, Damon – “Devil Got His Way” (Blind Pig) B

Twenty-five year old guitar slinger who definitely has the upper hand when it comes to making rock, slide and lap steel guitar do just what he wants them to do. He has an expressive voice, and can make things burn, yet retain a clear notion of musical/lyrical dynamics. In short, he knows when to shut up, and when to make it bleed. Though I am a little dubious about some of his song choices, I’m really likin’ his style and can only imagine how it’s gonna be as he matures.

Lauper, Cyndi – “Memphis Blues” (Mercer Street Records) A-

On a sampler CD (reviewed last August) Lauper introduced her collaborative effort at blues and this is the final 11-tune product. It’s tough singing gut-bucket blues with a clear rock voice, but Lauper pulls it off with the more-than-able assists of veteran musicians steeped in the genre. No flies on Cyndi, but it would be hard to mess up a collection of tunes backed by B.B. King, Charlie Musselwhite, Allen Toussaint, Jonny Lang, Amy LeVere and Ann Peebles. And mess it up she doesn’t. The authenticity of these players and her able backup band place this immoveably in the pocket. It is also interesting to hear a “pop/rock” (some folks refer to it as “Betty Boop sings blues) voice soaring over the top eyebrow raising, but in the final analysis…it kinda works.

Los Fabulocos – “Dos” (Delta Groove Records) B+

Kid Ramos is featured guitar player with this “Cali-Mex” musicical group formed in 2007 and now releasing their second CD. The musical blend of blues, zydeco, ‘50’s R & R, R&B, and traditional Mexican music puts them in a genre all their own. Rife with influences like Doug Sahm and southern two-steps this disc is bristling with Southwestern/Mexican flavor. Jesus Cuevas’ accordion skills are really something—never heard accordion play rock or kick those two-steps into high. Great musicians and a great example of a Americana music we often don’t hear. And of course Ramos’ guitar chops are killer. Grab a beer and let’s dance.

Mason, John-Alex – “Jook Joint Thunderclap – (Naked Jaybird Music) B-

Old-Time country blues is a specialized style of music that is being curiously mutated into something new-yet-old by the young folks comin’ up who admire it. One such is John-Alex Mason, a Colorado-born guitarist who grew up with a gospel background, got turned onto Johnny Winter, James Cotton and a raft of country blues masters. A European stint in the army found him busking solo electric blues, and now he comes together with Gerry Hundt—an up-and-coming electric harp player from Chicago, and some R.L. Burnsides grandkids (among others) to put forth his interesting renditions of new country blues…gone electric. His one-man band rig, backed with Hundt’s muscular harmonica plunges us into from the start, and then a variety of instruments and energies fill out the CD with an electric, front-porch party. It might come down from juke music, but it’s original, with a spoonful of almost everything else (Djembe, bolofone, mandolin, fiddle, electric cigar box—even rap). Interesting….what’ll they think of next?

Mo-Tones, Johnny & the – “Nothin’ to Lose” (Altenburgh Records) C

Wisconsin rock band that claim they play blues. They do pull off a couple of cool examples…a swingin’ jump tune and one serious shuffle, but mostly medium-appealing materials though musicianship is good. Not really recommended.

Price, Lara – “Everything” (Price Productions) C

Medium-like rock. Not terrible…not so good…not recommended.

Roomful of Blues – “Hook, Line & Sinker” (Alligator) A

The Legendary band keeps cookin’, currently with 8 members and stickin’ to their typical horn-laced, great guitar and vocalist, swingin’ blues. Members basically have to be complete experts at their instruments and with some real swingin’ corpuscles flooding their veins. Founded by Duke Robillard and Al Copley in 1967, more to-be-blues stars ran through their ranks than did the veterans of John Mayall’s band. But this is big-time swing and different kinds of chops are needed. Roomful turns out it’s usual class act here. In this incarnation vocalist Phil Pemberton dishes it out hot, guitarist Chris Vachou has a corner on fluid delivery; the horn section is tops and the rhythm section –dang it…they just cook. Mostly uptempo tunes.

Stubbs, Matthew – “Medford & Main” (Blue Bella Records) B

Power trio with Stubbs on guitar, often backed by horn section (Gordon Sax assists). Stubbs plays a variety of rock beats with horn section backup and a surprisingly pleasing mix of beats and feels. The horns fill a much needed support for his riffing and the backup of his bass & drummer. As a vocalist it may be harder for me to appreciate an entire album of originals/instrument-only music, though the players definitely know what they are going. It’s a Matthew Stubbs manifesto. He pulls characteristic sounds of Strats, Tele’s and Gibsons, but I think this disc will be most interesting to guitar warriors.

Cathi's CDs -- 1-8-2011

2011-01-07T10:00:00.002-05:00

Blind Willy – “Willing to Crawl” (SPEC Records) B

Five-tune promo record featuring smooth-voiced male with big backup chick line-up. Nice backing band, heavy on the distorted, electric solo on some tunes…but overall pretty tasty. No information about artist on sleeve…music is promising. Hope to learn more.

Brom, Marti – “Not For Nothin’ (Ripsaw Records) A-

Midwestern (St. Louis) singer who loves Patsy Cline and rockabilly puts out a Cd that incorporates both (“If you’re gonna get gone…get a little goner.”). Very country and quite like Patsy, but she positions herself on the CD as a gun-totin’ moll. She’s campy (“Mascara Tears”) and doesn’t mind slingin’ her “H’s” in true Patsy style….a must for fans of that singer…and don’t forget those rockabilly touches (# 5). Wow.

Bonds, Gary U.S. – “Let Them Talk” (GLA Records) B+

Old ‘50’s and ‘60’s pop/rock singer Gary US Bonds has been determined to carry on his “party band” legacy over the years…and this offering is along those lines. Rockin’ lift-off with “Whine” and big horn/band backup and hangs in that vein for most of the record…nice power backup vocals by the ladies and support from his guitarist Mark Leimbach. Goin’ for the John Mellencamp/Bob Seger rockin’ dance title, and none-too-shabby an effort though rock songs (though well done) get to sounding alike. Still strong vocally and certainly backed by good musicians…a good rock effort.

Buster, Johney – “Don’t Drink and Drive” Single (Niki Records) B

Single reggae release from Jamaican hopeful. Nice enough but only one song.

Butler, Joe Blues – “Down on Beale Street” (Nikkie Records) C

Mississippian more into live entertainment…starts all the tunes talking to the audience. Vocals suggestive (“come get this $100—I got a job for you”) and mostly pandering to live-audience – good club entertainment I guess. Music not bad…not really recommended.

Dean, Christoper – “What I Need” (Lost World Music) C-

Band pursuing soul sound and R&B covers. Not bad, but not really air material. Not Recommended.

Duarte, Chris –Infinite Energy (Shrapnel Records) B+

Probably considered the current Stevie Ray Vaughan by many fans, Duarte really knows his way around, string-bending, wailing rock guitar. While he sure can nail some serious beats, he’s all over the solos a bit too much for my taste, but that’s me. God knows there are 10 millions string-benders who disagree. I can vouch for his abilities…they are vast. I am heartened that he lays down some cool grooves in between solos (smile). His vocals come down from screamata sometimes too. I’m a big Jimi fan and even dug SRV…so I love that string attitude and Duarte harnesses it just fine, but if you’re lookin’ for easy listening music this ain’t it. (There’s a reason his label is called “Shrapnel Records.”) By golly is this a good review for an aging hippie or what?

Easy Riders – “Long Way From Home” (CD Baby) C-

Rock blues tunes with lots of stops and arrangements which I’m not sure helps them. Musicians wandering in style till songs don’t really seem to achieve coherence for long. Not recommended…no offense.

Grand Marquis – “Hold On To Me” (Grand Marquis Music) A-

Music melded in the jazz/blues cauldron of St. Louis, this disc features the vocals and leading personality of Bryan Redmond and a band that teeters on the edge of jazz/Dixieland—altering tunes long known for being blues into some kind of big-band jazz…back-beat shuffles notwithstanding. Forties nightclub music for jump dancers and stiletto cigarettes. Blues-driven-jazz is how they bill themselves and that fits nicely…mostly uptempo stuff …interestingly different—lots of horns, guitar and swing vocals.

Hay, Claude – “Deep Fried Satisfied” (Claude Hay Records) A-

Austrailian player who wasn’t going to let the lack of fellow musicians stand in the way of his love of playing and electric blues…he just got good at playing slide, got a double necked guitar to do it twice as much; learned bass, drums, and computer looping, convinced a couple of girlfriends to do backups, and wham! He cooks up some serious blues-influenced sizzling music. Fancies fast & funky with a real genius for beat. His first album got him world-wide touring gigs, and introduced him to world FOOD. So he wrote a bundle of new blues-based rock songs on pizza love, and dang…put out disc #2. Light touch on that guitar picking and compelling beats. You can tell he has been woodshedding alone (check out his vocals that mimic his fast slide work on #2), but mo better for music. Really nice slide work and songwriting…original and cool…wait till he tastes my apple pancakes!

Hendrickson, Ernie – “Walking with Angels” (Ernie Hendrickson Music) A-

I have to say I want to hear anything Bo Ramsey (guitarist for Greg Brown/Pieta Brown) produces and that fact, coupled with the unshaven, grass-between-the-teeth look of this Iowan artist made me predisposed to fall in love. So I decided to be extra critical. Heh. Hendrickson jumped right in with his mellow-throated voice, interwoven with Ramsey’s guitar-painted touches, Kevin McKendree’s adept piano/vocals, and the pedal steel/vocals of Brian WIlkie and my resistance was immediately shakey. Hendrickson’s songwriting is simple with country folk touches. Strong vocals make his statements powerful. Thoughtful songs unabashedly delivered with the wild tenderness of the young. Eeek I’m in love…no fair, Ramsey.

Kinds, James – “Love You From The Top” (Delmark) B

Old time Mississippi blues man who covered the south as a gospel singer, moved to Chicago in the 50’s and worked steadily as a construction worker while hitting nightspots and rent parties to play his beloved blues nights and weekends. Kinds claims he worked more house parties and less blues clubs so didn’t find fame as did many of his contemporaries. He was shy of the club life as two different relatives were murdered via bars/night life. He moved to L.A. for awhile pursuing the blues (got snookered financially by Ike Turner in darker days); then settled in Iowa to be near his family. He’s experiencing a resurgence of love for his style/vocals and blues. On this disk, Eddie Shaw guests on sax. Kind’s famous vocals are in a range similar to Syl Johnson’s, and a little age-shaky, but he’s got the Chicago feel he has cultivated all these years. Lots of medium shuffles.

McNally, Shannon – “Coldwater” (Two Dog Media) B+

Southern gal with a voice that sounds at once nearly drunk and sultry, yet in the pocket. She’s described as a cross between EmmyLou Harris and Gillian Welch, which is a curiously adept description if you add a slurry delivery. Her vocals sail above a swampy blues backup band that plays back-seat rhythms with a twist of Dylan and Lucinda Williams. Weird huh? Yep., but hey the kind of different I can get into. This calls for a drink. Instrumentalists don’t overpower her – play tastefully and sometimes out of tune. How can you NOT dig this bunch?

National Debonaires – “Words are Like Bullets” (Blue Edge Records) B-

Kansas City band’s second disc featuring Dave “Elmo” Bailey on vocals, Patrick Recob (Gary Primich Band), and a variety of old bluesrs of the bowling shirt variety (lookout). Guests include Lee McBee on Harp, Mike Clark on sax. Decent Texas influenced, Midwestern blues. Mature gruff vocals and good instrumentation but just doesn’t grab me. Favor the slow ones with harp—got more feel to ‘em.

O’Dell, Chrissie – “If I Had A Dime” (DimeTime Productions)

Power shouter fronts an okay band…picks some nice beats for dance tunes, yet vocalist relies too much on power shouting…things begin to sound the same quickly. Not recommended.

O’Leary, Chris – “Mr. Used to Be” (VizzTone) B+

Former frontman for Levon Helm’s band, O’Leary puts forth some powerful yet smooth vocals to match his tasty harp work, and a blues set that has everything from retro blues to New Orleans and Rockabilly. Guests Bob Margolin, Bruce Katz add to the groove of his New York (very cool) sidemen. Very sophisticated blues…the kind that sounds easy, does hard. Band smokes and knows when to shut up (praise the Lord). Nice grown up blues and New Orleans shakin’.

Pitts, Joe – “Ten Shades of Blue” (Kijam Records) B

This disc is an expression of Pitt’s admiration for his major influences in blues – the Page/Clapton/Peter Green contingent, morphing into appreciation for the Allman Bros and then finally to their southern inspirations—Elmore James/Son House/Robert Johnson/Muddy. He dismisses calling it a cover CD –it’s a tribute (damnmit). Instrumentation is basic four-piece with some harp and slide guitar--more southern rock-blues with sustain guitar than gut-bucket blues. Guitarist influences heard in electric guitar solos. Nice club/road group—somebody’s got to do that roadwork (smile).

Powers, Luke – “Hwy 100” (Phoebe Clair Publishing) B-

“Somewhere between Ray Stevens and Capt. Beefheart” is how Powers describes his oddball songwriting style. It’s hard to doubt that with songs about wind-up toys ,the first bluesman to sell his soul to the devil, or a ballad about a bullet impregnating a civil war belle. Guess as a Nashville songwriter, he got tired of “she left me” tunes. His wry, shaky vocal delivery only seems to enhance the strange subject matter, and of course every imaginable backup musician wanted in on this song menagerie. Country touches on a McMurtry-like songwriting extravaganza.

Retro Deluxe – “Watermelon Tea” (Rinkled Rooster) B

Rockabilly and blues wedded in a groove that demands dancin’… gritty slow tunes, others sultry or fierce by turns…unevenly recorded, gritty vocals by singer Bobby Joe Owens (who pens songs and manages under the name Robert J. Thompson). Jimbo Mathus plays drums and produces this disc…Fierce, muscular attacks on those instruments, and no fear when it comes to holding a super slow beat…then there are those occasional silky chick backups or George Thorogood turns, alternating with all-out rock. Gut bucket, sometimes campy, but all-trash-can stuff. What a bar band…I vote yes.

Studebaker John’s Maxwell St. Kings – “That’ The Way You Do” (Delmark) B+

Studebaker John (Grimaldi) has been a Chicago stalwart for years and built a reputation with his band, the Hawks, in small clubs across the big shoulders city as an entertainer…loud slide guitar and revved up stage show. This didn’t always translate well onto recordings. He’s since pared down his players and settled on the interesting trio of two guitars (Studebaker plays guitar & harp and sings) and drums (who needs a freakin’ bass player anyway…I ask ya). Drummer Steve Cushing has also made the Chicago rounds yet is best known for his DJ prowess on his famous “Blues Before Sunrise!” show. Guitarist Rick Kreher is another Chicago sideman who was Muddy’s last guitar player. While John ‘s vocals are plain they hold things down, and the cool result of this pared-down band is a much greater concentration on the spare-direct feel of the blues. When he does throw down on slide, it’s got punch but my ears don’t bleed…big improvement to his recording style. In fact, I’m thinking of firing my bass player.

Whiteley, Ken – “Another Day’s Journey” (Borealis Records) B

Canadian folk-and-roots musician Whiteley teams up with a variety of musicians for a collection of folk and blues. Guy Davis figures prominently here on guitar, harp and backup vocals. Maria Muldaur steps in for a jug-band sound, and some of the Campbell family add to sacred gospel numbers. Record sounds like a modern hootenanny effort. Great musicians doing a sing-a-long you’d likely hear on Garrison Keillor and live radio. Has won award for TV soundtracks…this seems like that – popular music with touches of folk and blues.

Cathi's CDs -- 11-20-2010

2010-11-20T19:42:00.002-05:00

Brent, Eden – “Ain’t Got No Troubles” (Yellow Dog Records) B

Brent can belt out vocals and works that piano with a heavy New Orleans touch. A sound that mixes Bessie smith with a touch of Dr. John and Marcia Ball thrown in. A blues mama in the making—let’s us know New Orleans piano-ladies aren’t extinct…but this is not a style that moves me as much as others. Vocals work best on ballads.

Cain, Chris – “So Many Miles” (Blue Rockit) B

Cain got his start in California clubs and built a following that catapulted him into prominence during the 90s. Crisp playing, gruff vocals and his blues sensibilities seem to mellow with age/the road. After jumping to Blind Pig for a few discs, Cain is back on his home label—Blue Rockit. This CD is a result of guitar great Robben Ford suggesting they do a disc together with Ford’s band…a very happy combination. Ford supports with silky rhythm guitar parts and, as usual, the Ford band is solid. Cain gets to cruise on his guitar over the top…with a lead gtr assist by Larry Carlton (#9). Overall, the result is a smooth rock-blues effort. The feel is good, and Cain refrains from too much over-the-top note stacking, yay. Guitar player’s delight. Double lead on Carlton’s effort (#9-instrumental) very cool.

Cru, Tas – “Jus’ Desserts” (Crustee Tees Records) B

This is the fourth CD from this blues tongue-in-cheek blues artist whose specialty lies in interesting original lyrics. Backed by versatile players, Cru’s “talk-like” vocals tell a story and his “verbal flair” puts “furniture” in every song. Even shakily sung ballads like “Time and Time” are well written. Other songs have a smile tucked in (#6, #7) and you don’t care who sings it. Eclectic collection.

Delta Flyers – Sixteen Bars (Soulbilly Records) C

Blues rock from Texas with mandolin assist by Rich DelGrosso. Playing blues chords, but sounds like rock and vocals leave me uninspired. Not recommended.

Jordan, Lauren – “Dreams” (Bloo Production) B

All songs written, arranged and produced by Jordan. Soulful vocal sound that set me back at first—as they have the depth and feel of some of Aretha’s stuff. Arrangements have an urban LA feel…outta the hood, with an all-originals menu that gives the CD an original twist. Can’t really say what type of music I’d call this – vocals are definitely soul-laden. Not sure the songs make it work up to her potential, though it’s definitely her own thing. You decide—heh.

King, Claudette – “We’re Onto Something” (Blues Express Records) B+

San Franciscan songstress Claudette King has been making the nightclub scene in that city for a couple of decades. She knows her way around and when label owner Dan Bacon heard her, he decided to produce her first CD. This is it. Though he backs her with a big band (not necessarily my first choice of arrangement), he puts Etta James’ sons (drums and bass) and guitarist behind her for a killer backline, and adds songwriters to give her fertile tools with which to showcase her blues-drenched voice. She’s got that rare combination of soulful phrasing and supple vocals. There’s a promising something goin’ on here…can’t wait to see what comes next. She shines when emoting on the slow ones (#3), sings ‘em gritty or soft and sits comfortably in the blues mama chair. Yeah, and it might not hurt much that she’s B.B.’s youngest daughter.

Lynwood Slim & The Igor Prado Band – “Brazilian Kicks” (Delta Groove) A

Lynwood Slim always figured he’d make a living one way or another – as a pool shark or harmonica player. Luckily he stuck with the latter given that he’s VERY good at it. He’s also a great singer, and has worked with a number of great musicians as front man and singer. He replaced Kim Wilson in a Milwaukee band when Kim left to form the Thunderbirds in Texas. Slim specializes in swing blues, but is completely adept at traditional blues of all sorts. It’s great that he works with a lot of people (now mostly with the Southern California blues “posse” at Delta Groove Records. This record is a great surprise as he’s working with a Brazilian band (who knew?) who just kicks booty on blues and swing. Wow. They’re deep. Great record.

Miller, Biscuit – “Blues With A Smile” (BlueBass Entertainment) B+

Probably best known as the bass player for Lonnie Brooks (for 10 years), Miller has also attained quite a rep as an entertainer and showman – which is a rare thing given that he is the lead vocalist AND bass player. The last two things are tough to come by, but add entertainer/front man to it and it’s impossible to find. Miller kicks off this laid back blue disc with a harmonica assist by Billy Branch and a laid-back groove. Miller’s big on bringing joy to the crowd. It’s immediate clear he’s serious about this. After 25 years backing Chicago artists, he’s clearly in it for the fun. Check all the Chicago references in #2 (rockin’ piano tune). His current band: “The Mix” all live right there with him in the groove. Would love to see these guys live. Ain’t scared of de funk neither (#3). And whoa that gospel rave-up (#12).

Primer, John – “Call Me John Primer” (Wolf) A

A lifer of blues guitar, Primer came up playing with a wire-nails-and-bottle guitar on his grandma’s porch in Mississippi....moved into gospel, and in 1963 hit Chicago and became a sideman for an amazing roster of blues musicians. In ’79 he went on the road with Willie Dixon and then landed the guitar chair for Muddy Waters, that he held until Mud’s death in ’83. He moved on to work with Magic Slim and the Teardrops, seasoning himself even further if possible, and then formed his own blues label. He continues to record as a session player and this disc is a compilation of some of his greater hits with a number of the aforementioned groups. Since much of it is recorded in concert, the cuts tend to be long, but hey…It smokes. Yeow. If he hasn’t killed himself on the road yet, we may have a few more years on this guy. He’s got a variety of styles…love hearing that ol’ Muddy slide. I vote yes.

Ray, Don – “Lonesome Rider” (Margdon Records) C

Straight-ahead biker blues. Not bad vocal that knows how to push the notes when needed. Songs are mostly rock or rock-ballads. Not bad, but not really write-home material.

Slim Fatz – “Everybody Loves Slim” (Aladdin Records) C-

Resonator playin, gravel/mumble vocaled Slim plays acoustic guitar and sings with minimal production. Sounds like a slightly inebriatedLeon Redbone. Everybody loves Slim Fatz…but not me. Not recommended.

Thien, Kirsten – “Delicious” (Screen Door Records) B

The publicity pushing this young singer from Maine has been ferocious. On this, her third CD, she starts right out with a big band/horns backup. She’s got good pipes of the “clean” variety…and makes the phrasing and power notes seem effortless. Hubert Sumlin kicks off the first solo in classic single-note style, backed by a wall of sound horn backup. All but three tunes are originals, mid-tempo and fit into a pop-R&B genre, reminiscent of Nicolette Larson. Larson always had trouble courting popular success with pop-sounding vocals, which was a shame. I guess it’s because a pop sound is a hard-sell in the blues--power notes or no. This lady definitely has the vocal chops, but “in my opinion, blues generally need something gritty to cut it. You can hear what she’s up against in # 3 when the band lays out a music bed begging for sex-and-grit-vocals and she compromises with a breathy, pause-laden delivery. Band stays in the pocket and gives her stuff good backing, but I’m not sure that’s enough to make this work as blues.

Cathi's CDs--10/31/2010

2010-10-31T14:04:00.002-04:00

Chiarelli, Rita – “Sweet Paradise” (Independent) B

Canadian, three-octave vocalist Chiarelli can’t really be classified as a blues singer, although she continues to win awards across Canada with her vocal and song-writing prowess. She toured America at age 15, worked with Ronnie Hawkin’s group in Canada and then lived and did studio session work in Italy for six years. In the late 80s returned to Canada where she began to knock over every award they have, often sharing spots with Colin Linden. Vocals gruff and growly, sometimes soaring and heavy on the vibrato, she has no trouble with the power notes and all songs are originals. Reminds me of a smoother Janis Joplin—a commanding singer, but not always my cup of tea.

Dr. Tequila – “Dr. Tequila” (Straw House Entertainment) C+

Described as Latin Blues, Richie Barron and band sport the name of Dr. Tequila and put it over with electric guitar and a big emphasis on backup horns in rockin’ Latin style. PARTY band….largely rock. Nice chick backs on a couple of tunes (#3). Toss back a few Johnny Walker Black’s before listening, or catch ‘em at Cheeseburger in Paradise.

Feldman, Tom & The Get-Rites – “Tribute” (Magnolia Recording) B

Minnesota Blues player, Tom Feldman learned about many early country blues artists when he was 17 and although his career has continued in more modern blues, Feldman decided to put out a disc in tribute of these early masters and selections that demonstrate their spiritual sides. Claiming John Lee Hooker taught him how to strum and Muddy Waters taught him how to slide, he runs through old time gospel picks of his heroes. Slightly wobbly vocals over really stellar guitar work and minimal/very appropriate backup on these old spirituals.

Hawkins, Ernie – “Whinin’ Boy” (Corona Records) B

Ernie Hawkins is a dedicated fingerstyle guitarist and expert player of acoustic blues, following the tradition of the Rev. Gary Davis, though he makes the songs his own while demonstrating his reverence for the originals. His ragtime and gospel tunes are the real thing, and although typically acoustic fingerstyle blues is underappreciated by the general blues audience, Hawkins keeps after it and delivers each and every time he issues a CD. Often invited as a session player for Maria Muldaur, Hawkins is touted by her, Jorma Kaukonen (himself an excellent fingerstylist) and widely appreciated as a “link” between the old masters and the fingerstylists of today. Hawkins covers old favorites from Jelly Roll Morton, his mentor the Rev. Gary Davis, a few originals and even Irving Berlin’s “Blue Skies.” His tolerable vocals tell the stories over his stellar guitar and some interesting horn backups (esp. tuba a la Leon Redbone).

Peterson, Lucky – “You Can Always Turn Around” (Dreyfus Jazz) A

Lucky Peterson was born into a blues family (son of James Peterson, nightclub owner in Buffalo, NY—friend to many blues stars); had an R&B hit (“1-2-3-4”) at age six (!), took it on the Ed Sullivan show; and at age 17 he signed on as Little Milton’s keyboardist for three years. A triple-threat (keyboards, guitars and vocals, Peterson went another three years with Bobby Blue Bland, soaking up the singer’s soulful vocals. He put out his own record in the early ‘90’s, did session work for Etta James, Kenny Neal and Otis Rush (!), and kept after his solo work as well. Peterson still keeps his music going in many directions, but this release really showcases the skills he’s gathered along with way. It shows a wicked sense of rhythm, style, and rough but sweet vocals. Very cool to hear bad-ass resonator (#3) right next to some smooth keyboards (#4—a song instantly picked up for a national commercial).This guy is bristling with cool.

Rogers, Robin – “Back in the Fire” (Blind Pig) B+

Songstress who original on a Canadian label and hit the ground running with the rare clear, supple, yet powerful blues voice. Her first disc went over well and she went to Blind Pig who continues to promote her in style. Recently diagnosed with a life-threatening disorder, she currently draws the support of the blues community (as well as her mutli-talented producer, songwriter, guitarist and husband, Tony) to put together a great CD. I love it that she makes a clear voice work so well in the blues.. Seven of the 11 tunes are originals by the duo and this song sports her first showing as a harp player – not bad.

Specter, Dave – “Spectrified” (Fret 12 Productions) B+

Fluid blues guitarist Dave Specter has specialized in honing guitar chops and serving as a side man for other vocalists. However, for some time he’s been putting out solo CDs…usually with guest vocalists to put the package over the top (the lack of his own vocals are a serious challenge to his popularity with the blues audience. His chops, though are excellent. He isn’t afraid to put out an all instrumental disc though—something only people like Ronnie Earl seem to be able to pull off in blues. This effort, however, is teamed up with an on-line show that feastures videos, lessons and interviews. This CD is the musical part. Wide promotion of the online/audio package is promised. Meanwhile, Dave delivers his usual stellar guitar work here and on cut 8, David Hidalgo guests (Los Lobos) serves up some nice accordion. Most songs suitable for all mixes.

Cathi's CDs--10/10/10

2010-10-11T05:43:00.000-04:00

Clapton, Eric – “Clapton” (Reprise) A

Wow…what fun Eric must be havin on this new CD. He brings in all his faves for a mellow disc, bristling with great musicians and mellow grooves. J.J. Cale, his rhythm mate of some years, sings and plays a few, Terry Evans and Willie Green Jr. put down those famous gospel backup vocals made mostly famous from Ry Cooder backups. Wynton Marsallis, Derek Trucks, Sheryl Crow…he just pulls them in from any genre at all to create what is truly an enjoyable album…populated with more mellow and slow (blues) grooves than usual…even some tasty arrangements of standards…(Rockin’ Chair/Autumn Leaves). Go Eric…with your bad self.

Earl, Ronnie – “Spread the Love” (Stony Plain) A

Ronnie Earl is in Love…with just about everything, but definitely his guitar. These 14 instrumentals voice his feelings with class. It’s tough to sell an all-instrumental disc, but Earl lets the feel flow through his fingers so passionately, he puts it over. The minimal but rock-steady backup of the Broadcasters are a perfect bed for his guitar’s tossin’ and turnin’. He just can’t seem to hit a wrong note. This is guitar church people.

Hill, Matt – “On the Floor” (Deep Fried Records/VizzTone) A-

This young kid knocked over guitarist Bob Margolin (Muddy Waters, etc.) by his sheer blastin’ performance energy. He was so struck he got together with Dave Gross and produced this CD…certain this kid is going places. Hill’s energy is immediately apparent from the first tune. His vocal delivery sports an Elvis twist here and there, with raw guitar and blues-rock testosterone leaking everywhere. (Check out the cool Elvis bass on #4.) Word has it Hill stops at nothing to get the crowd excited, and no stage is big enough to hold ’im…he’s certainly splashed quantities of that all over this recording. A little loose with the FCC language (#2, 3, 13), but the starkness of the instrumentation and his vocals are perfect to convey excitement. Would love to see this show (and send me some of the vitamins he’s takin’).

Neal, Kenny – “Hooked On Your Love” (Blind Pig) B+

Neal grew up in the middle of blues stars. His dad Raful was a famous Louisiana “swamp” blues player, friends with Slim Harpo (who gave Kenny a harp at age 3), and Buddy Guy (Kenny played bass for him at age 13). His solid southern blues tradition is in his bloodstream. With a family full of musical brothers, he’s played everywhere and skipped around on labels until hitting Blind Pig where he had great success with his easy feeling blues. This CD breathes with mid-tempo, laid-back blues, good vocals, tolerable harp, and fine guitar work with creole sauce on top.

Robillard, Duke – “Passport to the Blues” (Stony Plain) B+

Stony Plain has let Robillard put out a bundle of records in a great many styles—and Duke is great at all of them. He thinks of himself foremost as a blues artist playing other styles though, and here he gets back to a full disc of blues, all self-penned (but for two with Doc Pomus and one great Tom Waits cover). Duke is just a master at guitar—always in pocket. His vocals are less appealing and his songwriting less traditional blues, and more like Roomful of Blues fare (he even has old ROB compatriot on this disc as well). Nice to hear Duke throw it around again.

Wells, Junior & The Aces – “Live in Boston 1966” (Delmark) A

Who knows what kinda tricks Delmark’s Bob Koester has up his sleeve, but he sure has a bunch of old recordings of some great Chicago blues stars. This one is of a rare concert Junior Wells did in Boston with the Aces…the band best known for working with Little Walter, but professed by Junior Wells to have been his MOST FAVORITE backing group of his career. Louis and Dave Myers with Fred Below on drums. It doesn’t get better. This disc is a treat because you hear the “live” talk and crowd response of some of his great stuff and Junior is smack dab in the middle of his prime. I’m so glad Delmark has wide vaults. The Aces can’t be matched for urban Chicago blues, and Junior is such a character…we won’t see his kind soon again. I suspect this one will be a keeper like “Hoodoo Man Blues.” Tunes are peppered with stories.

Cathi's CDs--9/17/10

2010-09-17T15:59:00.002-04:00

Castiglia, Albert – “Keepin’ On” (Blues Leaf Records) B

Of Cuban-Italian descent, Castiglia finished college and did is social service work until he realized what he really wanted (in Chicago, via Miami) – was the blues. His guitar work had begun at age 12 and after he tried the establishment route, he started playing out, got heard in a club by Jr. Wells, and the next thing he knew he was touring with Jr. around the world. When Junior died, Castiglia went out on his own…this is his fourth disc, and leans heavily on rock-blues. SRV gymnastic guitar but somewhat tempered by his blues work. Works with a power-trio and fills any holes that need it. Not a bad singer and takes lots of vitamins….satisfying for amped up guitar slingers.

Champon, Grady – “Back in Mississippi-Live” (Earwig Music) B+

Newcomer Grady Champion is used to fighting for his place. The youngest of 28 children (!), he hit the blues scene as a harmonica, guitar, and songwriting “triple-threat,” and continues to use all three in a lively act. This year he won the 26^th International Blues Challenge in Memphis, and turned his rural farm background and beginning gospel singing years into an impactful blues force. He first completed two albums on Shanachie featuring blues with politically conscious themes, and got into the fun of performing in a big way. This live performance reflects the entertaining side of him, liberally dosed with harmonica, shout-outs to the audience, and energetic vocals that reflect his gospel background--smooth and raspy by turns. Someone to watch.

Cohen, Andy – “Built Right on the Ground” (Earwig Records) B+

Old time folk blues player who has been after it for decades…specializes in the acoustic and rag fingerpicking styles…dang good at it too. He plays some great fingerstyle guitar here, and you can tell he loves it an goes after with gusto. Voice is getting shakier with age as his hands continue to dazzle. Called a “revivalist hero” in the liner notes, Cohen started long ago working alongside his blind guitar heroes—most especially favoring the Rev. Gary Davis. His tune selections say a lot about his love of pre-WWII folk and gospel music, not to mention his skill. He reaps some treasures from 1929, a rag by Sidney Bechet and Benny Goodman, Memphis Minnie, Peetie Wheatstraw, etc. Valuable history lesson in acoustic blues, and rarely do players cover guitar, dolceola so well – most tunes good for all mixes.

Copeland, Les – “Don’t Let the Devil In” (Earwig Records) A-

British Columbian guitarist who loves all styles, but got won over by Mississippi Fred McDowell as he learned guitar at age 11. A lover of jazz and blues, you can hear a myriad of influences in his work all over this disc. Seems to have a great an interest in making over tunes with his own arrangements, and is an adept slide player—a rare talent. (He pays homage to Ry Cooder with a tune of that name that really demonstrates his considerable skill.) A solo performer, his guitar work is more than enough to command attention. Friends Honeyboy Edwards (gtr) and Michael Frank (harp) sit in on a couple here as well. Earwig’s Michael Frank is on a roll these days, spotlighting some good pickers of acoustic bent. This one is a keeper. Inventive and soulful with his own touches on all he does. Good for all mixes.

Cray, Robert – “Cookin’ in Mobile” (Vanguard-Nozzle Records) B

Extremely popular, though sometimes slammed by blues purists, Cray has continued to re-invent the blues-according-to-Cray and you can’t fault his impeccable guitar work, and vocals that often meld soul and blues to good effect. An avid fan of Albert Collins, Cray shot to stardom with big timers right off the bad. Since he’s put out numerous successful albums and continues to please though audience can’t seem to decide if he is soul or blues. Sticks largely to mid-tempo and soul-slow tunes. This disc is composed of tunes from one performance (and you can hear the audience mixed into the background. That makes the steady musical quality of this disc all the more amazing.

Mastro, Johnny & Mama’s Boys – “Beautiful Chaos” (BlackRollercoaster Music) C

L.A. Band named after big mama club owner there—now disceased. Used to be a laid back, more traditional blues band, but with personnel changes and an amp-age upgrade, they’ve become a sort of ZZ Top Rock-Blues bunch. Sounds heavily influenced by Canned Heat and possibly a lotta Coolaid. Lots of fuzz-tone, neck-shakin’ harp, and references to wine-heads. Yeehaw. Not really recommended unless you are largely under the influence and it’s dark in the bar.

Stone, Rob – “Back Around Here” (Earwig) B+

Boston born Rob Stone has been a fixture on the side-harp Chicago circuit for a long time, concentrating mostly on gigging and getting better, A premiere album on Earwig many years ago (Just my Luck) did fairly well, and since then Stone has guested here, there and everywhere. His former band mates, Patrick Rynn and Chris James—recently hitting the big time with two great blues discs of their own, re-join him here, co-writing all songs and playing some hot stuff too– offering evidence of sincere dedication to the traditional Chicago blues sound. Vocals have a certain monotone sameness, but ain’t too shabby. Guess Sam Lay, Willie Smith , David Maxwell and Aaron Moore (among others) only add to the sound and testify to Stone’s Chicago connections. I really dug the Rynn/James sound and adding a harp rounds it out nicely.

White, Will – “Rise Above” (Whippoorwill Music) A

Canadian who describes himself as an acoustic, Americana, country-fusion player, and I think he might be right. Plaintive voice, great banjo/guitar/mandolin playing and descriptive songs that offer rich reflection and a kind of mournful acceptance and appreciation of the small things – even when they collaborate to conquer him. (“Tobacco worm in the sweet sun, tearin’ my tobacco down”) as well as stories of fiercesome Civil War battles. A delightful disc of mountain music. Refreshingly Americana – which in this case envelopes Canada too! Good for all mixes.

Wiggins, Steve – “Precious Cargo” (Roosterfish) B+

Florida piano man…14-year veteran of the road and a fan of Greg Allman, Chuck Leavall and Jimmy Smith, Wiggins toured with his band ”Foolstar” and then came back to Florida…taking up session work and jamming with whomever on five Blues Cruises. Put out several easy listening records (popular with fans) and this is his first blues-oriented disc—done live. Drummer/vocalist Lenwood Cherry, Jr. has expressive voice (yay)…record heavy on the Hammond organ and ivory tinkling. Minimally backed with bass, drums and sax, Wiggins pulls it off in a sort of jazzy, easy listening, blues approach.

Woods, Tim – “The Blues Sessions” (Earwig) B-

Bitten hard by the blues bug, Woods traveled from Pennsylvania through the south, trying to get a fix on blues and the “masters” who created them. He amassed a collection of history and friends, and this first CD is his dream—working with a variety of blues players – Delta, boogie and Chicago styles. The music sounds good…vocals not so much—voice strains. You can feel the “earnest,” but not sure the “deep” comes over. Interesting collection—not sure it hangs together.

Cathi's CDs--8-29-2010

2010-08-28T22:44:00.002-04:00

Alabama Mike – “Tailor Made Blues” (JukeHouse Records) B

Bay Area blues artist with pretty large gathering of old-timers backing his vocals. Enlists killer bassist Kadar Roy (of Jr. Watson fame), and bari saxophonist Mike Peloquin to name but two. Seems like another band put together to back an older black singer. Solid musicianship and okay vocals, though his soul and R&B selections bump it up a notch (#6, 8).

Ghost Town Blues Band – “Dust the Dust” (Inside Sounds) B-

Three piece road band—rhythm section and front man (Matt Isbell) who plays all other instruments and sings. A ZZ Top-like group groomed with fuzz guitar and scattergun harp. Probably fun live and dancin’…pretty average with some interesting guitar on some tunes (#5), overdone on fuzz, wah-wah and slam on others (#7).

Holmstrom, Rick/Juke Logan/Stephen Hodges – “Twist-o-Lettz” (Mocombo Rec.) B

Old pals and blues wizards Rick Holmstrom and Juke Logan get together to indulge their weird musical fantasies – Juke with his wild 50’s-low-ridin’-rocker stuff mixed up with Rick’s space gitar rocker-dreams, backed by Hodges on all manner of drums to record a live “fun” recording at an LA club. Not typical blues fare. When they flip into blues—strangely to Shy Guy Douglas’s “Let’s R & R”—the machinery jumps right into motion. Sounds like they’re having a wailin’ good time with that crazy Juke…on harp and vocals all over the place. Recorded with mics all over the room, the mix is a little rough, but it’s clear they’re playing to fill the dance floor.

Lemon, Cathy & Johnny Ace – “Lemonace” (VizzTone) B

Renowned California entertainer and bass player Johnny Ace (Johnny Nitro and the Door Slammers) meets Texas blues singer Cathy Lemon. Ace, apparently quite a showman on stage, played with Victoria Spivey, Hooker Otis Rush, Charlie Musselwhite and here serves as backup in duets with the lady singer—also does intros to songs. Lemon added several things he missed—belting chick vocals, lyrics, etc. All songs here are their originals, and guests include Tommy Castro, David Maxwell, Kid Andersen, Paul Oscher and Ron Thompson. That’s some serious firepower for someone who unsmilingly calls himself “Ace.”Heh. Duet vocals are from the Bonnie/Delaney Bramlett school and guest artists bristle with stinging licks. Lemon is the big surprise here with powerful and clear vocals worth noting…supple and expressive (#3, 11).

Macaroni, Tony & Friends – “I Got Skills, Pt. 1” (Tony Macaroni Records) A-

Single tune release featuring Robben Ford. Tony “Macaroni” Lufrano sings a slow blues with horn and chick-vocal backup – the whole nine yards with Robben Ford on guitar. Don’t know if this is attached to a coming CD or what…it’s nice in a slow, big production way, and of course Robben is wicked smooth as usual. Give it a A-…and a little hope for a full record soon.

Mack, Daddy Blue Band – “Bluesfinger” (Inside Sounds) B+

Daddy Mack is a self-taught guitarist – torturing the ceramic tiles in the bathroom and his wife for hours a day until he got the “hang” of it…eventually playing with the great Fieldstones in Memphis. Relatives of Fieldstone’s artisty Wilroy Sanders joined up and they were soon cutting records. This is the fourth for the group who quickly ecame popular. The music is simple, the vocals expressive and sticks right there in the genuine blues pocket. Inspired by Albert King, I also hear some BB in his guitar attack. Shines on the slow ones.

Musselwhite, Charlie – “The Well” (Alligator) B+

Charlie leans mostly on his prodigious harmonica skills for this blues offering. As always they are great. Hiis guitar playing is actually KILLER as well, but he doesn’t feature that much (here only on # 7 & #13). His vocals have always been the weakest part of his show, but he’s not too shabby, and of course has a crack band backing him up (Dave Gonzalez and Mavis Staples, etc.). Nice back seat blues.

Various – “This is the Blues, V4” (Eagle Records) B-

Selected cuts from three projects done by producer Pete Brown (“Rattlesnake Guitar, the Music of Peter Green,” “The Knights of the Blues Table,” and “From Clarksdale to Heaven”) with a variety of blues-rock performers. British blues heritage as collected by Pete Brown. Many tunes more rock-pop than blues. Interesting (British) view of blues.

Vaughan, Stevie Ray – “Can’t Stand the Weather” (Sony Records) A

Re-release of SRV’s great stuff, some unreleased or alternate takes. First disc holds studio recordings and the second features some of those same songs done live in August of 1984. Although SRV has a BUNDLE to answer for with the 2 gazillion guitar wannabes that followed in his wake, there’s no denying something super special went on when he played. His blistering guitar here, backed by the wicked-sharp Double Trouble, deserves to be titled classic. What can I say – he lived up to his own worship of Jimi Hendrix and the blues. Great rock blues. Second disc lets listener in on crowd enthusiasm as all cuts are live. Go get ‘im.

Cathi's CDs--8-15-2010

2010-08-15T13:50:00.001-04:00

Chapin Sisters – “Oh Hear the Wind Blow” (River Bottom Records) B+

This is a five-song opener for an album to be released in late August from two Californian sisters who on a lark took a boat ride with musician friends and recorded tunes they’d worked up as a vocal duo. Very breathy, enchanting singing – really inventive…leaving listener wanting more. Last tune in particular is the closest thing I’ve ever heard to Native American singing (from white counterparts). Very cool…all originals. Can’t wait for the August-end album. Good for morning mixes.

Cohn, Marc – “Listening Booth-1970” (Saguaro Records) B

A child in Ohio, Cohn spent a lot of time in the “listening booth” at the record store—a sadly missed location in many record stores today. Cohn spent following decades playing coffeehouse circuits, moving to LA and then to New York where he fronted a big horn band and served as a side- and studio-musician there. He made national news in a freak episode there when a carjacker shot him in the head. Recovered, Cohn picked up music once more, and here pays homage to the records he heard so long ago in the listening booth that birthed a musical passion that only grows with time. Very nice covers with a new twist. A good song works with many different arrangements and Cohn proves it here. His “Wild World” and “Tears of a Clown” really offer a different take on timeless standards. Liner notes feature complements from original artists. Good for all mixes.

Corritore, Bob and Friends – “Harmonica Blues” (Delta Groove) A

A dedicated blues DJ for years, Corritore played harp and went in with a silent partner to purchase the famed Phoenix “Rhythm Room”—one of the few blues clubs in the southwest that doggedly remained open through all economic climates. It gradually grew into a premier stop for blues artists and Corritore’s enthusiasm, radio support, and networking abilities soon had just about everyone playing the joint. Bob sat in often and as years passed became a good player in his own right. This disc bristles with guest artists like Koko Taylor, David Maxwell, Pinetop Perkins, Henry Gray, Eddy “Big Chief” Clearwater, Eddie Taylor Jr., Honeyboy Edwards, etc. all backed by Corritore on harp. Nice cross section of some great players and a good tableau for Corritore’s harmonica prowess.

Kashmar, Mitch & the Pontiax – “100 Miles to Go” (Delta Groove) B+

Kashmar, a talented harmonica player, first came to national attention when the fledgling label Delta Groove burst into action several years ago. But long before that he was a road dog with a band who wore out cars across southern California playing blues like they were on a mission. This disc is a reissue of a record they made under their band name, the “Pontiax.” One tune even features the late/great William Clarke in support. The Pontiax were fond of traditional blues with a gritty edge and you’ll find a lot of that on this disc…club worthy and yet ready to rock. Clarke’s influence on Kashmar is apparent in both his vocals (very like Clarke’s inflections and phrasing) and harp playing. Mature group/instrumentation that clearly reflects long experience and club work.

Madison Violet – “No Fool for Tryin’” (High Romance Records) B+

Female duo with very tight vocals over mountain-esque music. Folk music painted with an Appalachian brush and fluid harmonies. Minimally backed the vocals take the lead in each tune, artfully positions so that the sum is far greater than each part. Very nice. Good for all Mixes.

Stroger, Bob – “Bob Is Back in Town” (Airway Records) B

Bob Stroger occupies one of the premier seats as a bass player in Chicago blues—and well known for his snappy attire. Never too fancy with his fingerwork, he has been relied on for years as a sideman who will keep the sound right in the pocket. A recipient of many blues awards for his bass playing, he steps out here to front his own collection of Chicago players including Deitra Farr, Willie “Big Eyes” Smith, Kenny Smith, Steve Freund, etc. , and do the singing, something he rarely gets to do as a sideman. Nice low tones and laid-back phrasing and delivery akin to Slim Harpo.

Young, Zora – “Sunnyland” (Airway Records) B+

Chicago stalwart Zora Young and friends pay tribute to Albert Luandrew (Sunnyland Slim). Sunnyland was a legend on keyboards and an originator of the Post War Chicago Blues Sound—bringing a young guitarist (Muddy Waters) to a recording session at Aristocrat and changing the blues world as Chicago knew it. In later years he founded Airway Records and upon his death, his saxophone player, Sam Burckhardt (with Sunnyland’s widow’s permission) continued to keep the label alive. Here Hubert Sumlin, Sam, Steve Freund, Barrelhouse Chuck, and others who played many years with Sunnyland, back Zora on tunes they all did with him. Atop the traditional four piece, Burckhardt adds horn arrangements for a full sounding blues. Zora, a gospel artist for much of her career, has made a name for herself as a belter fronting many blues artists in the past few decades—a regular in Chicago.

Cathi's CDs--7-25-2010

2010-07-25T09:14:00.001-04:00

Cropper, Steve & Felix Cavaliere – “Midnight Flyer” (Concord) B-

A disc of mostly Cropper/Cavaliere originals with able assists by Tom Hambridge. Cool to hear Felix’s vocals again, tastefully supported by Cropper’s guitar. The music is a little pop for my tastes these days, but akin to the old “Rascals” days – a great many medium-tempo pop arrangements with a couple of stand-outs.

James, Chris & Patrick Rynn – “Gonna Boogie Anyway” (Earwig) A

This guitar and bass blues duo hit the ground running with their first release last year “Stop and Think About it,” and they put the cream on top with this release. Meeting in Chicago, 1990, James and Rynn really hit it off and put together a power package that still displays down and dirty blues with taste and sensibility and a power-packed punch over James expressive vocals (a voice I predict we’ll hear a lot more about). Putting their twist on a couple of Bo Diddley tunes (2, 12), a little Jimmy Reed (7) and Tampa Red (11), they fill the rest of the CD with originals that bristle with tips of the hat to musical mentors (Elmore James, Muddy, etc.. These guys are just solid. This CD also boasts some great sideman assists like Henry Gray, David Maxwell, Bob Corritore, Eddie Kobek, etc. Highly Recommended.

Trucks, Derek – “Roadsongs” (Sony) A

“Live” Double-CD effort from famed slide guitarist (nephew of Allman Bros. drummer, husband of Susan Tedeschi) who started playing at age 9 and shared the stage with Buddy Guy, etc. at age 12. Heavily influenced by rockers like the Allman Bros. he also loved jazz, and this CD reflects not only those influences, but a wide spectrum of “world” music. His playing is southern rock, expressive, experimental and laced of course, with blues. Not a vocalist, Mike Mattison carries that spot and lets Derek fly on guitar. It’s nice to hear slide guitar woven so prominently through an album. Trucks really makes slide speak and work both as lead and support…very unusual. Seven years on the road together has honed these songs, a tight band with good backup vocals and great sense of dynamics.

Various – “Jimmy Dawkins Presents the Leric Story” (Delmark) A

In Chicago’s heyday of the blues, the small clubs often sported some of the best, grittiest, and liveliest blues. Many of these performers never “made” it but they built, carried, and exemplified the REAL Chicago blues scene. Briefly in the 1980s, one of them who did—Jimmy Dawkins—started his own label to showcase some of these great unknowns. Though the label didn’t last long, he captured the feel of local blues there and here, Delmark (a great source of re-issued AND current blues) picks up some of his stars to showcase them once more. Featured are Little Johnny Christian, Tail Dragger, Queen Sylvia, Vance Kelly, Nora Jean Brusco, Big Mojo Elm, and even Sister Margo and the Healing Center Choir (people often don’t realize what an impact gospel had in Chicago’s scene. Nice collection of the kinda blues that really built Chicago’s rep. Most songs here were written by the artists, by Jimmy Dawkins, or both together.

Various – “A Song for My Father” (429 Records) B+

A collection of tribute songs done by the children of famous performers. Pretty cool to hear that many of the kids have smooth versions of their own.

Winwood, Stevie – “Revolutions--The Very Best of Stevie Winwood” (Universal Island) B+

From age 15 when he joined the Spencer Davis Group (1966) and shot to fame with “Gimme Some Lovin’,” Winwood has burned through the years with knock-out groups like Traffic and Blind Faith, and then taking a breather before coming back strong in the eighties with two strong discs: “Back in the High Life,” and “Roll With It.” Subsequently touring with Clapton and splitting time between London and his Nashville, TN wife’s home there, he’s taking life and music at his own pace. This is a sampler of a coming 4-CED collection of those songs over the years.

Cathi's CDs--7-11-2010

2010-07-09T15:18:00.002-04:00

BJ Blue with Brittany Allyn – “Platinum Duets-Unplugged” (Cosmopolitan Courtesy REc) C

Country singer Brittany Allyn teams up with BJ Blue in duet vocals with country backup. Not bad, but nothing stands out about this duo trading lines over country standards and male-female come-ons. Not necessarily recommended.

Charles, Josh – “Love, Work & Money” (CC Entertainment) B+

Brooklyn born keyboardist Josh Charles idolized Dr. John and wrangled a meet with him at age 14 by sending him a recording of himself playing like James Booker. A rabid fan of New Orleans music, he subsequently toured with the Neville Brothers and Buckwheat Zydeco, and recorded “Healing Time” for the Preservation Resource Center in New Orleans. Based on the success of that single, Charles here puts out his first front-man disc, backed by Dr. John’s band. All originals but for a Jimmy Cliff cover (not so natural sounding). Fantastically tight band with horns , backup vocals and drop dead rhythm. His keyboard and vocals fit over the top like they belonged there all along. What a dream come true for a keyboardin ’son of a gun. Last half of record settles into slow tempo—unlike rhythmic first half.

Coleman, Oscar “Bo Dudley”- “Oscar Boogie 2” (BoDud/Coleman Records) C

“Bo Dudley” was Coleman’s stage name in the early 40’s, which he derived from his second cousin Bo Dudley Evans who played down in Mississippi, but passed in 1944. Coleman recorded under the Bo Dudley, Bo Dud, and worked with Eddie C. Campbell and finally came out with some recordings after 2000 under his own name Oscar Coleman. All issued on the “BoDud” or “Dud Sound Recordings” labels. “Oscar Boogie 2” is the follow-up to his 2005 release “Oscar Boogie.” On this cd he throws in horns and all manner of instrumental backup that often seem to step all over each other by turns, in between some nice shuffles with Eddie Campbell’s bluesy guitar leads topping them off under Bo’s hollering vocals. Unpolished working bar band with a somewhat confusing sound, probably better at live entertainment than recorded work. Not recommended.

Coleman, Oscar “Bo Dudley”- “Oscar Boogie ” (Dud Sound Recordings) C-

Bo Dudley’s 2005 recording –extremely loose, badly recorded, and not recommended.

Coleman, Oscar “Bo Dudley”- “Change” (Dud Sound Recordings) C

Bo Dudley’s most recent, handmade recording (no liner notes and hand-drawn song-writing disclaimer on inside of homemade cover. I really WANT to recommend this guy, but I just can’t.

Dawson, Andrea – “Left with the Uptown Blues” (Listeners Ears Records) B-

Dallas blues singer (little Sister to area’s famous bluesplayer “Hashbrown” who often has backup players like Lucky Peterson, Andrew “Jr. Boy” Jones in her self-named band. She can throw out the powerful, big-mama vocals with a growl or bring them in smoothly. Songs seem to sport more tex-mex feel than the blues, though blues runs make scattered appearances and she even throws in a straight rocker (#9). Lots of chord change-ups and pop/jazz feel throughout. Adept but blues…not so much. Seems unfocused to me.

Delta Moon – “Hell Bound Train” (Red Parlor Records) B+

Tom Gray, specializing in slide guitar work and songwriting (Cyndi Lauper, Bonnie Bramlett, Carlene Carter, etc.) puts his blues love and gravelly voice together with guitarist Mark Johnson to pull out their Southern blues Rock mojos and cut a wide swath across the southeast, racking up prizes for best this and that. Raw and rough sounding, they keep the instrumentation spare so the slide guitar with its distortion touches shine while not overpowering the growling vocals and the song lyric “furniture.” Winners of the 2003 International Blues Challenge in Memphis, they’ve taken bass player Franher Joseph and drummer Darren Stanley across the continent, Canada and now tour in Europe. There’s a raw blues appeal atop a variety of rock beats that melds them together until movement is nearly mandatory. (I love people with a good command of rhythm—in whatever genre.) Add touches of banjo and resonator to minimalist treatments of some tunes and you’ve got an unusual and pleasing surprise.

Gates, Phil – “Addicted to the Blues” (Phil Gates) B+

Guitarist born in Chicago who got burst immediately into playing music and diving through it into the supporting electronics and recording techniques beneath. He’s made the guitar and high-tech electronics rounds in the Air Force, working as sound engineer in a Texas jazz club, performing at the Superbowl and finally producing and doing session work in L.A. He even wrote a book on recording guitar for Mel Bay in 2005. This record is his sixth personal CD and offers swift jazz-influenced solos, sizzling slide work, and funky touches. Sings tunefully with a little sandpaper flavor. His main challenge is not to overdo tunes, songwriting or solos just because his arsenal is so large. All songs original, CD nicely recorded.

Halley DeVestern Band – “Muscle Memory” (DeVestunes) D

Aptly described as a “pop puglist,” singer Halley DeVestern seems inclined to capture the “Heart” sisters vocals all in one. This album is a showcase for power rock vocals with which she clear aims to beat us to death. Melody not high on the richter scale…lots of pounding beats and vocals at biker drink-fest volume. Not recommended to anyone without previous ear damage. Not strictly FCC words like “pussy” and “hell” punctuate lyrics.

James, Cee Cee – “Seriously Raw” (FWG Records)

Janis Joplin – not so much. Screamer hoping for the Joplin chair…vocals slurry…emphasis on gutteral grunting etc. Sprinkled with some serious throat-scraping and laced with “God Damnit’s” to prove she means it. Not recommended.

Lauper, Cyndi – Nameless 2-CD sampler (DownTown Music) A

Pop songstress tries out a couple of blues songs with clear and supple vocals. She adds a kind of pop sensibility to these traditional oldies. BB King and Allen Toussaint back her on “Early in the Morning” (medium tempo) with predictably delicious results. Second tune “Just your Fool” finds her backed by Charlie Musselwhite – I mean how can a white girl with makeup (who just wants to have fun) go wrong? Lovely twosome of tunes…is there an album coming?

Wolfe, Tom – “Stripped Down at the Bang Palace” (Blues Leaf Records)

Blues rock of medium caliber…no offense but not recommended.

Cathi's CDs 6-15-10

2010-06-15T10:42:00.000-04:00

Buck, Willie – “The Life I Love” (Delmark) A

Originally from Houston, Buck moved to Chicago as a teen in the early fifties. Despite hanging with Muddy Waters and haunting the club scene (tossed as underaged until Muddy “vouched” for him, Buck sat in with a bunch of people but pursued life as a mechanic for the most part, until he started putting bands together in the ‘70s when economy helped him secure many famous musicians to perform in a variety of groupings. This is a re-release of Buck’s only full-length recording from that time. Members of the famous ACES (Louis and Dave Myers, etc.), Little Mac Simmons (harp) and John Primer (2^nd gtr) appear here. The whole disc is a picture of a good bluesman – like so many others—who lived the scene and the blues, chose family and a working life as his main gig, but never gave up on blues anyway. Many songs here are Muddy covers—his main influence. His singing is down home and right out of the 50’s and neighborhood Chicago bars (#4)…good to hear stuff from that era so well done.

Hounds Tooth – “Soul Rockin’” (Tweed Tone Records) B+

In a mostly live recording, the band does 7 originals out of ten tunes in real journeymen style. Rockin’ stuff with fine playing, good vocals and a good sense of how much is enough. They throw down with tunes that nod to Slim Harpo, George Thorogood, Robben Ford, and Freddy King…and rock it up while they’re at it. Adept and fun. Genuwine dancin’ stuff. Not for Morning Mix.

Jackson, Rocky – “Testify!” (High Life Records)

Texas guitar player doing a bunch of electrified covers…nice bar band, but not necessarily a standout for radio.

Kirchen, Bill – “Word to the Wise” (Proper) A

Co-Founder and guitarist of Commander Cody’s Lost Planet Airmen, Kirchen has been a road dawg since Jesus was young. Here he pulls in friends and fellow “dawgs” Maria Muldaur, Nick Lowe, Elvis Costello, Norton Buffalo, Paul Carrack, Dan Hicks and Chris O’Connell to help him deliver a good set of rock/rockabilly/country—many of them originals that kick booty (the Dylanesque # 4). The whole disc is really excellent musically and guests only add to a mix reminiscent of Commander Cody/Dan Hicks/Texas section of the rodeo. Good for all mixes…classy.

LaVette, Bettye – “Interpretations: The British Rock Songbook” (Anti) B-

No one ever said LaVette didn’t have girt and nerve. Here she steps way outside her usual blues and soul groove to adapt old-time popular British rock tunes. For fans of her soul and funk musical history, this walk on the pop-soul side will be a difficult leap…ditto for fans of the original British rock tunes. That’s a tough recipe to digest, but innovative—I’ll give her that. The Beatles “Word” for instance, morphs into a cool soul rendition. LaVette, traditionally a wail-and-shouter, does best when she can apply that to the tunes (#1, #11). Her voice doesn’t wear as well on the slower ballads unless she can really wail (#7), and since most tunes here are slow, it is difficult to hear and accept the new versions with open ears. Interesting and chancy…high marks for that, but overall I’m not won over.

May, Willie – “Grand Mal Indigo” (Independent)

Scratchy vocals, medium guitar skills….not recommended.

Mulebone – “New Morning” (Red Tug Records) A

Spare instrumentals on tunes by this acoustic blues duo. Resonator and slide guitar back great vocals, painted with harp, minimal percussion, flues and even conch shells. This CD is a surprise—can’t say I’ve ever heard of John Ragusa (vox) or Hugh Pool (gtr/harp), but they pull a really engaging blues sound out of the box…colored with rock arrangements but still fitting into the acoustic blues genre. Interesting – like flute work on Fred McDowell’s “Kokomo” followed by a gut-bucket version of Wolf’s “How Many More Years” with vocals through a harp mic, then a light-hearted, fingerstyle Rev. Gary Davis tune. Refreshing. All good for Morning Mix.

Shogren, J – “Bird Bones & Muscle” (JAHA!) A-

A combination of oddities…this man, a professor of philosophy and past King of Sweden’s special professor on environmental science, Shogren lives half-time in Sweden, and the rest in Wyoming, where he put together this amazing rootsy band, sporting tunes from “Weird old America.” Cool stuff…he plays resonator, mandolin, and sings with people on accordion, yodeling and banjo…barbershop quartet stylings in a modern setting. Who would have guessed? Acoustic, eclectic, intelligent lyrics and fun. “Recalling everything from Dylan to Dr. John, Buck Owens to Tom Waits, Shogrun explains, ‘No veneer—just a coat of varnish to keep out the weather’.” Original.

Smokin’ Joe Kubek & Bnois King – “Have Blues Will Travel” (Alligator) B+

Blues rock from Texas…with Smokin’ Joe providing the sizzling electric guitar backup while Willie King delivers the goods with smooth vocals that tame things down to bearable. Vocals strong and adept though aged. ZZ Top and Sam Cooke…strange but good and definitely rockin’. Great dancin’ grooves…don’t even buy a ticket if you don’t want to dance; don’t dance if you don’t wanna sweat.

Sounds of Rhythm – “Under the Blue Light” (Rusty Key Records) B

Old fashioned, clean doo-wop, street corner doo-wop singing. Strangely this group is from Marin in California’s Bay area. Most tunes sporting smooth vocals only…with finger-snapping and percussive backup vocals for rhythm--very cool. Instrumentation sparely applied as record moves forward. Thought this kind of doo wop was history. Many of the songs are older, but all perfect for doo wop interpretations. Interesting Isaac Hayes nod (# 12) and modern touches on old style. All mixes.

Taylor, Rick – “Lucky Room” (Volunteer Records)

Canadian guitarist and acoustic blues singer…guitar work is adept, vocals not so much. Not recommended.

2010-05-30T20:15:00.000-04:00

Magic Slim & the Teardrops – “Raising the Bar” (Blind Pig) B+

Gruff and growly vocals on this old-time Mississippi-Chicago stalwart bluesman who continues to hone his stinging, meaty guitar chops and hit that blues groove every time. Long ago deemed not as good as relative Magic Sam, Slim kept after it and now is a heavy duty blues contender. A road dawg with a kajillion songs, he runs up on some very major blues standards here and does them proud. Slim’s guitar is expressive, primitive and satisfying. Always a fine band to meet in a dark blues bar. Blues-recommended.

Mississippi Heat – “Let’s Live It Up” (Delmark) B

Harp man and band leader Pierre Lacocque brings another great album across the finish line. Singer Inetta Visor still belts out the mostly original, solid blues tunes, and Willie “Big Eyes” Smith’s (Muddy’s drummer) son – Kenny – has been with the band for several years. He’s as solid as his dad and a much-in-demand Chicago session drummer to boot. The band doesn’t shy away from putting some rockin’ tunes in the lineup to keep the joint jumpin’. The result is another collection of solid blues for the clubs. Guest John Primer (voc/gtr), Carl Weathersby (gtr) throw some icing on top.

Nemeth, John – “Name the Day” (Blind Pig) B

Young harpist from Idaho who got hooked early on the blues and picked up with some real pros early too – worked with Anson Funderburgh (filling in for Sam Myers f’gosh sakes) and then with the amazing Jr. Watson, before being signed in 2006 on Blind Pig. This is the second album on that label. He is a fine harp player and double trouble because he also has a very nice voice. Delta Groove introduced this guy blues-wise in 2004 and that was cool. Since then he’s been stretching out, trying different things. Still has a little too much juice for blues, leaning a little more to soul-and-funk, but I’m pretty excited to hear what comes next. Horns and arrangements back up tight band. Kinda in the Tad Robinson pocket, but less road under him.

Thackery, Jimmy & The Drivers – “Live in Detroit” (JimThack, Inc.) B+

Thackery pounded the road 300 nights a year in his original group, the Nighthawks, started his own sizzling rock-blues band, the Assassins, and when they broke up in ’91 he took a brief turn down the acoustic blues lane, before firing up the Drivers, a power trio that provides rock solid, tasty backup to his guitar manifestoes. His command of guitar makes him expressive whether in the blue, blue-rock, or Jimi -sound business. Dynamics even…gee. Seven of the ten cuts are originals, most are instrumentals, and he noodles away at them for LONG (5-11 minutes each cut). Blues rock-ish to mellow ballads with wah-wah. Several tunes have intros from the stage.

Weld, Dave & The Imperial Flames – “Burnin’ Love” (Delmark) B-

Dedicated to the blues, Dave took years off to help his mom finish out an illness and be happy till the end. Like her, he says he never gave up and Bob Koester from Delmark is a big fan. Weld plays guitar here with a band that worked for years on the road to polish their sound. No easy ride without sick relatives. Wed developed his slide guitar in the style of JB Hutto and JB Lenoir – started a band with Lil’ Ed and the Imperials—worked a lot in Chicago. A good bar band, good grooves, vocals vary. Guest is Lil Ed Williams.

Cathi's CD Reviews 5-2-2010

2010-05-02T10:00:00.000-04:00

Hillman Blues Band – “Pale Rider” (Nerus Records) C+

Russell “Hitman” Alexander carries this band with some nice blues rock guitar playing and mediocre vocals over mostly slammin’ rock with blues on top. Not really recommended.

Hudspeth, Brandon – “Levee Town” (Indie) C-

Garage band hopefuls with not a lot of lyrical prowess “My heart is a broken jar—I’m lovin’ you from afar.” Mostly fast tunes, distorted mic vocals, rock riffs. Not recommended.

Jones, Andrew Jr. Boy – “Getting’ Real” (Electro-Fi) B

Texas Blues guitarist puts out a disc of mostly (8 of 10) originals. Some real nice sounding guitar work here, tolerable vocals atop it and a nice supportive band. Guitar work is definitely the star here. Easy listening blues.

Larue, Stoney – “Live Acoustic” (Independent) B-

Recorded live in Fort Worth, TX this appears to be a quick-and-dirty recording of a club show without Larue’s band. No sleeve credits leave us guessing who this guy is and where he comes from, but the music is definitely country, the guitar playing ok, and music backed by a fiddle in a pleasingly sparse arrangement. It’s nice to hear some plain acoustic stuff. Quiet audience leaves these tunes very suitable for all mixes.

McDonald, Forrest – “Certified Blue” (World Talent Records) C+

Session player Forrest McDonald puts out his 11th disc—this time with his own band. His lady holds the lead vocal chair with a fairly limited vocal approach. Forrest’s voice is more versatile, but despite this, his is plagued with the too-many notes guitar delivery and the music, while roadworthy, doesn’t stand out. Not really recommended

McLerran, Little Joe – “Believe I’ll Make A Change” (Root Blues Reborn) B+

Dobro & slide player with a fondness for traditional country blues. Minimal backup. Interesting to hear old time guitar and young white singer layin’ down the old style blues in a sort of wavery voice. Nice plain approach both in playing and instrumentation, akin to the oldsters. Though the country blues approach is less appreciated these days by young blues lovers, they are a unique style and this guy is definitely an aficionado. Most okay for all mixes.

Cathi's CD Reviews 4-18-2010

2010-04-18T11:30:00.000-04:00

Karp, Peter & Sue Foley – “He Said, She Said” (Alligator) B

Singer-songwriter Karp struck up a correspondence with Canadian blues songstress Sue Foley which developed into a friendship that drew them to produce a disc together. Karp’s songwriting lends a different flavor to Foley’s blues-tinged style, and vice versa..they trade off supporting each other’s tunes on this all-original disc. I think they are well matched,covering songs in acoustic-to-electric fashion. Karp is more of a word-smith and less worried about sticking to strictly blues—throwing in some Spanish guitar (#7). Interesting match-up.

Kennedy, Harrison – “One Dog Barkin’” (Electro-Fi) B+

A long-time member of the Holland Dozier Detroit Super Soul Group, Kennedy is deep into rural country blues. Throws into some harp, banjo, mandolin and percussion, he delivers an array of old-timey, socially conscious, all-original blues with his high, sometimes wavery voice on top (often sings at the top of his vocal range, but with feeling). Sparce instrumentation is interesting as not all the treatments are strictly country blues..soulful touches…keyboards and bass fill out the sound. A good example of an old-timer moving country blues along into something new. Most good for all mixes.

Louise, Miranda – “A Sure Cure for the Blues” (Ripete Records)

Blues shouter like Katie Webster…shouter vocals with an occasional hard edge. Third release from what sounds like the emergence of a news blues mama. Snooky Pryor dares you to question she’s good! Ha. She sings some wicked backups to herself here and has no trouble managing the sweet and the powerful when it comes to those vocals. Best of all, she’s got a great sense of the dancin’ blues and relies on some great keyboard backup and nice slide from Ric Latina. Nice surprise!

Magness, Janiva – “Devil is an Angel” (Alligator) A-

Up and coming blues vocalist pulls together nice group of players to support her vocal attack on rock blues CD. Jeff Turmes, her husband is a killer bass player, songwriter and arranger, and together they put a nice assembly of tunes in that line. Good vocal backups and slammin’ snare beat on most tunes. Supple vocals on top. Magness’s last effort won some top honors in the blues category – she’s building nicely on that here. This one has some Motown-ish touches.

Popa Chubby – “The Fight is On” (Blind Pig) B-

Rockin’ guitar blazer Popa keeps up the heat with his unabashed slammin’ rock, which only occasionally wanders into blues. Seems he’s moving even more into head-banger rock-tunes are largely stadium rock fare. Lots of swearing-let’s-get-stoned stuff. I’m sure he get’s ‘em up and dancin’ at the show-guitar pyrotechniques…’scuze me—I gotta go get a tattoo.

Cathi's CD Reviews 4-4-2010

2010-04-04T11:15:00.001-04:00

Dermody, Grant – “Lay Down My Burden” (Independent) A-

This disc does not fit into a category. It’s a journey of styles, bluegrass, country and blues in traditional styles but with that indefinable something “new” added by the arrangements and excellent harmonica work of Grant Dermody. Made during three years when four people central to his life died one-by-one, “it could’ve been a dirge,” Grant said, but instead it is an array of sparely presented, but completely in the pocket music. It’s a banquet (says liner notes writer Phil Wiggins—a harp player himself) of traditional country blues, gospel, magical harmonica duets with the likes of Joe Filisko and Mark Graham, blues with old-time masters like John Cephas, John Dee Holeman and Louisiana Red, an acapella Stephen Foster song, and even a Buddist prayer/mantra, backed by harmonica and dobro. Produced by good friend and master musician Orville Johnson, it really is something special…the kind of thing maybe not the most popular in today’s market, but excellent in arrangement, instrumentation and presentation.

Fletcher, Kirk – “My Turn” (Electrogroove Records) A-

This young guitarist caught the wave of blues lover early and with his sense of traditional blues, hot licks and taste, soon secured a space as guitarist for the Fab T-Birds, and as lead player for Charlie Musselwhite. His creds were impeccable, and he was soon a steady member of the studio-posse for Delta Groove Records on the West Coast. However, when he got time to breathe, he began to re-explore some of the other stuff he loved comin’ up and together with Larry Carlton’s son Travis, went into the studio to try a collection of these interests. This disc reflects that collection. A little bit of many different things, it’ll be interesting to see if he settles into any single thing. He’s got a great feel on that guitar and pushes the groove in every one. For the first time he sings on a few numbers…looks to be an ever blossoming talent.

Grace, Jack – “Drinking Songs for Lovers” (Radia Records) B

Very cool musicianship on a record made for alcoholics with a sense of humor and sheer dedication to being soused. Song titles give a great picture of their content—mariachi music and love songs to Jack Daniels, broken hopes and trashcan adventures. In fact, John Sebastian gets into the spirit on one cut and I believe he was the one that said the song titles alone ought to get Jack G into rehab. This band is probably a great bar band. Eclectic (and nicely played) songs with rough vocals and a heavy dash of hopelessness casually tossed in. Not for morning mix I’ll warrant.

Mannish Boys – “Shake for Me” (Delta Groove) A

The Mannish Boys are a group with a few core-, but many changing members, mostly picked by Delta Groove CEO and harp player, Randy Chortkoff. This label, sister to “Electrogroove” which houses his blues rock players, concentrates on traditional blues, using both old and new musicians dedicated to that genre. Old-time singers like Finis Tasby, Bobby Jones, Johnny Dyer and Arthur Adams put in deeply rich and mature vocal touches on most tunes, backed by guitar flamers like Kid Ramos, Kirk Fletcher, and Frank Goldwasser; harpists like Rod Piazza and Lynwood slim, and backed by killer rhythm sections featuring Fred Kaplan on piano, Willie Campbell on bass and Jimi Bott on drums. It would be hard to go wrong with this lineup. If they commit any sin, it’s having too much of a good thing in every tune. Still, there is much here to delight and celebrate in the real blues feel. Covers really do cover the waterfront…Bo Diddley, Lowell Fulson, Little Walter, Ray Charles, Wolf…you name it. Nice to hear traditional gut-bucket blues so well represented.

Rhythm Angels – “Girls Like Us” (High Horse Records) A-

Two talented ladies from the wide prairies and canyons of Colorado and Montana meet at the Bluebird in Nashville, TN while taking a shot at songwriter dreams. Spontaneously they back each other vocally and the place explodes. That happy accident brought together a beautiful thing as the ladies find big audience success wherever they tour. Both acoustic guitarists they gather some great musicians on this record, recorded in Nashville and produced by Wyatt Easterling and present a really solid, enjoyable listen, with plainly amazing vocals—whether singing lead of backup. Interesting as well as delicious – good for all mixes. Good songwriting too – dang it.

South Memphis String Band – “Home Sweet Home” (Merless Records) A

Three Mississippi musicians pretty well known in their own right (Luther Dickinson-North Mississippi All Stars and the Black Crowes; Alvin Youngblood Hart—eclectic player of blues and rock; and Jimbo Mathus—Squirrel Nut Zippers) come together to play old-timey, jug-band and string blues. This is really a marvel of a record. They call this a pre-blues era roots sound” and I guess that’s an adept description. What is great is how they meld banjo, mandolin, guitar and dobro into this uniquely new-old presentation. I love it. Hope it gets the popular acclaim it deserves. Most tunes good for all mixes.

Traveling Mabels, the – “Traveling Mabels” (Traveling Mabels Rec.) B+

Three Canadian lasses gather very talented musical friends and put out a first album, ripe with tight and beautiful harmonies, excellent musical arrangement and a sense of humor in songs reflecting their lives and experiences. “Smolder Blues,” for instants comically laments maturity forcing the singer to smolder, not burn. Many other tunes are about relationships and “Alberta Blue” is a tantalizing love song to their native Canada. Very easy on the ears, and good for all mixes. I’d call it Americana but these gals is Canadian!

Woodleg Odd – “One Step Ahead” (Woodleg Music Norway) A-

Norwegian band (named after the drummers’ wooden leg) has always packed a tasty blue-rock punch with quirky, yet urban-groove. On this, their fifth release, they’ve picked up a booty-kickin’ vocalist – Adam Douglas (formerly with Watermelon Slim, the Groove Hogs—who adds yet a whole new dimension to their smooth blues-rock delivery. He’s hollars, pulls it back into melody and still manages supple and expressive phrasing--all too rare in the shouters. This time around Woodleg Odd adds horn back-ups too to give the band more punch. Classy guitarist and arrangements that never step on each other – refreshing. Not great for morning mixes, but sure nice for the blues –rock-with-class section.

Cathi's CD Reviews 3-14-2010

2010-03-14T17:06:00.001-04:00

Blake Jr, John – “Motherless Child” (ARC) B-

Jazz violinist Blake has moved back and forth between jazz and R & B throughout his interesting but not-too-predictable career. Here he joins with the Howard University Jazz Choir—“Afro Blue” and special guests Mulgrew Miller and Evelyn Simpson-Curenton to remake old African American Spirituals in a jazz bed. Strange and often discordant. I am not fond of it (though I admire some of the vocals), but I am as adept reviewing jazz as I am balancing a red hot pan on my big toe.

Bonamass a, Joe – “Black Rock” (J&R Adventures) B+

Another Stevie Ray Vaughan victim, Joe has made a big name as a rock guitarist who mostly sees blues when he eats his burger off a Muddy Waters’ disc. That doesn’t mean he ain’t a genuwine rock star. And okay—sometimes I hear a blues chord in there (especially when BB King joins him on #8). This record was made in Greece and it IS interesting to hear him overlay some interesting pipe/lute music over some of his stuff. I don’t know exactly where this cat’s going with his music, but I’m pretty sure it’s not in my neighborhood. But then…I’m old.

Gerald, David – “Hell & Back” (Indie) C

Okay… voice, okay guitar, doesn’t make me mad, but chills—nada. I guess that makes him an okay, very calm blues player that I don’t recommend.

Guitar Shorty – “Bare Knuckle” (Alligator) B

Shorty – (David Kearney) has been around a long time since his early days in Houston, and is best known for playing blistering guitar while simultaneously doing summersaults and God-knows-what on-stage. This disc is his tenth and loaded with great playing over some energy that’s hard to beat. Shorty’s guitar lipstick has its own character and he smears it all over everything.

King, Jason – “Blue Skies & Black Shoes” (Blind Raccoon/Hip-Rox Music) C+

Philippino (by way of Reno, NV) guitarist with promising guitar licks that particularly shine when he breathes out and plays the slow, soulful stuff instead of the over-the-top licks by the number. Tends to overplay and vocals are immature sounding. Not recommended, though I hope hard that he turns to acoustic music.

Manzik, Billy – “AllTogetherNow” (Indie)

Ontario troubadour with an unsteady voice boosted by some solid female backup vocals. He seems stuck between being a singer-songwriter and a rocker…never really settling in any one camp, and the mixture is odd. At times he has an interesting story-telling approach that would forgive a lot of oddity, and then he bashes it with a big beat. Not recommended I’m afraid.

Morvan, Laurie – “Fire It Up” (Screaming Lizard Records) B+

Lady guitarist’s first self-produced CD – gathering acclaim. Her picking is very adept , dipped in country but definitely on the rock side of the blues. Vocals so-so, but she carries it with songwriting, guitar, energy and nice backup vocals. An electrical engineering student with a pilot’s license and a full college ride on a volleyball scholarship (!). She graduated, took an LA aerospace job, and then dumped the whole ride to become a road dawg, playing southern/blues-rock. She fell under the Stevie Ray Vaughan wheels, revolutionized her guitar playing and started writing and putting out her own records. Got written up by Guitar Player magazine and now has won a Blues Foundation “Best Self-Produced” album award. Look out. Great playing, and backed with some nice harmony touches. Sure is nice to hear a girl-flash-guitarist.

Sauce Boss – “Hot ‘n Heavy” (Burning Disc Inc.) B

The eleventh Cd for this Foridian, electric slide player, which means he’s either rich, connected, or got something going on. I was surprised to find out it might be door number three. Sizzling slide guitar and lowdown beats punctuated by some trashcan/shout-y vocals and a food fetish. Party time. Leans on the rock side of blues and the lowdown side of Geo. Thorogood, but twitches those drunk-dancin’ shoes. (His last CD cover featured him in Chef uniform—and there are plentiful odes to grub--check out his short “okra lust”--#4 or briefer “give it up for hot sauce” #9.) Not a masterpiece but fun.

Thomas, Mickey – “The Bluesmasters” (Blind Raccoon)

Rock singer goes for the blues. Rod Stewart screamata approach. No thanks.

Cathi's Reviews 3/3/10

2010-03-03T16:37:00.000-05:00

Back Alley Players – “Beyond the Blues” (B.O.N.E. Entertainment) B-

Funk with big horns. Husky voice, smooth playing…Mostly not blues…on the fence between popular and soul.
Laid-back, kind of a middle-road approach. Some sultry singing, some really terrible music and some pretty nice blues guitar (#9). Okay, but no hot flashes here.

James, Elmore Jr. & The Broomdusters – “Baby Please Set a Date” (Wolf) B+

One of what he claims amounts to 30 children of Elmore James (he’s one of two acknowledged kids of EJ’s), Elmore Junior came up loving to play drums, but learning guitar at his dad’s clear insistence. His intermittent relationship with the always-traveling Elmore Sr., got him extensive lessons on slide guitar, and eventually landed Junior in Chicago (upon Elmore Senior’s death), where he connected with Willie Dixon and became “Elmore Jr.” He and the Broomdusters have been road dawgs since and play pretty cool blues with Elmore Junior singing and playing weirdly reminiscent,raw, slide guitar. They do mostly his dad’s songs—I expected “Elmore Light,”but actually it’s loose barroom blues, which I always dig and immediately order a whiskey. Mostly medium-tempo, but I love hearing slide treated like the main instrument along with those loose country vocals over blues sax. Pass the Jack brother.

Keys, Tommy – “The Man in the Moon” (LPF Records) B-

New Jersey Keyboard man puts out some smooth piano playing with a tolerable talk- vocals on top. Nice player and okay band, less than great vocals. An act that seems like it would be much more entertaining in person. Kind of a New Orleans piano approach – hot afternoons, lazy renditions, lots of talk-story and frequent change-ups in arrangements. Got a few lady backup singers to sweeten the deal. Not really recommended.

Cathi's CD Reviews 2-21-2010

2010-02-21T09:27:00.002-05:00

Beachboys – “Summer Love Songs” (Capitol) B+

I think the Beach Boys will not be allowed to die, if Capitol Records has anything to say about it. This is a remastered disc of old favorite Beachboy love songs. It’s nice for the old hippies like me to take a walk down surfin’ lane, but who know what today’s youngsters will think about it. A nice retrospective, although it left me hankering for “Little Deuce Coupe.” Nice for morning mix too. Oldies.

Bibb, Eric – “Booker’s Guitar” (Telarc) A

While in Europe on tour troubadour and soulful guitarist/singer/songwriter Eric Bibb met a man who offered to let him play the resonator guitar used by Booker White. Thrilled, Bibb played the guitar used by one of his main musical inspirations. Inspired, he immediately sat down to play and write. Bringing songs and inspiration home with him (though he had to leave the guitar), he teamed up with Grant Dermody, harmonica player extraordinaire from Seattle, and together, they completed this disc, dedicated to Bibb’s inspiration, calling it “Booker’s Guitar.” All songs are wonderfully crafted and suitable for all mixes. I’m delighted to hear such soulful renditions of both traditional and new favorites. Dermody’s harp work perfectly complements and fills when they are needed, and Bibb’s always-warm vocals and excellent guitar make this a fine tribute. Highly recommended.

Kansas City Blues Band – “Danger Zone” (Serenity Hill Records) B

Thirty-five years into playing, old friends get together to play a few old favorite blues songs (a genre not too frequently used in their separate 35-year-musical-travels). As a result you’ve got some serviceable playing, singing just on the other side of “been-there-done-that-and-lost-the-teeshirt”). This is what you get when some clown secretly tapes a basement get together (ironic label name). They’re playing nice, but without the hormones. Okay, but don’t let B.B. King retire yet.

Mischo, R.J. – “Knowledge You Can’t Get In College” (Greasland Rec.) B+

Ten CDs in, Mischo still demonstrates some good vocals and harp work that relies a bit too much on distortion for my taste, but he knows his way around. He pulls in some great assists here from Rusty Zinn on killer guitar, Kid Anderson on the solos Zinn doesn’t cover, Kedar Roy (infamously good stand up blues bass player) and other usual suspects, to deliver a pretty good disc. Mischo has the creds, but never quite seemed to cut through to the top shelf of blues harp and band-leading fame. Made a big name for himself in Minneapolis and then moved to the West Coast where he’s perculating along, but never really boilin’ over. Nice beat change-ups, some spots of greatness.

Moreland & Arbuckle – “Flood” (Telarc) C

One guy into the blues; one guy into electric rock and distortion, one guy poundin’ hard on drums, and these three turn a “power trio” into some pretty bashy, unintelligible rock blues. They bill themselves as very popular as a road-trio, but I’m not feelin’ the love. Not recommended.

Schmit, Timothy B. – “Expando” (UMG Recordings) B-

There are very few folks who can fill out a harmony vocal stack like Timmy Schmit (bass player for the Eagles), but as a lead singer/songwriter he is less adept. He writes pop-rock type tunes that are not bad, but not that noteworthy. As he himself describes in “Sacramento” he “isn’t particularly funky” but leans toward a breathy and melancholy vocal delivery. He does best work as part of a group of singers, as in # 2, where he joins with Graham Nash (among others) to sing great backup. His “Secular Praise” tune is possibly the best on the disc where he is backed up by the Blind Boys of Mississippi. In fact he’s gathered a roster of big names to help on this disc (Jim Keltner, Vandyke Parks, Keb Mo, Kenny Wayne Sheppard, etc.). The result is a Sunday afternoon kind of listening experience. Love that voice, but can’t highly recommend this one.

Tucker, Will – “Stealin’ the Soul” (Will Tucker Music) B-

Sixteen-year-old Blues guitarist—musically very adept, but weaned on SRV and Jimi Hendrix. Lots of wah-wah, baby vocals…big-ass potential on that guitar. Does some SERIOUSLY tired covers. Oh what 20 years is gonna do to those thin, but adept vocals! Plays regularly at BB’s in Memphis, but I think it’s because of guitar prototechnics, not blues soul. I have high hopes for this youngster, but this CD is more of a starter kit…Jeez he does Elvis too!

Cathi's CD Reviews 2-7-2010

2010-02-07T08:10:00.001-05:00

Pittman, Shawn – “Undeniable” (Indie) B

Adept Oklahoma-born, Texas-adopted (pianist) guitarist who moved in the footsteps of the Vaughans and the Dallas gtr scene…before (like so many others) moving to Austin and picking up with Tommy Shannon and Chris Layton (from SRV’s Double Trouble band). He’s put out several guitar discs that feature his songwriting and very Texas-sounding blues. Very good musicianship, vocals and presentation--nothing flashy. Nicely mixed by engineer maestro Stuart Sullivan. A good record but maybe not something that’ll knock you out.

(Robillard, Duke & Sunny Crownover-“Welcome to the Tiki Lounge” (Blue Duchess Rec.) A-

Duke has had some fun over the years, doing all styles of guitar records, leaning heavily on his favorite swing/jazz approach. Here he continues that adventure by teaming up with vocalist Sunny Crownover to do a Les Paul/Mary Ford tribute. He pulls off the Les Paul stuff with some eerily reminiscent quick stop licks and long string-stretches and Sunny’s smooth vocals are a nice complement. The Tiki Lounge approach allows for the Hawaiian torch song/lounge feel—so reminiscent of Les Paul’s and Mary Ford’s sound. Sunny’s voice usually mixed behind guitar, but overall, this is a nice tribute album. I don’t remember ever hearing a Les Paul/Mary Ford tribute quite so spot-on…a definite “era” piece. All good for all mixes.

Superchikan – “Chickadelic” (Bluestown Records) B+

Showman (James Louis Johnson) Superchikan loves to entertain and they LOVE him in Norway where backed by some blues lovin’ players there he recorded this disc. Musicianship is very cool and Superchikan’s fun is clear in the uptempo tunes – like his Bo-Diddley lift “Hey Superchikan.” And of course you can’t ignore his flattened-gas-can-guitars (“chiktars”). This disc is nominated for Best Traditional Blues Album of the Year, and “Fred’s Dollar Store” for best Song of Year. Nice collection of up-feelin’ blues.

Taildragger – “Rooster’s Lounge” (Delmark Records) B-

(James Yancy Jones) Taildragger’s picture is in the dictionary right next to relentless blues snake charmer. The only reason he’s not dead from alcohol is because so much of it passes through his bod so fast it has no time to kill him. The only reason his CDs are live is because he’s got so many mad girlfriends after him it’s dangerous to show up in the same place more than two days in a row. Yet this kinda scamp still knocks ‘em over every night with the raw blues. He’s a blues ride that requires two hands to hold on, (and if you’re a young woman, don’t su)it in the front row), but it’s hard to not to fall into the groove at Taildragger shows. He loves the blues and he SURE doesn’t shy away from entertainment; talks a lot and more as the show rolls on as this disc reveals (watch out for expletives); and his band remains loyal and road dawgs every one—who ain’t afraid to hold a reeeel slow beat strong and steady. It ain’t pretty, but it’s gritty, real, “lit up” blues – straight out of the Howlin’ Wolf bag. Makes me start reachin’ for the Jack Daniels.

Various – “Boogie Woogie Kings” (Delmark) A-

Boogie woogie blues legends are featured here from the late ‘30s – Meade Lux Lewis, Albert Ammons, Pete Johnson, Clarence Lofton, Speckled Red, and Henry Brown. A cool array of traditional blues piano with the combo of varrelhouse boogie, swing and drive. Most are from ’39 Sherman Hotel recordings in Chicago and then classics from St. Louis Players in the 50’s-60’s (Henry Brown, Speckled Red). An era rife with great players…miss them. Good for all mixes.

Cathi's CD Reviews 1-2-2010

2010-01-02T08:28:00.002-05:00

Chambers, Sean – “Ten Till Midnight” (Blue Heat Records) B

Young guitarist from Florida who ended up working as Hubert Sumlin’s guitarist/back up band for about five years. Has kudos from magazines about guitar prowess. Big protégé of Jimi Hendrix and SRV. Not the greatest singer, more of a Johnny Winter kind of talk-yeller, but he can work the guitar. Hear Luther Allison touches and a lot of sustain, snarling distortion and fills where I’m guessing he thinks he’s gonna get paid by the note. Nice for nights when you’re pumped up on alcohol and drugs, but hey I know there are a lot of you out there! Stand out tune on disc is the last one where he plays some fine resonator slide guitar. Can’t wait to hear this guy in 20 years when he runs out of vitamins.

King, Ron – “His Place” (Ron King Productions)

Home-grown production by a religious guy who writes a lot about Jesus, and sings in a very vibrato voice that shouts when he’s talking about the Lord Jesus. Not Recommended.

May, Willie- “Category Six” (Williemay Music)

Gravely voice fronting a not very interesting band. Touches of lady vocals and a small assist on harp by James Cotton can’t really bring it up to being recommended.

McCormick, Quintus – “Hey Jodie!” (Delmark Records) B+

Soulful singer, long used to working as a sideman for other players (James Cotton, Lefty Dizz, Otis Clay), Quintus was encouraged by Buddy Guy to start his own band. His vocals are strongly soul-influenced and guitar playing modest but bluesy. Good to hear some mojo on blues vocals. Keeps guitar playing distortion for the most part. This disc however has an interesting example of the difference between the more traditional style blues and the newer distortion rock guitar. Check out # 3 or 15 (for distorto gtr. and then #4-clean). Weird. Band pretty good – horn backup. This guy’s gonna get better with age.

Pepin, Pam – “In it for The Long Haul” (Independent) C+

Interesting lineup – lady vocalist plays saxophone—nice tone, and sax gives the blues a nice gritty flavor. Vocals clean but not too bluesy—more pop. CD’s kind of blues/pop light. Love that blues sax though…not overrun with jazz or gymnastics…just enough to fill the pocket. Nice piano rocker (#4) to change things up. Not really recommended, but big marks for effort and passable variety tune (#12).

Wood, Charlie – “Flutter and Wow” (Archer Records)

Former keyboardist for Albert King, this player moved to Europe and spread himself around in jazz and popular music/piano bars. His performances there caught the ear of Norah Jones’ producer, Adam Levy, who produces this disc. Wood’s experiences also includes working with Paul Simon, and his work here reminds me of a cross between Norah Jones and Simon – smooth piano, nice voice, kind of mellow cocktail bar sound. Switches beat up between New Orleans, light rock and jazzy ballads. Easy listening…ballads are most appealing.

Cathi's CD Reviews 12-29-09

2009-12-29T12:33:00.001-05:00

Bailey, Ray – “Resurrection” (Tondef) B

Promising bluesman who hit in the early nineties in L.A., ran afoul of family problems and quit music, still keeping fingers in the club scene there. This is his first disc to re-establish himself, recorded live at an LA club. A little gymnastic on the guitar just to prove he can though when he isn’t grand-standing, he has a good feel for guitar phrasing. Nice vocals, six originals--extended solos make most songs difficult for radio—better for drinkin’ bar. Some tunes have more up to 2 minutes of instrumental before he starts singing.

Flying Saucers – “Blue..Bluer..Bluest” (Lyracon)

White..whiter…whitest. Not recommended.

Gillam, Tom – “Had Enough?” (Smith Entertainment)

Austin singer-songwriter going for the Americana spot. To me it sounds like medium rock and nothing sticks out as compelling. Not recommended.

Hovey, Erick – “Blues Farm” (Independent) B

Midwestern (Iowan) songwriter with the sense to keep the arrangements spare enough to accent the words of his tunes. Good guitar accents over kind of plain songs (largely the same beat) and adequate, but plain, vocals. OK, and this disc (who puts out two at a time?), despite coming at you with more of a blues feel, and better songs, still seems very same-ish.

Hovey, Eric – “Recycled Souls” (Independent) B-

Midwestern (Iowan) songwriter with the sense to keep the arrangements spare enough to accent the words of his tunes. Good guitar accents over kind of plain songs (largely the same beat) and adequate, but plain, vocals. OK, but no real cigar.

Hughes, Eric – “Live on Beale Street” (Indie) B

Live from the Rum Boogie on Beale Street, Hughes throws the mojo on dance music for the crowd. Old timers all over the stage, it’s clear they are having a good time and have done this before. Lady bass player notable. Nice recording from the dressing room up above. A blues bar band concentrating on up tempo entertainment. Guitarist has a nice style—best part of the group. Good road band.

Kayoss, Earl – “Disarray” (Shut Eye Records)

Thin vocals over strange (not in a good way) tunes. Records a horse neighing to start the second song; liner notes than someone for resurrecting “Satan’s guitar.” Not recommended.

Loomis, Hamilton – “Live in England” (Ham-Bone Records) B+

Young Texan with a wicked handle on guitar—billed as pulling together rock and soul under a strong blue banner, there’s no doubt he knows what he’s doin’. Bo Diddley described him at age 16: “You got to put some seasonin’ in what you’re doing and this boy has the whole salt shaker.” A handful of records after that (usually on the more rock-ish Blind Pig label) have definitely established him as pushing the blues envelope—mostly in the rock direction. In December when everyone was tossing out live discs for Christmas, Loomis pulls in horns, lots of funk a performance by Bo Diddley himself and some cool harp he plays as well. Loomis writes a lot of his stuff and here throws in favorites from former releases to an avid audience.

The Mystix – “Down to the Shore” (Mystix Eyes Records) B-

Booty kickin’ rhythm section from Duke Robillard backing group with a singer whose voice sounds like somebody sliced it up with a razor or he just finished his 2 billionth cigarette-and-whiskey. A variety of interesting tunes, country, back-beat shuffle, one with a New Orleans feel. A combination of too rough, too shakey, but Bob-Dylan
compelling.

Slim Fatz – “Times Like This” (Aladdin Entertainment)

Not recommended at times like this.

Smilin’ Bobby and the Hidden Charms – “Big Legged Woman” (Wolf) A-

Bobby Smith (69 years old) has been playing Chicago clubs since the ‘50s and calls himself a good friend of Magic Sam’s. His son played guitar with Willie Kent and Bobby is billed as the “favorite unknown bluesman in Chicago.”
I’m increasingly skeptical about these “suddenly emerging” old blues guys from Chicago, but this is the real deal. Scott Dirks talks about Bobby’s years of getting strange gigs in unknown Polish clubs with terrible backup musicians, but he “didn’t need” the big clubs because he was playing more gigs than anyone uptown. Nevertheless blues hound Dirks books him in front of a good band now and then and he knocks people down with his soulful guitar and great vocals. I’m sold. Plays some old covers to start the disc, but then puts in some he wrote.

The Villains – “The Villains” (Dan Call Music) B-

Melodic rock and roll – Jackson Browne approach. Nice vocals, mainstream pop-y instrumentation, with accompanying harmonies. Lots of medium beat tunes with corny lyrics (“Drownin’ in a river of love…”; “we’ll drink Mohitos with our toes in the sand.”) You get the picture.

Cathi's CD Reviews 12-26-09

2009-12-26T09:00:00.001-05:00

Evans, John – “Lollygaggin’” (Image Entertainment) B+

Texas Americana rockabilly—lots of Webb Wilder feel with steel guitar and bristling with 2-step beats. Real country pickin’ humor and sardonic gig descriptions, fast cars, booze, and cat-call comments in the middle of lyrics, etc. Must be super entertaining live. Most songs are Evans’ originals—lyrics have lots of “furniture” and are entertaining. Young Texan with lots of juice.

Full Moon Review – “One Last Shot” (Indie) C+

Old timers pulling together to put their skills in on “one last shot.” Sort of rock light – maybe a folky touch too. Instrumentation is ok, but even though there are some manful harmony efforts, the singing is not too evocative. Old fashioned rock-ish guitar overlaid. Not really recommended, although as an ancient player myself, I really WANT it to be.

Grissom, David – “10,000 Feet” (Wide Lode Records) A

Always a pleasure to hear tasty guitar and Dave’s is always SMOKIN’ as well as tasty. Though he’s best known for touring with Joe Ely and a gigantic bundle of stars, Dave always could write and sing, and the GUITAR…sizzle. Here he applies himself to 12 new originals…mostly his trademark rockin’ style and you can hear old friend Kenny Aronoff pounding out the drums in the back on many of the tunes (taking turns with Chris Layton). Still it’s his lyrical and melodic sense, and that killer sense of rhythm that elevates him to a triple threat…and he sings. Dang. Like it that he’s stepping out front…he’s hard to ignore no matter where he stands.

Guthrie, Sarah Lee (‘n Family) – “Go Waggaloo” (Smithsonian Folkways) A-

Charming songstress granddaughter of Woody Guthrie puts her songwriting to excellent use in writing 13 songs for her kids (with husband Jeremy Iron). Many friends assist…Arlo Guthrie, Pete Seeger, help out. Subject matter aside, the harmonies and lilting vocals have a charm all their own, and you can hear the children on the chorus of some of the songs. What a pleasing surprise; you can easily imagine her writing these for the love of her kids, and the joy of the family in joining in to record them. Hammer dulcimer and banjo touches are cool accents.

Kristopherson, Kris – “Starlight and Stone” (New West) B

Old dawg songwriter pulls out his guitar and pens some more great tunes…then with Don Was, Stephen Bruton and drummer Kim Keltner (whew what backup!)..kept all the music spare and straight from the gut. Kristopherson is beginning to lose what vocals he used to have, but he’s lost nothing in the songwriting, and any time you spotlight that, you’ve got a handful. Backup musicians never step on the powerfulness of his songwriting. Recorded pretty much live and straight up, much of the vocals are almost spoken, but Kristopherson – at 73 years—still packs a rough punch.

Lund, Corb – “Losin’Lately Gambler” (New West) B+

Cowboy Americana…stories about ridin’ rodeo, gamblin’ in rough bars and throwin’ down with tinges of rockabilly guitar. Songwriting is colorful and inventive…don’t remember hearing any real good cowboy country for awhile.
This disc pulls you into the saddle all the way. Cool perspective…cool beer and bluejean jacket…woodstove, snow, prairie and steers. Yehaw.

McMurtry, James – “Live in Europe” (Lightning Rod Records) B

Songsmith extraordinare hits Europe with a rock band and those killer lyrics. Sadly his casual tossin’ in of curse words eliminate radio play for a few tunes, and the sardonic remainders are perched on a bed of rock instrumentalization. I’m not sure this showcases his fine writing in best fashion, but it works for the audience. Still some of his great tunes (#5-6) stand alone and shine no matter how much he drinks (heh heh). And then again, when he rocks it (#7) chairs fall back.

Montoya, Coco – “The Essential Coco Montoya” (Blind Pig) B+

A collection of early Montoya (just before he got so well known). Delivered with stinging guitar and a serious overlay of rock. I appreciate the emotive slow ones (what can I tell you?) that really set up his guitar solos
(#4, 7, 10 ), but rock-blues is definitely his bag. Saves himself from the total-rock bin with a nice rollin’ blues (#12).

Murphy, Willie – “A Shot of Love in A Time of Need (Red House) B-

Jump in the way-back machine and you’ll Find Willie Murphy snappin his fingers in the “beat” generation, playing psychedelic music and doing a LOT of drugs in the 60’s while writing some songs with Spider John Koerner and catching the ’69 Newport Festival before producing Bonnie Raitt’s first album in ’71 and then doing a lot of solo work and producing for the next 15 or so years. Here he comes out with a 2-cd collection of R & B (his favorite stuff). Backed with big horns, he delivers funk and soul with about 30 years of grit behind it. He’s got his soul in the pocket and the funky gets WAY funky. Crusty but unapologetic, which sometimes yields what can be some wobbly vocals, and sometimes some FCC cussin (#3). Still, he’s had the goods, spread ‘em around there and back, and still knows how to funky. CD #1 mostly funky, CD #2 is a collection of personal perspective ditties of the rock, pop, ballad and singer-songwriter persuasion—less appealing in my view. This collection, probably like this ol’ musician’s career – has real high- and low-spots.

Young, Zora – “The French Connection” (Delmark) B+

Zora, Big Time Sarah and Bonnie Lee hit Europe in the early ‘80’s and caused a big splash. Zora hit it especially big in France, where two young musician producers were eager to do a record of half acoustic, half electric tunes. Zora really shines on the acoustic ones here (check out the Muddy cover # 5!). Maturity in the blues brings out some very cool vocals with Muddy touches, she does some excellent Koko, and I love the acoustic stuff where her vocals shine in a variety of ways (her band tunes are punchy belters for the most part). There are five live tunes to give you the audience feel to her presentation (#3, 5, 11-12, and 14). She adds some interesting departures with Dylan covers, a gospel touch (#7) and even Elvis! (#9). A better disc than I’ve heard from Zora in a bundle of years.

Cathi's CD Reviews 12-8-09

2009-12-08T16:12:00.000-05:00

Benoit, Paul – “Bluebird” (Indie) B

Seattle songwriter offers a collection of laid-back acoustic music after a trip to the slower paced El Salvado. Well, actually he recorded them in a little fishing village there, so what you get is a spare sound with minimal backup, yet songs offer a variety of mellow, reflective songs, laced with harmonies and lazy, melodic, fingerstyle, acoustic guitar. Nice afternoon porch music.

Davis, Debbie – “Holdin’ Court” (VizzTone) B

Wow…rough-tough sailor girl, Debbie Davis, 22-year veteran of playing blues guitar with the big boys, pulls a whole album of instrumentals out of her pocket. I always loved her playing best of her charms. Here she trots it out in a variety of styles, homages to some favorite players, while dishin’ up seven of her own compositions. Nice spare back up band featuring a kickin’ lady bass player (Cassandra Faulconer), drummer ( Don Catagno), and sometimes a little organ (Paul Opalach). Nice job. Some tunes are a bit uptempo for morning mix, but this is good listening stuff, and her playing is expressive.

Elliott, Grampa – “Sugar Sweet” (Timeless Media dba “Playin’ for Change”) A+

First made famous by world-wide acclaim of his singing of “Stand By Me” in a Youtube video, this older New Orleans/French Quarter, street musician is rolling like a sweet rain over the countryside with mellow, soulful tunes. It’s plain hard to resist the good feeling this guy and his music offers up. Nothin’ to prove; just lovin’ this new wrinkle on an already full life. A variety of great musicians come together to support him…calling themselves the “Playin’ for Change Band”—even Keb Mo gets in on the act. This is one COOL album. All mixes.

Rafael, Joel – “Songs of Woody Guthrie, Vol 1 & 2 (Inside Recordings) A

A long time student and lover of Woody Guthrie music, Joel Rafael spent years playing the same routes and areas Woody traveled, regularly performed in his native Oklahoma and California and is a regular at the annual Woody Guthrie festivals. So intense is his dedication to the spirit and interpretation of Woody’s “soul’ music, that Woody’s daughter sent him lyrics by Woody that were never set to music…now done so by Rafael, with assists by friends (Jackson Browne, the Burns Sisters, Arlo Guthrie, Jimmy LaFave, Jennifer Warnes, etc.) All in addition to Rafael’s quiet interpretations of many of Woody’s originals. This really is a special collection and a labor of love. Most songs are mid-tempo and sparcely delivered. Recommended for all mixes.

The Unwanted – “Music from the Atlantic Fringe” (Compass Records) A++

Three masters of the “lunatic fringe” of music – all real experts on their instruments and fools for Celtic and Appalacian music. Together they deliver the most wonderful “mountain-Celtic” sound…brilliant work. Mind blowing…what else can I say. EXCELLENT in just every respect…the best I’ve heard here. Instrumentalism is great and all vocals on the mark. What a nice surprise to the day.

Cathi's Reviews -- 11/3/09

2009-11-03T13:36:00.001-05:00

Armstrong, Vanessa Bell – “Good News” (EMI Gospel) A

Smooth gospel – one promo cut CD from powerful vocalist Armstrong—tasty gospel choir backup. You can hear approval shouts from live crowd. She’s got the chops to cover a huge female choir. YES…been waiting for someone like this – heavily reminiscent of Aretha….can’t wait for the album.

Arnold, Mac & Plate Full of Blues – “Country Man” (VizzTone) B+

Old-timer Mac Arnold, former Muddy Waters bass player, cooks barbecue and takes in all comers down south on his South Carolina farm. But he also sings and plays a mean “gas can guitar” which eventually drew some blues-lovin’ players his way and last year they put out a very popular debut disc (produced by Bob Margolin who is back producing this one too). Rough vocals over songs he’s written about being a plain, tractor-drivin’ country man “way over 65.” But just when you think he’s fadin’ he comes back chargin’ with a rocker (#6). The band is good and they all CLEARLY love Mac and his barbecue. A good feelin’ disc.

Golub, Jeff – “Blues for You” (E-1 Music) A-

Tasty guitarist Golub is all over this disc. What a player. He’s got a combo that includes Shawn Pelton (former Bloomingtonian and Saturday Night live drummer) and other NY stalwarts, with a minimalist approach to instrumentation which allows the talents of everyone to shine. Guest vocalists Peter Wolf, Billy Squier, Marc Cohn and John Waite break things up with a variety of vocals, but Golub’s guitar clearly is the lead on this campaign…very nicely done. No needlessly over-the-top finger work and backed by great horn work that doesn’t overpower the guitar or vocals. Golub seems to always be there with support licks that actually support, and then slides into ear-pleasing solos that slip so easily into the groove and leave your ear with a smile that you can hardly tell how really GOOD this guy is. But when you check out those instrumentals, wow. Rare.

James, Samuel – “For Rosa, Maeve and Noreen” (Northern Blues) B

Acoustic guitarist James is a skillful piedmont-style guitar player, sadly overlooked by mainstream blues fans. However, he has an original style and a storytelling talent that keeps him slowly-but-surely carving his name into the best rosters of country blues. At ease as a resonator slide playing, banjo, harp and piano, James pulls you down off the fast track for some front porch storytellin’ and sweet guitar to back it up. Talk-sings the lyrics. A young cat, this is his second disc on Northern Blues and he seems fairly placed to be around and better as time passes. Good for all mixes.

Lovell Sisters – “Time to Grow” (2DefPig Publishing) A

Three Young Women who play mandolin, fiddle and dobro and sing like angels in harmony. What’s not to like? They lean toward country music, but they kick booty on everything. Bringing in fans like Viktor Krauss on bass doesn’t hurt either. Just a little more band like than acoustic, but sweet and sassy with harmonies that can only be found in the family. Super fine.

Maxwell, David & Louisiana Red – “You Got to Move” (BlueMax Records) A-

Piano wizard Dave Maxwell, veteran of a great many blues bands, has known Louisiana Red (Iverson Minter) for 30 years and one day when Red was in town, they went into a studio to see what they could come up with. This is the result – a great collection of real blues, supported in grand style by Maxwell’s bluesy backup…and how. Red, who lost his mom as a baby to pneumonia and his dad at age five – hung by the KKK – played for years on the road, perhaps most notably with John Lee Hooker. He “re-emerged” again when the blues craze hit these last 15 years. Both Red and Maxwell are among the rare breed who can keep a reeeeeeeal slow beat going with full feel. They kick off this disc just that way. Bob Margolin jumps in from time to time for fun. Very bluesy…very nice.

Murphy, Shaun – “Livin’ the Blues” (Vision Wall Records) B+

Backup singer for Eric Clapton and Bob Seger, not to mention a 15-year stint with Little Feat, Murphy steps out in front with her own band. Her original love of Etta James and Koko Taylor’s blues, melds with her rock backup history. She can belt ‘em as you might imagine she’d have to, to back up the big rock names, and with a crew of older/veteran musicians, Murphy rolls a big Etta-and-Janis combination voice out there with ease, (“It Takes a Lot to Laugh…”). It clearly reflects her backup rep, but I wonder if she needs to push so hard. Most tunes are medium tempo and lean on the rock side of things. Great vocals, in my view, are not just about the shoutin’ and hollarin’ (although they’re useful skills). When Murphy puts some of that great phrasing and inflection on the slow tunes, her true artistry breaks out (#9, 10).

Setzer, Brian (Orchestra) – “Songs from Lonely Avenue” (Surfdog) A+

Setzer has been digging a complete band/orchestra backup on a variety of genres…all mixed with his rockabilly sensibilities. All that horn and jazz-cat backup makes an interesting soup, salted with his wacky guitar leads and distinctive vocals. He’s clearly havin’ fun…accessing styles as dated as his suits, cruisin’ down film-noir lane in Sinatra shoes with Peter Gunn sensibilities. A huge collection of L.A. film-ready cuts. Musicians, of course, are superlative, with arrangements slick as a banister. What this guy must be doing in his spare time..scary!

Zito, Mike – “Pearl River” (Electro Groove) B

Electro Groove is pushing this guy as the next SRV – with blazing guitar gym and tattoos. Zito writes most of the tunes, and delivers to those hungry for fast licks and brangy power chords over shouted vocals. I am less enthralled as time goes on with this style– must be old age. Still, there are more and more of these power-chord, paid-by-the-note players out there these days and it takes a special something to be heard over the din. That something special appears more when he backs off his initial charge and offers songs like the N’awlin’s feel of “Eyesight to the Blind,” or the plaintive but gritty “39 days.” Songs here are a little less road warrior-oriented than usual.

Cathi's CD Reviews 10-18-09

2009-10-18T13:50:00.001-04:00

Baez, Joan – “How Sweet the Sound” (Razor & Tie) B+

This is a retrospective of Baez songs from the late ‘50s to the current day, although most tunes are from the mid sixties and a few from 2008-9. Taken from a film of Baez’s life this is a real walk down memory lane for the folkies and a glance back to a time when a simple guitar and floating voice commanded the world and inspired singers everywhere. Her brief romance with and introduction of Dylan to the world were life changing events here and are portrayed in her bittersweet “Diamonds and Rust.” Pretty much all ballads that reflect her finger picking guitar style and throbbing vocals, not to mention her passionate world peace quest, it’s nice to hear this wide a spectrum of an artist more influential than many these days realize. Most okay for all mixes.

Costello, Sean – “Sean Costello-Memorial Retrospective” (Landslide Rec) B+

A Young guitarist that shot up with a rocket on great guitar and his innate sense of feel in the blues – bringing a modern feel to it, yet always including touches that honored the masters, it was a criminal shame he dabbled with the devil and lost at age 28 to drug sirens that have no mercy. This is a retrospective of his work which is incredible given his short years. His absence is painfully apparent and never more so when you hear all he had to offer. Nice compliation tinged with a bittersweet feeling. A collection of both acoustic blues and the more rock-tinged efforts – a melding of many styles.

Drive By Truckers – “The Fine Print” (New West) B

Country-Rock trio who have been greatly influenced by Tom Petty put together a group of tunes that somehow escaped several of their other items. Most of these were written for projects on definite subjects, so we benefit by having them in a collection here, demonstrating the DBT’s ability to sing and write expressively about such a variety of subjects, and make it live with great country rock beats.

Heat, Reverend Horton – “Laughin’ and Cryin’” (YepRoc Records)

A twisted humor songwriter, psychobilly artist Heat’s three-piece probably has an enormous vitamin supplement bill. Bristling with really fast songs and lyrics that reference Jerry Lewis, heavy metal wackos, gambling, and preferring a good Lucky Strike cigarette over most women kinda gives you a good view on his entertainment quotient. The Rev. is a reluctant participant in medium tempos with most of his tunes either stumbling drunkenly through a slow tempo or blasting along full speed. But whatever the tempo, you can be sure the lyrics will be topical and trashcan funny.

Magic Slim & The Teardrops – “Rough Dried Woman” (Wolf) A

As the holiday approaches, we’re seeing a lot of compilation releases…this is a collection of 14 of Slim’s best tunes, which of course are delightful blues – the stuff that makes his club dates so fine you forget what time it is until they’re packin’ up and you realize four hours have somehow slipped past. GREAT club blues from this Magic Sam fan…who told he was not as good as the original, dedicated his life to making his mark as special as Sams. I think he’s done it – with a different flavor, deep feel, and that’s what it’s all about. Still touring and always solid. Highly recommended.

Mayall, John – “Tough” (Eagle Rec) A-

Possibly Mayall’s greatest gift is as a talent scout and an ability to put good players together to make excellent rock blues. After last year’s guitar WIZARD Buddy Whittington, I didn’t think he could keep up the pace, but this year he’s got guitarist Rocky Athas who clearly commands the chair and seems more of a team player. Cool, funky, rocky and overlaid with blues when you’re not lookin’. Another excellent product…go old man go.

Muldaur, Maria – “Garden of Joy” (Stony Plain) A-

After years of doing every kind of music imaginable, songstress/fiddler Maria Muldaur reunites with her jug band pals – John Sebastian, David Grisman, Taj Mahal, Fritz Richmond, and a bundle of others to romp through old and new favorites. I really loved this era of her stuff, and of course all the musicians are 40 years better! Uplifting and cheery tunes put a jump in the step. Great for all mixes.

Cathi's CD Reviews 9-27-09

2009-09-28T06:15:00.001-04:00

Carr, Barbara – “Savvy Woman” (CDS Records) C+

St Louis singer Carr has been around a long time – toiling hard in obscurity and even recording a few unremarked records for Chess. After many years, she adopted the brassy belter role a la KoKo Taylor and Denise LaSalle, which earned her some popularity – enough to quit her day job of 20 years. She has never quite struck the hot spot though. This disc hints of her vocal prowess and is bolstered by her producer’s attempt to set her in full R & B regalia. She starts to stretch a little when she does some shouting (#3) and nice female backups give some tunes soulful depth. Still, this is a disc that seems a shadow in the closet of missed opportunities.

Collins, Harry – “Taste This” (Independent) B-

Billing himself as a “southern soul, R & B artist” Collins jumps right in with a smooth love song and holds it right there in the Barry White groove…maybe not so funky. This is late night wine and seduction stuff. “I got that feeling—that you want it tonight” kinda thing. It’s a one-trick pony but with a couple glasses of wine…maybe.
Nice voice, not a lot of variety. Will fit with morning mixes though – if you don’t mind waking up to sexual innuendo.

Kalb, Danny – “I’m Gonna Live the Life I Sing About” (Sojourn Rec.) B-

A real old-timer – guitarist Kalb formed the “Blues Project” band back in the Butterfield days and clearly had a big attraction to the guitar rambles of current guitar gymnasts along with the feel of the urban blues. His playing Is adept although for my money he plays too many unnecessary notes just because he can. His singing is not great – and most of the album are his renditions of well worn covers. Not terribly recommended, although I give him respect for his obvious life-long guitar love of the blues.

Lost Country – “When We Danced” (Cool Groove Records) B-

Texas survivors of a popular country rock band and others from a blues jump combo formed a band of boomer + musicians to play music they both enjoyed. Texas two-step tunes, mingle with male/female vocal harmonies, slide guitars, accordion and a focus on dancin’ music give this disc a good country dance hall feel. It’s full of unstable vocals and a few tunes they might better have left alone (smile), but it’s got a good old-timer get-together feel.

Cathi's CD Reviews 9-13-09

2009-09-20T13:19:00.001-04:00

Eberhardt, Cliff – “500 Miles” (Red House) B+

Soulful Americana songwriter offers us a thoughtful and melancholic collection of tunes here about love and love lost…a little bit of mellow and bittersweet reflection on getting older—further down the road. Most tunes are minimally backed by instrumentation, showcasing his voice and the tunes as the main point. This is the second disc since a long recovery from a car accident and I suspect that adventure brewed up many of these offerings. The songs have a lot of “furniture” but I hope he takes some vitamins and cheers up soon. Good for morning mixes.

Hill Country Review – “Make a Move” (Razor & Tie) C

This is a band trying to do ZZ Top and Allman Brothers all at once. It’s okay, but not really recommended.

Li’il Mo (Monica Passin)– “On the Moon” (Cow Island Music) B

Rockabilly-ish gal with a big clear cowgirl voice – straight from New York (!). Nancy Sinatra channels BOb Wills and sneaks out at night with a Cajun boyfriend and his country sidekick. Steve Riley (Mamou Playboys) jumps in for a fiddle assist here, but lest she get caught in any genre, she throws in country, soul, pop and R & B. Somehow it works…well, maybe except for that terrible abortion of a pop song (#7). Kudos for cajones.

Wailin’ Jennys, The – “Live at the Mauch Chunk Opera House” (Red House) A

Ah the power of vocals, beautiful and in stacks of harmonies – it’s hard to beat and the Wailin’ Jennys are experts. They add some interesting fiddle and mandolin work by friend Jeremy Penner that give the material an added weirdness that works (cut 1). This is a live show that features old favorites but also 8 new originals from this great Canadian group. The vocals, as always are breathtaking. Though the Jennys came together by accident, the magic was immediate and it remains despite two personnel changes. They’ve been careful to get talented vocalists who are masters of their range. We’re lucky – I’ll always want more! Good for all mixes.

Willis, Chick – “Hit & Run Blues” (CDS Entertainment) B

Cousin to the blues ballad singer CHUCK Willis, and former limo driver for same, Chick carried on after Chuck’s death in ’58 and is best known for his raunchy send ups in the blues line. Here he fronts a big band with horns and lots of arrangement, and keeps the raunchy down to tolerable. This is a show-band thing with so much attention on the big band it kinda covers what might otherwise be interesting guitar parts, and a warbly vocal. No big cigar but tolerable.

Cathi's CD Reviews 9-20-09

2009-09-20T13:16:00.001-04:00

Cowsill, Barry – “US 1” (Artist Airply Advisors-Indie) C

Former child star (10 years old when formed duo with brother to sing Everly Bros tunes, then incorporated 6 other family members to form the “Cowsills”—the original inspiration for the TV show “The Partridge Family”), Cowsill experience teenybop fame in the last ‘60s. The whole family had moderate fame and then disbanded (musically) in the early ‘70s. Individual members had desultory careers elsewhere and Barry kept his solo thing going. But for the next decade or so not much happened. He was working on a new sound (still trying to shed his teenybop past) with a new ”Power-pop” sound when Katrina hit New Orleans. His siblings got out – he didn’t. His body was recovered several months later. Died at age 51. This disc is a posthumous release. This is a sad story, but I still can’t rate the music here very well. It’s definitely pop and not recommended pop.

Dakota, John – “It’s the Journey Not the Goal” (Lagunitas music)

Guitarist/Harp player with a shakey, often off-key vocal skill, playing acoustic guitar and painful harp. Original tunes and I tip the hat for effort, but eek…not recommended! (I think he’s a Shagg’s cousin, only he’s taking himself seriously.)

Hart, Nicole – “Treasure” (Blues Leaf Records) B

Sultry vocals and she puts some nice double backup vocals behind her lead voice. Her band is okay. The overall sound is kind of a lounge-y ballad and blues. Voice is the attraction here – well, blond and built doesn’t hurt either I guess – heh. She’s got a real clear and supple (alto) pop-blues voice. Overall the music doesn’t really stand out to me though.

Hunt, Kelley – “Mercy” (88 Records) B

A piano playin’ shouter, Hunt made her bones as a big time blues vocalist on the blues circuit…along the lines of Bonnie Bramlett. She appears to best advantage with Aretha-like vocal chops administered in the soul/gospel tunes (#3, #8), when she’s really wailin’. Interesting combination of styles – along the mainstream line with touches of soul and blues. Nice pipes, mixed review on her songwriting.

Knowles, Davy & Back Door Slam – “Comin’ Up For Air” (Blix St. Rec.) A-

Mega talented lead singer and guitar player for Back Door Slam moves to the forefront of the Slam and puts his name ahead of the band’s in this disc that sports tunes written by Knowles, often with guests like Peter Frampton (who produced this album) and Gary Nicholson. This kid is only 23 but has a streetwise sound, GREAT guitar, singing and songwriting chops. Look out. His innate sense of to put these things together, added to the old timers’ prowess in how to put together a great record really serve him well. This album just rocks and stands out in a bunch of different ways. Definitely more rock than blues, it still comfortably adds blues touches. Knowles’ abilities knock me out as did the first Back Door Slam CDs…he’s a talent to reckon with. (Opened on tour as an acoustic solo act for Jeff Beck.) Not good for morning mixes. A great rock effort.

May, Imelda – “Love Tattoo” (Verve) B+

Dublin gal with a nightclub, Billie Holliday-ish style that she can morph into a Beatles-y pop delivery. But everything is overlaid with rockabilly touches…and then back to lounge-y. Hard to classify. Really nice vocals and minimal (but stellar and adept) backup music. I vote yes.

Pickens, Slim & Doctor Baz – “Next Time” (Black Albert Rec) B+

Two half-centurian Australian cowboys playing accordion and steel guitar, with double vocals put together a garden of Texas-swing , and Cajun-influenced Americana music (who knew?). The vocals are mellow, songwriting full of humorous philosophy, country twists, even a little trombone, and an intersesting eclectic collection that’s good for all mixes.

Pittman, Shawn – “Meridian” (Indie) B-

No information on record and insert has only “thanks for listening” with artist’s address. The man is clearly a guitarist who likes the blues. He gives us some interesting blues beats and not-bad vocals but the production and mix are pretty uneven. Sounds like a great weekend garage-blues band. Serviceable but not a stand out. He’s lucky if the lyrics of his second tune (“don’t need fortune and fame”) are true. Record blues-playable, but no key to the city.

Texas Sheiks – “Geoff Muldaur &the TS” (Traditional & Modern GmbH) A

This disc is a labor of love by a gathering of old partners on the jug band and Texas landscape. Veteran performers Geoff Muldaur, Suzy Thompson, Cindy Cashdollar, Stephen Bruton, Johnny Nicholas and Bruce Hughes gathered to do some favorite Americana music. Geoff’s old partner Jim Kweskin couldn’t resist and stopped in to add his talents to this amazing collection of music. Sadly, Stephen Bruton died from Cancer (after an amazing career of playing guitar behind just about everyone in the top echelons of music –Bonnie Raitt, Delbert McClinton, Dylan, etc.). The disc is dedicated to him. Steller at jug music Geoff does this genre proud. Good for all mixes.

Cathi's Reviews -- 9/6/09

2009-09-06T07:00:00.001-04:00

Hamilton, Lisa – “Twilight & Blues” (Lisa Hamilton Music) C

A smooth (easy listening?) jazz disc put out by pianist Lisa Hamilton. No voice…lots of cocktail bar mood music…not recommended until you’re three martinis in.

Jones, Dennis – “Pleasure & Pain” (Leroy’s Boy Music) C

A Prince taildragger. I think he’s hung up on women’s undies and how “good” he is. Hmmm...Pleasure or pain…let me guess. (Not recommended.)

Knox, Marquise – “Man Child” (APO) B+

This is a kid who’s got something—hitting the national scene at age 16. This current disc finds him 18 years old, given the nod by BB King, Bob Margolin, Sam Lay and his special hero – Henry Townsend. I love the blues feel that he’s got right out the wrapper…having been playing the guitar since age 2 and listening to nothing but the “dangerous” Lightnin’ Hopkins before moving on to Muddy and then onward in his mentor sounds. Already he’s referred to (because of his husky voice and hefty frame) as “Big Daddy.” He sits in a lot these days with bluesman Michael Burks, but I think we’ll hear a lot more from this one. It’s nice to see some youngsters getting caught up in the blues. He plays several instruments, but guitar and voice are the main thing. This disc is the result of someone with his eye on the blues and the blues alone—that’s rare. He’s adept at a variety of blues styles. He also doesn’t plan to “chase it down” (a blues career) if it doesn’t happen. He’s gonna multi-task. I love it. No flies on this kid.

Landreth, Sonny – “Levee Town” (reissue) (Landfall Records) A-

Sonny Landreth is fascinated with his southern home in Louisiana, and now on his own label, reissues his acclaimed “Levee Town” album with five additional songs. I find reissues-with-added-tracks puzzling, wondering why they don’t just put out a new album, but apparently Landreth sees this album as part of a three-album triology tribute to his home…so he just sweetens it with five more songs. Original album still stands up great and the new tunes, liberally dosed with his excellent slide guitar touches over Cajun flavored tunes with colorful lyrics, seems to match it. Kickin’ in with a sizzling rocker, followed by a beautiful ballad with guest Jennifer Warnes, the bonus disc makes the original collection take on added excitement. The following songs move into a fluid picking and slidin’ number that showcases Landreth’s unmatched feel for slide, and wind up with a sweet Farewell. If there was any doubt, these last “bonus” songs make it clear that this disc was a labor of love.

Lloyd, Britt (Band) – “The Ink” (Smith Entertainment)

Texas guitarist who plays rock with distortion and a pop sensibility. Not terrible, but not memorable/recommended.

May,Willie – “Maze of Blues” (Booman Music) C

Minimalist blues record from Willie May playing solo guitar and singing very rough, gravelly vocals on his own songs—sometimes pulling in a band to give support to the tunes. Kudos for the minimalist approach, but not really that much here to write home about. No offense intended, but no recommendation.

Texas Slim – “Drivin’ Blues” (TopCat Records) C+

Robert “Robin” Sullivan, Texas Slim is a sustain-guitar slinger following the tricky steps of Stevie Ray Vaughan. He was inspired at 8 years old by John Lee Hooker, but the Texas player SRV has clearly been his guidin’ light. He likes a lot of electric sound over fast licks of the blues rockers. Vocal passable--good guitar playing if you are fond of sizzlin’ electric stuff. The guitar screams too much to make this a morning mix collection…except if you’ve been up all night. Probably a great late bar band, but not really recommended.

Various – “Fishing Music II” (Snake River Music) B+

A follow-up acoustic disc to “Fishing Music” – this disc features a group of folksters doing tunes that have to do with fishing, rivers, etc, with profits to go to a preserving-rivers organizations. Basically the same acoustic band (Ben WInship w/ David Thompson and friends) back people like Tim and Mollie O’Brien etc. Nice musicianship, colorful tunes, but weird – a whole album about fish. Good for morning mix.

Various – “Motor City Women and the Detroit Express” (Fordco Music) B

Band from Detroit maximizes their impact by gathering six hot lady singers (all with their own bands apparently) to sing together. Each “Diva” takes the lead and the five others back ‘em in turn. Interestingly enough, though the women are named on the sleeve (Lady T, Elena Papillo, Aja Sardis, Stacia Petrie Ford, Valerie Barrymore and Cheryl Lescom) it doesn’t reveal who sings what (you can sort-of guess by songwriting credits). So you’ve got an okay band soakin’ in major vocals. All six got pipes…the tunes are pop-rock rather than blues, but this is an interesting collection, and if I’ve guessed right, my vote goes to Stacia Petrie Ford for best overall voice – she kicks the booty outta #3 and 14.

Various – “Public Enemies” Movie Soundtrack (Decca) B

With original score by Eliot Goldenthal the music for Public Enemies is also punctuated with new- and old-time artists (Otis Taylor, Billie Holliday, Diana Krall, Blind Willie Johnson, etc.). Two billion orchestral pieces make sure this disc keeps up the heat, painting moods throughout in sad, thoughtful airs. But the non-orchestral tunes (Otis Taylor #1, 10; Billie Holliday-#4, 6, 14; Diana Krall-#8, Blind Willie Johnson - # 16, and the big gospel chorus-#12) stand out. This is a sad story told songtrack and the songs definitely reflect that.

Zito, Mike – “Pearl River” (Electrogroove) B

West Coast guitarist and screamin’ blues rocker, Zito seems to have the full and enthusiastic backing of that rock label and is making the most of it. Originally from Missiouri, he’s a disciple of Eddie Van Halen, Clapton and Hendrix, and then throws in his blues licks atop that. Mostly rock, though, Zito adds some interesting touches to this collection – the title song is cowritten by Cyril Neville—and he’s added some funky touches too. Disc has mostly originals, but he puts a New Orleans beat to a Sonnyboy standard. The disc is certainly servicable, but I’m not sure I back Elecrogroove’s claim that Zito is the best there is.

Cathi's CD Reviews 8-30-09

2009-08-30T15:40:00.000-04:00

Castro, Tommy – “Hard Believer” (Alligator) B+

Blues Rocker Tommy Castro has been after it for years – a hard workin’ road man and prolific guitarist. This is another good album of blues rock with some real gems…some not so much. He seems to be writing more about the hard knocks that road and relationships have dealt him – esp. the ones he got from learning about himself the hard way. A mature look through songwriting at the tough way to go. But the music is great and he boosts the blues with rock when it needs it. A decent disc. Not much for morning mix. Dedicates the album to Stephen Bruton – a good pal.

Ford, Robben- “Soul on Ten” (Concord Music Group) B+

Guitar ace Ford is always in the interesting zone, and I agree with his philosophy that his shows pack a powerful punch (that’s why he likes to record live). He plays long riffs and solos over his always-in-the-pocket band, yet sometimes it gets a little fusion-y for me. Once again this is definitely a guitar slinger’s disc his sustain is now accented with lots of wah wah pedal), but when he tackles the blues head on, it’s dazzling (Spoonful/Set a date). But overall the song choices seem odd…for some that might just be “original.” Playing great.

Langdon, David – “This Time” (Whip Records) A-

After producing records for untold musicians at his studio and playing with his own band in California, Langdon started producing his own records. This is not his first, though the first I’ve heard. He is a really tasty guitarist, a good singer, and has the taste rarely seen in putting his band together Lots of backup vocals are a rarity and he’s got not only that, but masterful players backing him up. These guys are old enough to know better, but they can’t help themselves, and I’m glad. They do a little arranging of originals (a la Robben Ford) that might not appeal to the traditional blues lovers, but wow…they’re good, and oh my…that guitar sense…and completely smooth at the styles! (Slow ones are beautiful but kind of long.)

Riley, Dave & Bob Corritore – “Lucky to be Livin” (Blue Witch Rec) A-

Mississippi-bred guitarist Riley started out in Gospel and hit Chicago where he played awhile before stepping away from music. After a stint in the service he teamed up with harper Bob Corritore – best known as manager/owner of the Rhythm Room in Phoenix, AZ (a real stop on the blues road these days). Corritore, also a popular SWestern DJ, produced several albums (Henry Gray, Chief Schabuttie Gilliame, Janiva Magness, etc.), guesting on many of them. Recently he’s stepping more into the playing limelight, winning kudos for the excellent disc featuring Chris James and Patrick Rynn (who step in to support a few of these tunes). Here he does an acoustic based duo..paying tribute to Sam Carr, Frank Frost and other heroes. This is one of the last discs on which Henry Gray plays piano. Nice porch blues feel.

Twisters – “Come Out Swingin’” (Northern Blues ) A

This is the Canadian artists second disc since a band mate’s death kept them off the road for about 10 years. The first one was an amazing blues record. Just about the time you think they’ve moved entirely into a swing thing, they pop up with rockabilly, reggae and even a gospel tune. I love these guys. They really are good at everything they seem to do. I vote yes. Try some out!

Cathi's CD Reviews 8-9-09

2009-08-09T14:44:00.001-04:00

Bullington, Ben – “White Sulphur Springs” (King Easy) B

A doctor in Montana, Bullington just couldn’t keep his mind on medicine I guess. Wrote some thoughtful tunes with enough furniture in ‘em to catch the ear of Rich Warren (Chicago meister of “Midnight Special”), Rodney Crowell, and JD Souther. He’s a storyteller with a lonesome feel, yet they seem a lot alike. Nice verbiage but only a small cigar.

California Honeydrops – “Soul Tub” (TubTone Records) A+

A minimalist group using home-made gut-bucket, washtub bass and a jug player for rhythm. Traces of New Orleans Louis Armstrong, meshed with old roots American music brings a very bluesy soulful feel to the tunes…especially since much of the sound consists of the honey-drippin’ vocals of the four ladies, their guitar, various drums, a piano and eclectically original songs. Leaning heavily on very expressive vocals (always a good thing) this is a cool disc…original approach--a real happy surprise!

Dirty Mac Blue Band – “Victory Bar” (Independent) C-

Gritty, hard-edged vocalist who confuses screamata with feel.grunge blues of the garden drinkin’ bar variety.
Not recommended.

Dwight, Shane – “Plays the Blues” (Vizz Tone) B

Rock a la Thorogood. Lotsa fuzz tone and stops in the boogie line. Blues make an occasional appearance but this is mostly a rock dance band. Some interesting guitar work and nice change ups in tempo. Rock on.

Finnigan Brothers – “Sessions 1990-92” (Nashfilms Rec)

Billed as an “outlaw” band, these three brothers are a country bar band not quite ready for prime time – or maybe past it. Not recommended.

Gray, Henry & The Cats – “Time are Getting’ Hard” (Lucky Cat Prod.) A-

Born in 1925, Henry Gray has been playing piano since age 12. Moving from his home town – New Orleans – to Chicago after serving in WWII, where he hooked up with Big Bill Maceo and became a fixture at Chess Records—eventually working with Howlin Wolf until 1968. Back in Louisiana in 68, he’s been working with his own band and became a late-life road blues phenomenon…playing often with Bob Corritore’s line-up at the Rhythm Room in Arizona. (This harp player is mixed a little loud.) On this disc you can hear the years in his voice, his gnarled fingers still pound out the blues and he still has that feelin’…provin’ that age doesn’t take away that feel. Simple but true. He does some old favorite chestnuts 12 of 15 are originals) and throws in a little current affairs in the mix (Obama Boogie and Katrina-Katrina). He can still keep that left hand rockin! Once in the pocket boys…always visiting.

Gumbo – “Never Tell Me To Quit” (Wild Rose Artists) B

An acoustic trio who have been playing on and off together in the Northwest for about 40 years, they are masters of their instruments, to which they add humorous songwriting. Vocals so-so. A light-hearted, string and piano-worthy collection of tunes with some clarinet and horn spice when tasty. Afternoon happy music.

Inner City Blues Band – “City Limits” (Blue Gill Records) B

Big horn blues band in the Bobby Blue Bland tradition…female shouter out front. Stylin’ themselves as “contemporary blues” they’ve got a big instrumentation approach. I’m generally a fan of a more spare presentation, but they let some of their instrumentalists get out and stretch from time to time (sometimes a little TOO much in the guitar-gym line – ahem #4), to make it a little more accessible. I still vote it’s a little too produced and arranged. Best in their toolbox—nice rhythms.

Izzy & Chris – “Preachin’ the Blues, V1” (80/20 Music Entertainment) B

A couple of Pittsburg youngsters who got the call – one from a Robert Johnson record and another (after already mastering piano) for harp. They found each other while earning solo honors at a festival in 2006 – and have been taking names since. The spare delivery, good timing, and sense of TASTE (who knew?!?) are apparent in the opening track. Izzy’s (Stetar) guitar is as spare as it needs to be. Izzy’s vocals are young, the genre old, and the harp playing especially adept…a pleasure to hear as Chris (Nacy) paints behind but never stops on vocals. Nacy is adept at various styles, but clearly his first love is blues. A duo is a tough trick…there’s no cover and no survivors if you don’t know what you’re doing. These two are getting there. All originals by Izzy but # 9).

Jano, Big Al – “Some of my Best Friends Have the Blues” ( Hottrax Records) C-

An anthology of a bass players past 20 years and the people he played with. None are names familiar to me and I can see why they probably have the blues – not recommended.

McClain, Mighty Sam – “Betcha Didn’t Know (Mighty Music/City Hall) B+

Another old-timer comin’ back around for a last dance, Sam McClain is a soul-blues singer who rose up from gospel beginnings to sing in front of a variety of musicians, patterning himself after his hero – Bobby Blue Bland. After a long, but not too visible career, he bailed for a couple of decades and was brought back into the limelight first by the Neville Brothers and then Hubert Sumlin took him under his wing in the late ‘80’s. Then Audioquest got interested, he put out his first solo album at age 50, and since has been proclaimed a real blues treasure. Still going strong and never adverse to trying new things, this disc has him throwin’ down the funk and more than holdin’ the lead spot before a rockin band, an army of horn players and a complete country of backup singers (“the funky divas of gospel)—even a rapper—look out. Soul-funk-blues with a little bit of cheesy James Brown and shades of the Nevilles—can’t be bad. Vocals are still workin’ for the man.

Miles, Linda – “Home Cookin’ (Duffy/Kallok) B

Southwestern blues singer with in the pocket band (Kirk Fletcher and Todd Robinson on guitars). With modest acclaim in Blues Revue as a new belter on the scene, Miles uses this CD to get a better foothold. She can Hollar – like Koko…which is always a “find” in the blues. Heavy-duty hitters backin’ her play here are lethal weaponry. Hope she explores more mid-ground between whispering and shouting-- hope we hear more of this lady.

Morganfield, Big Bill – “Born Lover” (VizzTone) B+

Muddy’s kid working with some good musicians (Steve Guyger on harp & Bob Margolin on guitar). Though Bill doesn’t have Mud’s vocal ability, he does have that blues grit that puts it over and with Margolin producing and playin’ that tasty guitar, the blues are well served. Guyger’s feel for harp is nearly unmatched these days so that really kicks things up a notch. Bill’s got big shoes to fill, but he has been coming along well in the last decade. I think he’s making his own mark.

Mosser, Jonell – “Trust Yourself” (Better Angels) B

Jonell – long time back-up singer for just about everyone in Nashville, has been a hidden treasure too long in my opinion. She can belt ‘em and has done for many years—mostly behind Gary Nicholson with his band in a troupe of knock-out backup singers. I’ve been waiting a long time for her to come into her own as a solo star, and on this record, a bundle of great players jumped up to help her do so. She easily soars above such full-throat singers as Bekka Bramlett, who jumps in to back here on several songs. Song choice has been her nemesis in the past..trying to mix light rock with big chick backups. This selection is in the same neighborhood, and though laced both with fantastic support players (Jimmy Hall, Jerry Douglas, Kevin McKendree, John Hall, Stuart Duncan, etc. ) and supple vocals in both lead and backup spots, I think the songs just don’t do her justice. Still this is a nice sampling of fine vocalizing – especially shining on the slower, more emotive ones (9, 11). And who can complain about those vocal backups – yeow.

Muldaur, Jenni – “Dearest Darlin’” (Dandelion Music) B+

Daughter of Maria Geoff Muldaur, Jenni has been making her way around the block, backup singing for all the high-rollers you can name, from Eric Clapton, Teddy Thompson on down, record company producer, etc, and now puts out her own disc with assists from a bundle of artists. This is one of the last things Sean Costello (guitarist for Susan Tedeschi—then breakout blues guitarist before a sudden drug death at 28) did—he plays lead guitar here. Teddy Thompson and Catherine Russell both sing on this disc as well. Jenni ‘s voice is much like Maria’s, which is probably something that makes her wince, but it’s a good thing! She also has an eclectic taste in song selections—favors that late ’50’s and early ‘60’s stuff, doing everything from Big Maybelle to Charlie Rich to 1937 field call field recording (!). Vocally she has that smooth quality, can push vocals (#2) in a rock-powerhouse style (#10) but most of the songs have a mid-tempo, pop-rock feel with lush group-backups (and dig that crazy Farfeesa organ). Still she piles on interesting stuff – like James Brown’s (#8). I’d love to hear her do a whole disc of soul tunes. Sean Costello’s wacky guitar riffs really make me realize what we lost when he died. Interesting disc…Nancy Sinatra move over.

Page, Barrelhouse Bob – “Smokin’ 88’s” (Hottrax Rec) B

Piano man for a variety of popular front-men, Page gathers a crowd of adept back-up guys who have been around the block to put out a disc of his favorite tunes. Lots of horn backup and really great playing. Vocals are so-so, but it’s clear he plays all the styles well, and the musicians know what they are doing—perfectly serviceable, but nothing really knocks the listener over. This disc cries for a standout vocalist.

Pearson, Big Pete – “Finger in Your Eye” (VizzTone) B

Old time powerhouse singer Pete Pearson gets backed by some of the hottest talents on the scene today. Bob Corritore produces and plays harp; Bob Margolin, Eddie Taylor Jr. and Billy Flynn trade off on guitar chores and the up and coming award winners, Chris James & Patrick Rynn, …as well as older-timers, Pinetop Perkins, Duke Robillard, Henry Gray etc. So they have a blues-good time though Pearson’s age shows a bit in his vocals and the music has a “jam” feel to it.

Popovic, Ana – “Blind for Love” (Electro Groove)

Serbian guitarist and rocker with Blues leanings Popovic is working hard on the road to become a reigning rock rumble doll – a guitar man-handler at the same time. Her stuff is rock heavy. (She includes a babe-in-leather poster in her CD insert.) Got some great South-Western studio gals and veteran studio guys backin her play here. Just as I was ready to dismiss her as a gravel-rippin’ rocker, she threw in a couple of nice mellow ones – note #5 – demonstrating she can actually do smooth and melodic. Could be our next Aero-vic.

Shea, Rick – “Shelter Valley Blues” (Tres Pescadores Records) B

A stone Merle Haggard fan, Shea strives to write and perform tunes that come from that country core. Deep voice, but no Merle, he nevertheless has a straight-ahead country sensibility and is joined by an interesting bunch of support players – Moira Smiley (!) on an Irish ballad (#4), David Hidalgo (#7). He’s worked with Dave Alvin and I think both Merle and Dave left their marks on the guy.

Soars, JP – “Back of My Mind” (Soars High Productions) C

Guitarist…vocals mixed in the background. Serviceable blues – nothing extraordinary I’m afraid.
Not recommended. Kudos for the JB Lenoir “#10.

Spikedrivers – “Gather Round” ( Independent) B+

County rock with heavy Grateful Dead/Band influences. Fiddle and guitar working with a wordsmith and a rock band backup. Interesting songs with humorous lyrics and nice instrumental backgrounds, graced with just enough female vocals over expressive male leads. Nice record…not usually my cuppa, but clearly good musicians and songwriting.

Thunderado – “Thunderado” (Manville Records) A-

A duo that put out killer vocal harmonies, and driven hard by guest drummer Kenny Aronoff. This is Crosby-Stills- Nash-Webb Pierce and Link Wray driven at break-neck speed toward the broke-down palace by an amped up Kenny. Variety slam. Guitarist is obviously adept, throwing in some amazing licks while the bass player does his best to fend off the relentless Aronoff’s drum savvy. Then just for kicks they throw in a strange breathy ballad (See yoU now) …Interesting…weird. I’m so confused. I gotta give this one big marks for sheer audacity, careening guitar and amazing vocal doubles.

Tsak, AZ Kenny & 56 Deluxe – “Like I Do” (56 Deluxe Prodctns) C

Blues rock attempt by what is probably an okay road band. Nothing stands out as that memorable. Not Recommended.

Various – “It Ain’t Over” (Delmark)

A live performance at Buddy Guy’s blues club in Chicago, featuring a variety of Delmark blues artists – to celebrate 55 years of blues by the Delmark label. Most of the old-timers strut their stuff, including the last-recorded tune of Little Arthur Duncan—and some of Delmark’s rising stars (Lurrie Bell) too. And all backed with an army of heavy Chicago back-up heavy hitters (Harlan Terson on bass, Kenny Smith on drums, Bob Stroger on bass, etc.etc.).
Jimmy Johnson (80 years old!) kicks butt (#2 & 3) reminding us what blues “feel” is all about. This is a great album with the blues leakin’ out of every pore. What a lineup. Lurrie Bell and Eddie Shaw knock off socks, and everybody’s on their game. Chicago blues –yes. It ain’t over yet, but it’s getting elderly…we gotta keep those hot young blues stars comin’.

Cathi's Reviews 6/8/09

2009-06-08T09:21:00.001-04:00

Earl, Ronnie – “Living in the Light” (Stony Plain) A

Guitar wizard Ronnie Earl wrangles yet another album of great playing…sometimes with guest vocalists (Kim Wilson, Dave Keller, and even a big choir on cut 5) but mostly just doing what he loves best – long instrumentals. This is a guitar player’s album—long arrangements of guitar drenched tunes, well played. It’s hard to beat Earl’s tone and assists by Kim Wilson seem to be more acoustic and old-front porch country blues than the urban kind with which he is usually associated. Earl’s contemplative interpretation and expression of the blues continues to set him a cut above the majority. An all around good record…good for most mixes.

Kane, Candye – “Superhero” (Delta Groove) A-

Candye Kane came through a terrifying bout of pancreatic cancer, almost against her own belief and certainly to the doubt of thousands. She describes her amazing adventure in this latest CD—a CD she never thought she’s ever be able to do. It sports a few songs penned with attitude about surviving and the usual cluster of Candye’s general sassy attitude. Ten of 15 are originals, and I confidently say she’s back into her stride—clean vocals, with a bit more sober tones on some of the song, but attitude breaks out intermittently just the same. I’m glad she made it.

Piazza, Rod & Flyers – “Soul Monster” (Delta Groove) B

On his four-thousandth and tenth album, Rod still pulls out all the stops and does great blues, using the talented Miss Honey and some great players to back him up. Bill Stuve is not with the group for the first time practically since its inception which feels strange, esp. since Miss Honey is playing bass on the piano. Nice feel, though Rod still drives me crazy with that distorto harp sound he uses too frequently (what can I say – I like clear tones). Henry Carvajal pulls off some stellar guitar work. Whole album though doesn’t break any new ground and is one of Rod’s more medium efforts.

Robillard, Duke – “Stomp the Blues Tonight” (Stony Plain) A-

Whooeee…old T-Bone Walker guitar player types – they just get better with age! Duke has been driving that big horn blues band sound for years, overlaying it with the smoothest arsenal of guitar styles imaginable. He runs to swing and jazz, but when he settles into the pocket (#2), it just doesn’t get better. On this disc he again demonstrates his faultless guitar attack—so laid back it makes me a little drunk. However, when he lays the lady vocal over the top, maybe it’s me, but it kinda dulls the impression. Great players…duke needs John Hammond back as lead vocalist.

Various – “All Star Blues Revue – Live at Ground Zero, Vol. 1” (Delta Groove) B-

Delta Groove label head Randy Chortkoff puts together a 2-disc showcase of the label’s artists as thrown toether (Live) around the country at various music awards ceremonies. Both discs feature the label’s roster with their main groups, but often personnel switches off to back one another. Potpourri Delta Groove. It is chock full of great players, but the live intros and talking, etc,. make it uneven. Probably great live. Not all that great for morning mix.

Various – “All Star Blues Revue – Live at Ground Zero, Vol. 2” (Delta Groove) B-

2nd disc of a 2-disc set of Delta Groove/Randy Chortkoff’s live artists’ showcase from his label. This one too has a lot of intros and commentary in it, but it’s live. Jackie Payne & the Mannish Boys pull of this discs best tunes…but this collection, like Volume 1 is pretty uneven…most tunes not recommended for morning mixes.

Cathi's CD Reviews 3-24-09

2009-05-25T14:33:00.001-04:00

Cotton, Roger – “A Long Way Back” (Note Music) A-

Ah, old timers know how don’t they? This is a jazz player backed by big horns (featuring our very own – yes!—Tim Riggins) dabbling in blues and rock. Nice harp player and good musicians. I’m not always crazy about big-horn backup, but they keep it under wraps so they don’t overpower the tunes. Vocals pretty good and definitely out front. Good players..Buddy Whittington is a new guitar wizard in England (works with John Mayall) and he bursts out in “No Time For You” with guns blazing on that solo. A disc of adeptly produced and executed blues and a few pop-rockish tunes with an expressive vocalist and jazz inflections (in other words…lots of side dishes). Cotton is foremost a keyboard/organ player—check out the moody, classical-like “A Day in New York”—very textured for about 3 mins. moving into a pop arrangement. 31 flavors on this disc.

Ealey,Theodis – “LIVE” (IFGAM Records) B+ risque

Mississippi blues player – one of 11 children, Theodis played with a few of them from time to time, but has carried his own rep as a lively blues entertainer as well as a player and a great blues singer. This disc was a recording of a live birthday party – and it gets blue in more ways than one. Even the ones that aren’t mentioned as “explicit” (# 7 & 8) are suggestive. This a live performance with a lot of catering to the audience. He’s suggestively descriptive (#2, 3) and goes from there. A fun party blues gig…not sure about radio.

Pitts, Joe – “Just a Matter of Time” (Kijam Records) B

Hailed as one of Arkansas’ best guitarists, Pitts steps right into the electrified Allman Brothers blues rock shoes from the git go. Songs mixed with his electric slide out front…vocal in back, letting listener know immediately this is a guitar player who sings not vice versa. Songwriting has heavy power chord arrangements throughout in the Southern Rock tradition which he handles well. Vocals a little shakey but this is the kinda music you listen to half in the bag so who cares. This here is an old Zep fan with funk tendencies. When he lays back on blues (#8) his guitar really sings. Morning Mix—not so much.

Cathi's CD Reviews 5-17-09

2009-05-17T12:07:00.002-04:00

Martinez, David – “David Martinez” (Indie) C

New discovery working with “Leroy” (Smash Mouth) and Adam MacDougall (the Black Crowes), Martinez comes in with a pop-ish, rock approach. It’s a singer-songwriter, very introspective collection with nice musicianship, but overall, not very impactful. VERY nice lady choir backups, but still, not recommended.

Ramblin’ Dawgs – Rockin’ Blues (Indie) B

Three-song sampler by this New Jersey group, a big electric rock bunch. The first tune is definitely a big stage rocker with all the knobs twisted off. The second tune is a slow one that allows a little of their obvious instrumental prowess emerge. Still topped with that rock voice vocal. Really not bad as a rock sampler, but there ain’t much blue about this except for the three chords. Probably a good drinking, bar band. All too electric for morning mix I suspect.

Ricci, Jason & New Blood – “Done With the Devil” (Electro Groove) A-

The young harmonica wunderkind continues with his “bombastic and innovative” approach to music…declares it blues, but it’s definitely rock driven in equal measure by the talented Shawn Starski and Ricci’s blazing harmonica. Although he teeters on harmonic gym, unlike others (unnamed here) he manages to wrestle it back into melody and percussive motion throughout even the fastest tunes. Can’t argue with the “innovative” moniker or the “talented” or “bombastic” for that matter. Ricci certainly has a lock on that harmonica. Peels off great transitions ordinarily heard only on chromatic, it’s nothing to hear amazing runs at lightning speed that make anyone who plays harp shake their heads in wonder. I plead a lack of vitamins in my makeup for this type music, but I vote yes for the breathtaking imagination and playing. This man is not FROM here! Still on this disc he reins it in from time to time to help us remember he feels his music has a blues base (#7). Some of the other titles and the absolutely raging beats on a few tunes remind us that he definitely IS taking vitamins!

Smith, Gordon – “The Essential Gordon Smith” (Note Records) B+

The first solo album for a British road musician with minimal backing. He is clearly a student of some of the masters (Furry Lewis, Muddy and the Wolf), a good fingerpicker and here backed liberally by a harmonica player doing accents to his acoustic guitar work. He’s an old-timer on the English club scene, adeptly pulling off the old-style acoustic stuff (1 & 2, esp. # 10), yet makes an even better attempt at the Chicago electric approach (Muddy’s “She Moves Me,” and “Home Sweet Home Chicago” lift titled here “Take a Little Walk with Me”). His guitar work (especially resonator and slide--#10, #3) is nice; voice not so much. His electric Chicago stuff is definitely his most impactful. Most okay for morning mix.

Cathi's CD Reviews 4-19-09

2009-04-19T11:15:00.001-04:00

Commander Cody – “Dopers, Drunks & Everyday Losers” (Blind Pig) A-

Wow…seems like the old-timers are wakin’ up and taking another stab at things. After 23 years of no records, Commander Cody woke and puts out a solid disc of what he does best –rockin’ bar music. Lots of the songs relate to his experience (thus the album title, heh heh)…lots of wine and smokin’ references and all in a careening rock and rhythm approach. Cody’s keyboards are still up to snuff, and I bet these guys are a gas live. Everyone’s been around and their playing says it all. This band has always had a great cult following, but never made it that big on record as they are considered best live. They stick in some two-steps, some serious up-tempo country, but overall what we’ve got here is rockin’ bar music.

Insomniacs – “At Least I’m Not With You” Delta Groove) B+

Four blues musicians who seem to have real knowledge of the blues tradition, yet add some rock pep to it without watering down the basic elements that make blues so good. They also have the support of some great old-timers on the West Coast. Junior Watson, Al Blake and the Delta Groove posse. Singer Vyasa Dodson has a good lead vocal—sound kinda young, but I’m looking forward to it maturing --and the band is tight for a four-piece, sweetened here with a little horn backup from the studio. Harp virtuoso guests on #7.

Richard, Zachary – “Last Kiss” (ZachRIch, Inc) B+

French-Canadian balladeer Richard (“Ree-chard”) reached fame at a young age—writing and singing Cajun laced ballads in his native language. Moving back and forth from Canada to his home in New Orleans, he remains a legend to the French-speaking music lovers, but here does his first English-speaking album in 15 years. His vocals still drip with a Cajun lilt, and his songwriting reflects events like Katrina, the sad results of racism, and reflective responses to his heritage and experience. (“Sweet Daniel” – a tune about epidemic of glue-sniffing among Canadian natives—a girl who lost her brother in an explosion related to drug use). He has a keen sensibility for the ballad and the lovely backup vocals that make them stand out. He’s also unafraid to use a big choir backups (“The Levee Broke”). Celine Dion is a fan and guests on a tune he wrote about their mutual ancestry—“Acadian Driftwood.” A nice collection of ballads good for most mixes.

Rogers, Roy – “Split Decision” (Blind Pig) B+

It’s been seven years since former John Lee Hooker producer and slide guitar player Roy Rogers has recorded with his own band, the Delta Rhythm Kings. Been busy doing side projects as a player on soundtracks, songwriting, and such. And I think some of this studio/professional writing-for-an-end result has really polished his skills. He’s got a pretty cool way with words, and it’s clear he can handle a variety of styles. More a “talker” than a singer, his instrumentals are basically killer, moving from the evocative instrumental “Your Sweet Embrace,” to the jazzy “Rite of Passage,” (in which he inserts a tempo drop into searing slide work), demonstrate well-developed abilities. I have trouble with his more crashy rock tunes (“Calm B4 the Storm), but I guess he’s just covering the waterfront . Slide guitar often garners raves even if you murderize it. Rogers is capable of some death-dealing blows, but then come right back with something that knocks your socks off…what can I say? It’s sure nice to hear some great slide playing from someone who knows how.

Shimabukuro, Jake – “Live” (Sony) A+

This is a collection of the ukulele wunderkind Shimabukuro’s live performances, cleaning and beautifully recorded and sprinkled with audience response and his own intros and stories. His playing is dazzling as always, ranging for the sweet and slow, to the breathtakingly skilled physical adventures (Bach). It continues to amaze me – the sounds he can get from that simple instrument. While most tunes are a marvel of one-note prowess, he also applies humor (Me and Shirley T-emple), strumming and even string bending when the song warrants. (Check out his Chick Corea cover-# 5, or his Spanish guitar attack (#7), or his version of Michael Jackson’s “Thriller” (#10), OR his super fast cover of Wes Montgomery (#12). I think George Harrison would have LOVED this guy. ALL Great for any mix.

Wilder, Webb – “More Like Me” (Landslide Records) A-

This old dude is a relentless Elvis fan and balls-out rocker, who can only tame himself with heavy restraints he considers too much work most of the time (smile). All tunes have a hint of rock and “billy.” Tongue-in-cheek songwriting is his forte too. He’s great at his genre, and the humor is a fine-tuning I especially appreciate, and hard to resist in live performance. On this disc, he adds a few slow ones for a nice change up, but then explodes into some Rolling Stones-ish guitar burners—he just can’t help himself. Great for rockers…not so much for morning mix.

Cathi's CD Reviews 4-4-09

2009-04-05T07:46:00.001-04:00

Flowers, Mary – “Bridges” (Yellow Dog Rec.) B+

After 20 years in Colorado acoustic blues-stellar fingerpicker,Mary Flowers moved to Portland and found herself immersed in an eclectic musical scene, both acoustic and electric. Here she dabbles with some of Portland’s premier musical figures. She plays such great acoustic guitar and writes nice rags, against which her vocals really don’t stand up well (sigh), but there’s some wonderful playing, backed on many tunes by her son on bass and peppered with a variety of unusual arrangements on everything from banjo to tuba. Many of this disc’s songs are reflective of her move and travels. Beautifully backed by talented musicians. Truly a wonderful player…instrumentals are hard to match. All songs good for mix…

Johnson, Shirley – “Blues Attack” (Delmark) B

Shirley Johnson has been working the clubs in Chicago since 1983. She’s a regular in the clubs and is here backed by some of her regular Chicago players. Johnson doesn’t like to travel, but holds a steady blues line in the blues city. From the same vocal school as Koko Taylor, Johnson doesn’t stand out that much but holds her own as a blue-city representative and specializes in mid-tempo club blues – most suitable for morning mix.

McGee, Pat – “These Days (The Virginia Sessions)” (Rock Ridge Records) C+

Rock band with accents on heavy harmonies that don’t hurt a bit over pop-laced originals. This is a mostly opening, cruise-workin’ road band. Seven years on a “big” label, now working for an independent and pushing the AAA format a la Dave Matthews, but songs sound he same-ish to me.

Shelton, Big Joe – “Black Prairie Blues” (4 Alt 5 Records) A-

Sounds like a house party..live wirin’ behind Big Joe’s straight-ahead harp, and rough-edge vocals. Big assist from Lynrd Skynard bass & guitarist – Ean Evans. Kicks the energy up a notch and drummer falls under the spell too. This is an electrified get on your feet dance record. Raw-edged blues rock. Also a nice guest spot by Willie King on # 8. Can’t decide if it’s more blues or rock, but for sure this is a juke rockin’ bunch.

Smith, J.C. Band – “Defining Cool” (Cozmik Records) B

Big Band blues with horns, led by “Johnny Cozmik,” a blues caller who does a daytime DJ thing on KKUP FM radio. He’s a shouter as a vocalist, perfectly serviceable, but I suspect this group goes over as a big band with a flashy dressin’ front-man (the only time I’ve ever seen thanks on an album cover given to a clothing store—and press talkin’ that aspect up so big). Calling himself “Mr. Fabulous” and his album “Defining Cool,” methinks he protests his prowess a bit over-much, but hey – whatever gets you through the gig. Don’t think he’s got much on Duke Robillard or B.B. though.

St. John, Mark – “Big Man Talks” (Little Eva Peron Records) C-

I thought this was a joke. I think this guy is a Shaggs brother or something. Eeek. Not recommended.

Too Slim & The Taildraggers – “Free Your Mind” (Underworld Rec) C

Rock with a slammin’ drummer even on the slow ones. Most are medium tempo rock with some sustain lead and kind of a talk vocal. Power chords over not much in the way of song construction. Nice lady backups from time to time. #4 & #6 sport “bitch” and “hell” in the lyrics. Last tune has nice lady vocal.

Cathi's CD Reviews 3-15-09

2009-03-15T18:05:00.001-04:00

Fleetwood, Mick – “Blues Again” (529 Records) A-

British blues – it was always electric and rockin’ and Fleetwood was in on the roots of that movement. In early Fleetwood Mac Peter Green electrified this sound for a whole new wave of contenders. After all the pop years, he now brings in old friend (and hot guitar slinger) Rick Vito to help the cream of that sound rise to the top once again. Nice on the ears after years of slammin’ bashers. He can rock it in the pocket without too many notes or too many instruments—another lesson in spare but efficient. And atop this – it’s live and nicely mixed. Cool.

Lindell, Eric – “Gulf Coast Highway” (Alligator) B+

Alligator’s new wonderkid, Eric Lindell sings a lot like Van Morrison and it’s nice to hear someone with some great vocal phrasing and soulful expression. He’s also a good songwriter who is getting heavily influenced by the New Orleans beat and sound (his new adopted home). Most of these tunes are heavily backed by horns and arrangements. I wonder how some of them would be even more soulful without all that instrumental “cover” competing for listener attention. But I’m hanging in there for the long haul—it’ll be interesting to see where this great singer takes his music. He’s be a knock out as a soul singer. None too shabby as it is.

Schmidt, Danny – “Instead the Forest Rose To Sing” (Red House) B+

Newly signed and touted by Red House Records, Schmidt is a fanciful writer with some great “furniture” in his story-songs…typical for Red House Artists. Easy songs to carry your fancy aloft to melodious and spare guitar work backed some fiddle and harmony. Very nice for most mixes – most tunes of medium and slow tempo.

Walker, Seth – “Leap of Faith” (Hyena Records) A

Walker has really inspired Delbert McClinton and Gary Nicholson (two VERY great Nashville songwriters and performers) with his singing and writing abilities. Most tunes on this disc are written by Seth in partnership with Gary Nicholson. His vocal delivery is really rich and with this professional backup band, he really kicks booty. He does particularly with the midtempo, catchy beats that allow him to nurse infectious beats, but his voice really lets go on some of the slower ones. He can do the Sinatra-esque stuff in front of an orchestra (I Got a Song), but then lay back on a good beat (Memory Pain), that are always Nicholson specials. He’s got a little Jimmy Vaughan on those blues vocals, but a wider range overall. He does a little something of every beat here and they all got groove. Cool future for this guy and our ears.

Cathi's CD Reviews 3-1-09

2009-03-01T17:51:00.002-05:00

Deena – “Somewhere in Blue” (Verbena Music) B+

Childlike vocals over somewhat disjointed songwriting. A little Blondie…then some country touches squeezed in between New York rock…I’m so confused! Ramblin’Dave “with your beautiful wife and your blueberry wife—why’re yu messin’ with me?” Followed by real country strains and lyrics that claim the moon’s “sunning itself in the cosmic wave?” Then back to New York with Science Fiction’s “Feel my telepathy…magnetic poetry” rock attack. New wave-country? You’ll have to figure this one out – I’m too old…even though I can’t help but be a little charmed in my confusion.

Ernie & The Automatics – “Low Expectations” (Open E Records) B

Six-piece old-time rockers kick out the jams a la Boston. They’ve been around the block and know how to kick it. A rock-screamer vocal adorns most tunes with some Eagles-sustain on guitar. Muscular drums and power cords backed by some horn touches. All playes adept--Chicago goes Eagles. Completely …rock (even # 7 which goes for a blues feel). Not suitable for morning mix…head-bangers delight.

Falzarano, Michael – “We Are All One ” (Woodstock Records) A-

Hot Tuna/Riders of the Purple Sage veteran Falzarano assembles friends (which include Jorma Kaukonen, Garth Hudson, and Vassar Clements among others) to put out his third solo disc of mostly originals. He’s definitely at home doing the medium tempo New Orleans grooves, mixin’ in some Band-like kickers, and some straight ahead rockers, with Vassar Clements accents in some strange places. Very cool collection of eclectic rock & groove with an amazing collection of amazing musicians (26!).

Fowler, Damon – “Sugar Shack” (Blind Pig) C

A straight ahead rock ‘n roller and road dawg. Nothing stands out. Not really recommended.
Some nice electric slide in places.

Freeworld – From the Bluff” (SwirlDisc) B

A big band from memphis picking up the horns, southern jam tradition. Got t’funk when they need it and trade off vocalists – some soulful, some funky . There’s even a little psychedelic running on here…all good instrumentalists…but the “melting pot” of sound doesn’t seem to come together for me. A little too 70’s horn band for my druthers.

Hall, Ricky Gene & The Goods – “Bam” (Yard Dawg Rec.) B+

Ohio-based trio with a bluesy approach to R&B/Rock based tunes. They do a couple Delbert McClinton numbers--their musical base seems akin to his. Players are older and definitely done their time. Lead singer plays guitar without all the electronic bells and whistles (only fingers – wow). Bass and drums keep the pocket solid throughout and the beat change-ups make this disc very listenable. Not that good for morning mix, but great for all other mixes.

Hart, Kate – “Alone Again With Friends” (Indie) B

Detroit singer backed by old time bluesers “Doug Deming and the Jewel Tones”. Lots of credentials for her live performances and a big blues beltin’ voice. This disc, filled mostly with original tunes, is studded with her world-weary vocal delivery that brings up a vision of her slouchin’ in a chair chain-smokin’ God-knows-what. She doesn’t mind laid-back phrasing on the slow ones which emphasizes her vocal confidence and conjures up a little Billy Holiday. Throws in some Bo Diddley that hints of legendary stage show (showwomanship doesn’t always translate in this recording). She’s got fingers in many pies, including a makeup and clothing line and some film work. Renaissance woman…she’s leakin’ talent…it remains to be seen what the forte will actually be.

Hundred Year Flood – “Poison” (Frogville Planet Records) C+

Quartet with two good female singers add the rate vocal balance that really puts over even pedestrian songs. A song here hints of Mamas & Papas; another of Buddy & Julie Miller rockin’ it; and of reminds me of Mamas & Papas, but all tunes (produced by Andy Kravitz) are definitely rock-based…not necessarily melodic, but interesting.
I can dance to it, but I wouldn’t necessarily give it a “76.” Not really recommended.

McDonald, Beth – “Home” (Classic Avenue Records) B

Nightclub chanteuse doing jazz-tinged ballad stuff for the cocktail crowd. Nice enough voice, but this road has been well…WELL traveled. Seems like a nicely crafted soft jazz record for happy hour. Not bad, but not particularly recommended. Most songs okay for all mixes if you feel like a martini.

Mumbles, The – “The Mumbles” (Mumbles) 2008 B+

Two members of a band were the only ones to show on a gig, proved they could cut it alone, thank you very much. An innovative duo of piano-voice and drums added a lady on guitar-voice and put over an edgy but cool sound of their own—Rickie Lee Jones’ nephews run amok. This EP is a testament to how sparseness can really deliver-great jazzy feel and catchy imagination. One or two songs feature some horn touches with guest brass, but overall is amazingly groovable.

Piper, Anni – “Two’s Company” (Blues Leaf Records) B-

Austrailian, bass playin’ singer fronting a band with an okay, smokey voice. Nice to listen to her vocal tones. Music is sometimes groove-worthy, but mostly kind of pedestrian blues of the rock-tinged kind. Okay – no cigar. Bet this lady gets a lotta guys to carry her amp though.

Pitts, Joe – “Just a Matter of Time” (Kijam Records) B for gtr; C for overall disc.

Guitarist noted for slide playing and his guitar work is certainly nice. Lots of guitar players are getting the hang of it, but what they do with that skill is the interesting part. Pitts has clearly found a smooth guitar tone and style, but his musical choices don’t necessarily stand out to me, and his voice is only adequate (no crime, but no cigar).
Not really recommended.

Studebaker John—“Waiting on the Sun” (Avanti Rec) B

Studebaker John (John Grimaldi) is a Santana fan and you hear a lot of that kind of guitar playing amidst the blues beds on which he rests his music. Okay songwriting…organ comping beneath his guitar antics….(guitar clearly his skill although he throws in an arsenal of instruments on overdub – harp, percussion, synth). He grandstands on harp—paid by the note no doubt. Though musicianship is adept and some of the songs invite dancing, I can’t say it really moves me one way or another. Not good for morning mix.

Wright, Rusty – “Playin’ With Fire” (Sadson Music) B

Lotsa references to “fire” all over the cover, promo and label of this disc. Hard not to know it means here is another guitar player Steve Ray Vaughan is gonna have to answer for. Disc kicks off with real evidence of same. Double vocals (male/female) are a different overlay to the incendiary guitar work that picks right up where SRV left off. Lots of sustain, southern rock and SRV. Interesting Hammond B-3 support work. Whole disc summed up with Change in the Weather’s “I’m gonna crash & burn and never learn, but what a ride.” Headbangin’ special.

Cathi's CD Reviews 2-8-09

2009-02-08T12:53:00.001-05:00

Burton, Charles (Blues Band) – “Everybody’s Talkin’” (CB Blues Band) C

Rockin guitar slingerr with a bunch of fine hot licks, straight-line vocals that barely carry it, and a garage duo (bass and drums) backup. More rock than blues. The Guitar is clearly the meat and potatoes here…a road band.

Copeland, Shemekia – “Never Going Back” (Telarc) 2009 B

Bursting onto the Chicago blues scene shortly after the death of her famous (blues artist) dad Johnny Copeland, Shemekia wiped up the floor on first work with the Alligator label, but it was soon apparent she was discontent to settle in the blues niche – instead sticking in a little R&B tinged rock. This disc is the first she’s had out in awhile and on a new label—Telarc—and with a new posse to give her even more of a rock-popular sound (and a lot of their originals with instrumentations/arrangements). She’s still got the chops…it’ll be interesting to see how folding in her idea of different, socially conscious material will serve her. Interesting covers—Buddy and Julie Miller’s “Dirty Water,” and Joni Mitchell’s “Black Crow” (really stretchin’ her vocal ideas). She’s feelin’ around for her natural groove…not sure she’s located it yet.

Kent, Luther – “The Bobby Bland Songbook” (Vetter Communications Corp) B

Here’s a Crescent City guy who nurtured a life-long true love of Bobby Blue Bland, went through decades of his own career, earning all kinds of awards, and eventually revisits his love of BBBland with a host of hand-picked New Orleans musicians to back him up. Lots of horns and big arrangements behind his hearty and expressive vocals. He’s definitely taken big pages from Bland’s style, but interestingly enough, his own confidence and experience clearly keeps him using his own voice to try to honor his idol. Not really my thing, but not too shabby…it takes some serious mojo to sing this kind of stuff.

Lightnin’ Red – “The Groovemaster” (LR Productions) C+

A growling electric slide guitar approach to rock blues. Probably a good dancin’ and drinkin band with the organ giving it a different twist. A party band I’d venture to say, along the Allman’s Brothers line. Lightnin’ Red has an okay voice, and occasionally piles on some nice lady backup vocals, but overall, not that exciting. Not bad, but not really recommended.

Moreland & Arbuckle – “1861” (Northern Blues) C

Raw is a word that continues to come up in this group’s press. Unshaven is another word that appears a lot. It’s a trio of guys who play electric blues with a lot of distortion – on harp as well. A garage kind of blues from Kansas. Nothing harmful, but nothing really outstanding to me. I would call this a C grade blues and hope they have a lot of fun in the clubs. Not really recommended.

Morrison, Van – “Keep it Simple” (Exile Productions) A-

A mellow return to Van’s old gruff ballads and introspections. Sometimes a tinge of country and a little blues the melodies are overlaid with the haphazard soul that leaks out whenever Morrison opens his mouth. Still keeping it simple, but every once in awhile he hits it square on the head (#4) and knocks it out of the park. Interesting addition of things like banjo and mandolin on a few tunes. He sticks with the emotive slow ones that allow him to stretch. This is the voice of a guy who’s been there and back and leaning back under the shade tree. Good for all mixes.

Nemeth, John – “Love Me Tonight” (Blind Pig) B+

It’s always exciting when a young person jumps onto the scene with great natural vocals. Nemeth electrified the LA posse with his first blues disc.. Delta Groove stars backed him and he did serious wailing. This disc is him taking off on his own material-wise (though still carrying some heavyweight player-favorites like excellent Jr. Watson bassist-Kedar Roy). His songs are a little pop-worthy an occasional rock/blues edge. You can hear the potential he carries as a singer and he’s already a hot harp player, but I think he’s got some hijinx to work off before he settles down to songwriting that displays his talents to their potential. (He’s got some roadhouses to conquer.) That said…he’s got it going on in songs like “Fuel for Your Fire,” and the slow ones where he leaves from for his voice to get expressive and soulful. He nails it on #10 and #11.

Cathi's CD Reviews 2-1-09

2009-01-31T18:01:00.002-05:00

Brown, Mason – “When Humans Walked the Earth” (Round Shining Music) A

A beautiful record of down home folk and Celtic music of the common man (that man often being Irish). Appealing tunes suitable for all mixes…the kind of front porch fiddlin’ and sweet tenor guitar work (not to mention a variety of odd excellently played stringed instruments) that unabashedly speak of real people and experiences. Vocals a little plain, but that’s almost appropriate really. Tinged with enough Irish and hard luck to be what I truly think of as folk music. It’s been awhile since I’ve unadorned music from the dirt—honest and clean. I remember when humans walked the earth.

Coloma, Lluis – “Boogie Portraits” (Fresh Sound Records) A

Coloma pulls together a cast of piano players who take turns doing their versions of piano blues, boogies and ballads…all doubling with Coloma (one on each channel). Little backup except occasional rub board and drums. Interesting concept, and all players are very skilled. Columa not a bad singer on the few with vocals. So rare to hear a contemporary all-piano disc, and this recording highlights a lot of them on the scene today. This is a Craig Brenner delight.

Jo Buddy & Down Home King III – “Whole Lotta Things to Do” (Ram Bam Records) A

Jussi Raulamo (Jo Buddy) a guitarist from Finland, partnering with a drummer (Down Home King III – there’s a I and II?) on their version of the blues – all original tunes recorded live. Described as “roots gumbo” the music is blues and draws you in with a smile. Jo Buddy has been on 28 albums (!) and worked his show all over Europe. He’s 40 years old and plays rhythm, solo and bass on his archtop guitar over his drummer’s (16 years younger) beat. Very ballsy…primitive and yet with a pocket all his own. I’m not sure exactly what to call this. Finlandiana roots-blues? Sometimes out of tune, but never out of groove…this is a one-man band who picked up a drummer and feels it every time. This guy is definitely an original who can definitely show us a little bit about feel (check out # 4 or 7) – Finland gut-bucket stuff..who knew?

Jones, Bobby – “Comin’ Back Hard” (Delta Groove) A-

What a place America. Out there on the West Coast, Randy Chortkoff worked in the movie biz. He loves the blues though and so started throwing his dough around to establish a label—Delta Groove. Since then he’s put out some of the prime blues recorded these days and of course in addition, he’s established a stable of red-hot blues stars. His primary band (naturally he is a budding harmonica player-smile) is the Mannish Boys who (along with a posse of impossibly good West Coast blues players) gets bigger and bigger. Randy’s always keen on old-timers in the blues and one day while recording, his keyboard session guy brought along a friend who sat around to listen. After a day or so he got up to sing and blew them all away. Turned out he was the retired singer for the Chicago band (50’s & 60’s) the Aces, who were THE backing band in Chicago back in the day, working behind Little Walter. So Randy, jumping up and down, threw the whole posse behind Jones on this “come back” CD. The band line-up could make Tiny Tim sound great, but this guy pulls out his chops and stands right up there with him. Little Randy C is digging the American dream…and so am I.

Roberts, Martin – “Plain Hard Truth” (Cold Truth Music)

Neighborhood friends who put together a disc of blues…obviously pursuing a love of blues, but though they have some good instrumentation, the tunes are overlaid with bad vocals and mix is equally bad. The Plain Hard Truth here is this disc is painful…not recommended.

Various – “Classic Piano Blues” (Smithsonian Folkways) A

Piano was the first instrument of the south and Chicago – the juke joints and houses of ill repute, not to mention a fixture in any supper club or southern parlor. It’s no accident that the blues got a good grip on people through piano, and Smithsonian Folkways (as they so often do) does it up brown (sic) with this great collection of old-time piany players. Stride, roll, and boogie…here are some of the top old-time bluesers of that vintage period. Great for pretty much every mix. Often live recordings. A great historic collection, though perhaps not resonating as much as it deserves with a modern audience…but we can always hope!

Cathi's Reviews - 1/25/09

2009-01-25T14:44:00.000-05:00

Davis, Guy – “Sweetheart Like You” (Red House) 2009 A

Storyteller par excellence, Guy Davis is back with some great stories. With some live cuts and others purely acoustic living room stuff – at which Davis always excels. Very personable stuff and some nice blues laced throughout. Good for all mixes.

Marshall, Bex – “Kitchen Table” (House of Mercy) C-

Scratchy voice chanteuse with some occasional nice pickin’, but songwriting and overall sound – no cigar. House of mercy might need some. Not recommended.

Saffire-Uppity Blues Women – “Having the Last Word” (Alligator) A

Well it had to happen. After 25 years Saffire is calling it quits. They’re leavin’ at the top of their game and this CD reflects that – filled with Gaye’s baudy double-entendres, Ann’s rollin’ piano, and Andra’s sassy vocals, layered with everyone’s skills on a variety of instruments and all singing. We’re gonna miss that sass and the regular doses of “girl-big bod” pride. Most tunes here good for all mixes…but watch out for the slippery suggestions and an occasional “damn.” (See FCC listings below.) I hope they do lots of great things in their separate careers—they certainly made good stuff of this one.

Various – “Cadillac Records—Music from the Motion Picture” (Sony-BMG) A

Music from the upcoming release “Cadillac Records” this disc comes chock full of some heavy hitters. Famous arsenal-of-styles-guitarist Billy Flynn leads off the weaponry along with guitar heros, Eddie Taylor Jr., Hubert Sumlin, Danny Kortchmar; Kim Wilson on Harp, Steve Jordan driving the beat on drums and sit ins with Mos Def, Jeffrey Wright, Beyonce covering the songbird seat, and others – wicked good music to tell what I hope will be a great story about a record company that really supported the blues. You heard Beyonce’s version of At Last all over the place as it was the “first dance” for Obama and his wife throughout inauguration night.

WSNB – “Oktibbeha County” (WSNB - Independent) C+

“We Sing Nasty Blues” (WSNB) – a southern blues band with harp, slide guitar, rough singing voice…a little Creedence-like, but medium-tempo songs run together nothing really stands out for me. Every song has some kind of kick in the arrangement a la ZZ Top. Not too enthusiastically recommended.

Wonderland, Carolyn – “MissUnderstood” (Bismeaux Productions) B+

A Texas shouter a la Janis Joplin, yet she can back off and sing texas country ballads and jump right into a rocker a la Zepplin (5). Plays some nice steel guitar, but the voice does the talkin’ on this disc. Songwriting vies with beat changeups to draw attention. She’s more rock than blues. I think we’ll hear a lot from this gal…she can carry her weight vocally and then some.

Cathi's Reviews -- 1-11-09

2009-01-12T13:37:00.000-05:00

Alexander, Arthur – “Lonely Just Like Me: The Final Chapter” (Hacktone Rec.) A

A fabulous songwriter and singer, Alexander penned and wrote a great many songs that were covered by the Beatles, the Rolling Stones, and Bob Dylan long before anyone had heard of him. A tumultuous relationship with fame left him “undiscovered” even after that, but just as those famous musicians drew attention to other musicians (most notably a lot of Afro-Americans stuck on the Chitlin circuit over here in the States), The British boys’ attention to his songs, but as a writer he was secret hero to John Hiatt, Keith Richards and a long list of others…leading to a record he made late in life: “Lonely Just Like Me.” Masters of “feel” – Dann Penn , Spooner Oldham, Gary Nicholson, etc. had a heavy hand in backing the star. The success of that record was immediately and unfortunately followed by Alexander’s death. This CD is a collection of some of his best recordings done at that time, coupled with live, radio, and recorded performances. A great prospective on a really great writer/singer.

Various – “Broadcasting the Blues” (Southwest Musical Arts Fdn.) B

A great collection of blues artists that appeared on Bob Corritore (owner/operator of Phoenix’s “Rhythm Room” club and long-time DJ/harmonica player) radio show. This is his 25th year on the air and these cuts represent some of the greats who have appeared on air. Clubs are getting scarce and Corritore keeps his going and his radio show helps keep them alive so more power to him. Nice selection of acoustic-live radio blues and commentary intros from a wide variety of old and young blues stars (Billy Boy Arnold, Billy Flynn, Lazy Lester, Otis Clay, Lowell Fulson, etc. Good for all mixes.

Various – “Tribute to James ‘Yank” Rachel” (Yanksville Records) A

Admiring artists do versions of Yank’s mandolin blues. S’ got John Sebastian, Rich DelGrosso, Tim Obrien, Mike Seeger, and even Indiana’s (and Yank’s Friends Allen Stratyner and Gordon Bonham) and his devoted granddaughter, Sheena—what a tribute. This is a treat to see his old songs done on mandolin and keeping his spirit alive. These are great tunes – done extremely well and Yank would have loved it. All good for all mixes. Play and enjoy ‘em!

Cathi's Reviews -- 12/16/08

2008-12-16T17:16:00.002-05:00

Los Lonely Boys – “Christmas Spirit” (Epic) A+
Those fabulous Latino harmonies and tight musicianship to give a “gift to everyone” of Christmas wishes. So interesting and cool to see how a group like this can adapt their style to something like Christmas music. This is a great record despite the limitations of Christmas music. You’ve got some Chuck Berry rockin’…some boogie woogie and very cool and imaginative instrumentation…and oh those harmonies. Christmas music doesn’t HAVE to hurt!

Various – “Jazz & Blues Christmas” (Putumayo) A

Oooweee, why wasn’t Christmas music this swingin’ when I was young. A great bunch of R & B/jazzers put together great musicianship on some famous standards and some they just made up! Great for all mixes.

Cathi's Reviews--12-15-08

2008-12-15T16:09:00.001-05:00

Estes, Sleepy John – “On 80 Highway-With Hammie Nixon” (Delmark) B+
Acoustic blue master Sleepy John Estes and his regular harp man, Hammie Nixon appear here in a 1974 performance. Estes has inspired hundreds of blues players and Nixon was his largely unsung expert on harmonica. Players in the know understand his tremendous influence on harmonica players who followed…his expert ability to back a guitarist/singer, yet not step on his parts…a fantastic support player. These two often worked with Hoosier great, Yank Rachel (on mandolin) and were troubadour who brought music up and down 80 highway and beyond. Wavery vocals on great topical songs and front-porch music of an era long gone. Good for all mixes.

Evans, John – “Lucky 13” (Smith Music) B+
Labeled a country-Americana player, Evans is Elvis Costello, and maybe, uh…a cowboy Jr. Brown. Too tight suit, bow tie, deep voice and album cover consisting of a busty girl cartoonette with tattooed boob. I think there should be a special category…honky tonkin’ cartunes. He can be smooth…deep voice, comedy lyrics, very adept musicianship nearly obscured by funny songwriting, and skewed brain cells. Interesting at worst, lots of fun at best.

Howell, Steve – “My Mind Gets to Ramblin” (Out of the Past Music) B+
Wonderful country acoustic guitar blues playing with a wonderful feel. It was so good, I worried the vocals might compromise it, but was pleasantly surprised. Minimal backup instrumentation though sometimes mix uneven. Guitar and “feel” of the old acoustic country blues are the stars here. Very nice to hear that music played with such finesse. Main vocal plain but not offensive, and sometimes assisted by sweet backups, and as I said—the guitar work is really good. Nice stuff for morning mix.

Rishell, Paul & Annie Raines – “A Night in Woodstock” (Mojo Rodeo) A
Acoustic blues Duo Rishell and Raines pull out their country blues live in Woodstock. Joined in a gig at the last minute by friends John Sebastian and Bruce Katz and a film crew (filming on the subject of old “jug music”) Annie and Paul put forth their usual great acoustic show, polished up with some great double harp, keys, Paul’s great guitar and vocal work, topped with Annie’s vibrant harmonica work throughout and an occasional original and lady vocal! Very nice for all mixes—a sterling live recording. It’s hard to put this stuff out live, but Annie and Paul always do. One of the best resonator guitar performances I’ve ever heard was Paul’s cover of Johnny Winter’s “Dallas,” but naturally right at the end Paul says “so much Shit in Dallas” and ruins it for radio play – FIE! Paul is almost a curmudgeon insisting on honoring traditional paying and he’s sure got the chops for it. And Annie has a delicate, appropriate support style that matches him perfectly. Fine stuff.

Various – “Fifty Five Years of Blues” (Delmark) A
Bob Koester sure has a lifetime of wonderful music in his Delmark catalog and I doubt blues and jazz lovers will ever be able to fully thank him for all the work he did to build and support music. Yet I suspect he had some fun along the way (!), and this is a short sampling of some of his great Delmark blues stars through the years. Some are Chicago stalwarts who never much liked to travel; others died too soon—many only recently; and some became world reknowned. This is a nice selection from that esteemed label—mostly tunes that were some of the artists’ best releases. A very nice cross section of Chicago blues—mostly good for all mixes.

Cathi's CD Reviews 12-1-08

2008-11-30T18:30:00.001-05:00

Bridge, the – “Blind Man’s Hill” (Hyena Records) 2008 B

New Orleans southern rock & funk– character songs with nice stories with music flavored with Dr. John and Band influences. Acoustic numbers really let solo vocal and guitar shine. Overall, plenty of great vocals and backup vocals—great fiddle and mandolin work, too, but somehow many of the tunes don’t stand up and grab me.

Conrad, Burt – “Home At Last” (Sea Bright Records) C

Shaky vocals and somewhat “Sting-Y” compositions rife with half-steps up and down, until the melody (such as it is) suffers. Very nice players – Bernard Purdy on drums (great), and some good saxophone work. Might be a good cocktail neighborhood bar album, but not really recommended.

Daniels, Chris & The Kings – “Stealin’ the Covers” (Moon Voyage Records) A-

A big brass-horn, 7-piece band that has covered some serious geography with the big-band rock sound. This is a collection of tunes featuring some heavy hitters (Bill Payne, Sonny Landreth, Sam Bush) guesting with the boys. Tower of Power-ish/Little Feat-ish with some blazing good musicians. Pretty slick, big band, rock/pop music.

Egan, David – “You Don’t Know Your Mind” (Out of the Past) B+

Piano player that plays some expressive blues as a soloist and leader of band…moves from boogie thru NY smooth/lite jazz with lady vocal (#3) and comes back to New Orleans piano funk. Piano blues (especially slow) is a rare animal these days. Egan pulls it off nicely, especially with such light emphasis on guitar support. He has some about equal measure “okay” tunes and some really fine examples too. Nice to hear some different blues piano.

Gross, Dave – “Crawlin’ the Walls” (Swingnation Records) A-

New young guitar slinger (23 – eek) who clearly has the feel of electric and swing blues. Quite a veteran of the electric blues scene, it’s evident he knows what he’s doing. There’s a little too much going on (many, many instruments, horns, etc.) on this disc for my money, but it scores with a big-band sound like Robillard, and jumps into swing blues like the Love Dogs with all those horns. Really good players. He’s a songwriter, producer and player…this kid’s goin’ places.

Katz, Bruce – “Live at the Firefly” (VizzTone) B+

A live album by the famous sideman (organist) and road sidemen for a variety of famous players. This is a cool collection of jazzy instrumental blues tunes—mostly originals. Guitar work by Chris Vitarello is tasty and emotive. Very nice listening music – good for all mixes.

Pisano, Rick – “Dawn of a Waking Man” (Brothers II Productions)

Growly voice over garage rock and an occasional slow one with shaky (kinda campy) voice. Nothing too interesting here. Even big chick backups can’t save this one…not recommended.

Sicilia, Gina – “Hey Sugar” (Swingnation Rec/VizzTone) B

Another youngster—23 years old, belting the blues on a record produced by contemporary Dave Gross (who plays guitar here), Dave Maxwell on Piano, and Dennis Gruenling on harp. Sicilia really belts ‘em. Even the slow ones come over like she’s pushing it. This gets a little tiring on the ear, but when it works, it really works (5) and she moves easily across the notes—reminds me of a early Ronstadt. Would like to hear her sing something whispery and soft – but hey I’m greedy.

Various – “The Future of the Blues” (Northern Blues) A-

Northern Blues is an up-and-coming Canadian blues label, and here offers a collection of its artists and some of their best stuff. A good blues collection. Artists range from uniquely original (Watermelon Slim) to young bluesmaster, JW Jones, and old time blues lover Samuel James. Smooth Bluesers “The Twisters” and award winning Paul Reddick also get in their licks as does Mem Shannon. Nice variety and a cheerful sample of the fact that the blues just keeps getting reinvented and renewed.

Walker, Toby – “Hand Picked” (Band in the Hand Rec.) C+

Acoustic Guitar – very nicely played. Singing rough and story songs akin to Catfish Keith. Several tunes suggestive…probably great live entertainment, but not compelling here. All songs sort of mid-tempo acoustic selections.

Cathi's Reviews -- 10/20/08

2008-10-20T10:20:00.001-04:00

Arnold, Mac & Plate Full of Blues – “Backbone & Gristle” (Plantation
Productions) B+

Mac Arnold is a South Carolina country boy who made his first instrument and was playing bass for James Brown at age 16. He worked with Muddy, JL Hooker and then was a producer for “Soul Train” in L.A. After a lifetime of road, he now lives in Carolina where he occasionally drives a rig, and most of the time grows a garden and cooks for “anyone who is hungry.” Thus his band “Plate full of Blues” who are all much younger and side-track Mac to gigs, always getting back in time for Mac to cook Sunday dinner. He’s takin’ it slow; they’re just talkin’ it, and together, it’s full of some great blues penned by Mac, a lot of his vocals, some of his bass playing, and even if the “kids” sometimes get carried away, he’s got the groove and they’re havin’ fun.

Brown, Ray, Jr. – “Friends and Family” (SRI Jazz Records) B+

Man oh Man…when your mom is Ella Fitzgerald, and your dad is famous jazz musician Ray Brown, something’s gotta give! Growing up amidst jazz “Royalty,” Ray always sang, then became a well known drummer and fell in love with song writing. Not particularly attached to jazz like his folks, he always loved country and R & B. Yet here, after a lifetime full of music, with that smooth singing voice, he duets with an amazing variety of great musicians/stars, old and new in some Verrrrrrrry smooth, cocktail hour jazz, with some twists into New Orleans funk to soul and back.

Burnside, Cedric & Lightnin’ Malcolm – “2 Man Wrecking Crew” (Delta Groove) B

Grandson of RL Burnside, and an experienced drummer, Cedric Burnside has worked with “Lightnin’ Malcom (also a session and well traveled blues-guitar player). Burnside blends some cool funk and hip-hop tones to his delivery of songs. The duo kicks booty in an raw and electric blues way – no holes barred, adding some steamin’ backup vocals by Bekka Bramlett and Etta Britt and even some harp by wunderkind, Jason Ricci. You gotta think a minute to realize is a duo for the most part. A Power electric blues duo that relies more on beat and and minimal guitar stunts than loud. Interesting new generation of the blues. Cedric sounds pretty at home on those vocals. Check out #3—old-time callin’ blues with the big chick backups, yet electric with it’s own new twist. Songwriting sounds amateurish, but they got the beat in their toolbox, and some adept (electric) guitar…and they be young – so all right.

Haddix, Travis “Moonchild” – “Daylight At Midnight” (Earwig) B

Son of a sharecropper by day, juke joint musician at night, Travis has been playing blues for a LONG LONG time, and is adept at playing guitar, and making a name for himself as a blues songwriter. Still he’s done the real life in between periods of gigs – worked at General Motors for 22 years and a military vet, his guitar playing reflects that maturity. He does all originals here and sings in a light kind of voice on this disc. He’s got a big band with horn backup…akin to his inspiration (BB). All in all it’s a blues bar sound, but doesn’t necessarily stand out and grab you. Many medium tempo tunes.

Keith, Catfish – “If I Could Holler” (Fish Tail Records) B+

A solo performer who specializes in acoustic, finger-pickin’ blues on a resonator guitar, most often a “stomp” board beneath his “Italian” loafers for a good beat. (He once told me they’re a requirement for a stompboard. A mischievious growly voice accompanies his absolutely stellar guitar playing. He’s a character who often refers to himself in the third person, describing “Mr. Catfish’s” technique and/or travels. He really sets a unique tone for his own brand of resonator, pickin’ blues. This is his 11th album, all on his own label, concocted all alone but for his number one fan and record label runner, wife Penny. Can’t say too much but good stuff for that guitar pickin’, though I find his “characterization” of himself a little disingenuous, but hey – I can’t play like that! Good for all mixes.

Mandeville, Liz – “Red Top” (Earwig) B

A Fourth disc on Earwig for Liz Mandeville (who used to hang “Greeson” on the back of her name until now). Sassy and raunchy, she plays guitar and delivers in a blues-shout style, with growls and aggressive phrasing. She writes all her tunes like a gal used to matchin’ shots until the early hours. Good for live rockin’ and jukin’. Eddie Shaw really adds on a couple of tunes with his sax…especially on the rocker (# 14).

Thackery, Jimmy & Drivers – “Inside Tracks” ( Telarc) B

Guitar flasher Jimmy Thackery has had it with guitar gym as his only calling card. He can still pull it out on demand, but has turned to songwriting tunes that mean something to him. His voice is getting aged and the tunes lean heavily into the country vein, but man when he fires up that guitar (no matter what the speed), it just sings. This is an interesting album from a guy who only recently confessed he thinks NRBQ are the “Beatles” of America.

Cathi's CD Reviews 8-5-08

2008-10-05T18:49:00.000-04:00

Coldfire, J.T. – “Crazy Sun” (Indie) B+

Minimalist blues approach – sometimes just guitar and harp, fattening to drums and bass on some. COldfire grew up in the 80s listening to his dad play 50’s music on the piano…took immediately to stringed instruments and went professional at 13 after falling hard for his local (Texan) guitar heroes. Wild for SRV, etc., he left for New York at age 21. There he began to feel there was not that much difference between country and blues, and kept open ears to widen his approach to songwriting. Sounds like it did him some good. Really refreshing sound – a feeling for old-style blues with new approach to songs. Young-sounding voice/killer guitar chops. Really do like themore traditional-sounding/acoustic songs best though.

Ellison, Scott – “Ice Storm” (Earwig) B+

A Tulsa native heavily influenced by Motown and Memphis, which led to a great appreciation of BB King and the blues, Ellison has a Luther Allison guitar screamin’ approach to blues, but can peel back the fuzz and make the guitar cry and sing when he wants to. His voice is a little gravelly and his band solid in the blues pocket leaning hard toward rock, with occasional horn backups. All originals and Scott and Dennis Walker (of Robert Cray’s band). Rock blues – pretty nice.

Hyatt, Walter – “Some Unfinished Business” (King Tears Music) B-

A collection of songs from a young singer songwriter who tragically died in a plane crash in ’96. Friends and family release this disc of his self-penned tunes, backed by fine musicians like Jerry Douglas, the Jordannaires, Riders in the sky and Carrie Rodriguez, etc. Middle range voice over fairly uninteresting tunes—strange chord progressions make tunes sometimes seem stilted, like a songwriter who’s thinking about it too hard. Does make it happen like Elvis on #7 with the Jordanaires on backup, and #11 has some nice blues feel woven throughout. Not really my cuppa.

James, Chris & Patrick Rynn – “Stop & Think About It” (Earwig) A-

Guitarist and bassist from the “Blue Four” band, the duo steps out on their own to memorialize many revered blues musicians (Dave Myers, Willie Kent, Robert Lockwood Jr, Homesick James, Snooky Pryor, Henry Townsend, and Jay McShannon) – all who recently passed, leave gaping holes behind. In this tribute to them, Earwig tossed in a bundle of other great players to back ‘em (David Maxwell, Eddie Kobek, Sam Lay, Bob Corritore, etc.) with the result a nice combination of Chicago feel blues.

Johns, Karen & Company - “Star and Season” (Vital Force) 2008 B

Jazz singing from a multi-talented performer. Originally from Alaska she has moved through Seattle (picking up a husband and a bundle of opera, music and journalism/theology degrees. The couple worked on a Bering Sea fishing boat to earn money to buy a recording studio, which they eventually located in Nashville, TN. There she’s put out this album of jazz vocals over a fluid supporting band. Strong belter voice with facility of movement and smooth delivery and scat singing thrown in when the spirit moves. It’s hard to do such road traveled traditional songs in a new way, but her voice ain’t hard to take. Smooth cocktail jazz stuff.

Johnson, Alvon- “Guitars & Cars” (Pig Heaven Rec.,) 2008 C

Veteran guitarist on West Coast for 30 years doing side-man work for (Babatunde Olatunji, Drifters, John Lee Hooker, Lowell Fulson). Now out there with his own group on his friend (harmonica player and label owner Albert Parks) doing his own record – pretty much road house rock and blues designed to support his electric guitar leads. Nothing special I’m afraid.

Kolvane – “Kill These Blues” (Indie) D

No need…you’ve already done it. Not recommended .

Left Lane Cruiser – “Bring Yo’ Ass to the Table” (Alive Records) C

Street musicians composed of a guy who bangs on whatever he can reach, calls himself “Sausage Paw” and hollars “trash” throughout other guy’s “singing.” Second guy yells lyrics bristling with “ass” and screams while he plays loud electric slide that sounds like his slide bar is wrapped in barbed wire and his head too. Couple bottles of whiskey and a couple of painkillers and I’m there…. Not recommended.

Nouveaux Honkies – “Where Do I Go?” (Bluzpik Rec. ) A-

Described as country-soul, roots and Austin Rock (though they are from the South Eastern part of the US), this band puts together a really different sound – quirky songwriting that takes you from fast two-steps, to Cajun, to fiddle and blues. Really original sound. This group didn’t even bother lookin’ for a label, but after it’s first Indie release, got picked up right away for it’s great roots sound. Check er out.

Parks, Little Albert & the Blue Stars- “Two Thumbs & A Finger”

(Pig Heaven Rec.,) 2008 C

A record label owner putting out his own disc with friends from Southern California. Vocals kinda talky and tired. Instrumentation okay, sometimes nice grooves, but nothing to write home about. Not recommended.

Wheeler, Charlie Band – “Highway Run” (All Sound Group) C

Not a bad voice over basher rock. Not bad backup vocals either. Music is de-da-lee, de-da-lee, de-da-lee up there in lightning delivery with the best of the power rock boys. Eddie Van Halen, you’ve got a boatload to answer for mister. You too Zep. “Katrina…you should have seen’er”…eek. Southern rockers unite. This Yankee cannot recommend.

Zito, Mike – “Today” (Electro-Groove) 2008 B-

A St. Louis kid who made it to the West Coast with his head full of musical dreams…he got a chance on Delta Groove’s branch Electro-Groove. Medium love and pop-rock tunes, nice guitar work and sturdy backup band.
Tunes, singing AND songwriting have a sameness that doesn’t appeal much, even with good guitar work.
Not really recommended.

Cathi's Reviews 9-29-08

2008-09-29T16:38:00.001-04:00

Demian Band – “Devil By My Side” (Demian Dominguez Rec) C+

Argentinian guitarist/singer who is a dedicated paid-by-the-note player (more notes to the square inch is his guitar creed), but when he reigns it in (#3, 6), we get to hear him have something of a relationship with fewer notes…holding them out long enough for us to hear and savor. Really rocks it up with Bernard Allison on #2—a collaboration which he reveres in the album ads. Blues rock on speed with an accent.

Dooks, Steve – “Cocktails, Heartaches & Cigars” (Indie) C+

Cocktail/lounge music – swing/jazz…pianist Duke does some smooth lounge vocals over arranged tunes backed by horns and light backup. Extremely suitable for dinner hour restaurants. It helps if you’re drinking.

Fatz, Slim – “The Original Slim” (Aladdin Entertainment) B

Crusty vocals, like a cross between an old black street musician and Tom Waits. Plays really nice acoustic guitar/slide and sings/wisecracks over it with occasional backups by female chorus. A character record with dirty-old-man laughs and suggestive phrasing like he just stepped out of SLING BLADE wearing Leon Redbone shoes. This is a white guy (Neal James?) from New York, who worked a long time in Atlanta, then moved to the Bay area and reveres Taj Mahal. Ballsy approach but a little too cute for me. Probably great live.

Hinkle, J. Scott – “Blueridge Martini” (Indie) C+

Folk-Americana artist with songs laden with bluegrass pickin’s, banjo, dobro and a mellow mid-range voice, all covered up with a Civil War mustache and lackluster songwriting (sigh). An indie songwriter effort completed with a bouquet of good players no one has ever heard of, with some catchy titles though songs don’t quite live up to ‘em. Bristling with sad introspection.

Kight, E.G. – “It’s Hot In Here” – (MC Records) B

A Georgia-born singer heavily drawn to vocals of Koko Taylor, Kight follows that light with her big-mama-shoutin’ vocals and her songwriting. Her songwriting shows her early childhood country music influences…lots of performances with George Jones and Jerry Lee Lewis (opening for them), and some gospel too. She hits it on the head with the blues, yet her clear voice sometimes takes some of the grit out of it. Still knocks it out of the park like Jerry Lee when she wants to (#6). All songs original but 11, finding her gaining more notoriety for her writing than her singing (some recorded by Koko Taylor and nominated for songwriting awards).

Mahal, Taj – “Maestro” (Kan Du Rec) A

Well nobody can do it just like Taj…Rhythm till you drop. His phrasin’ is the best, and you can tell by the wide array of people who spring up to back him on this disc that his talents don’t go unnoticed. Whether doing a duo, solo, or backed by rhythm masters, and/or his own Phantom Blues Band, he puts it over in style. Superlatives not-withstanding…this is just the best. I hope he lives 200 years.

Muldaur, Maria – “Yes We Can” (Telarc) B+

Muldaur has been putting out whole CDS of different styles lately – stretching her love of different music in all directions. In this disc, she puts together a big female choir to back her up on a bunch of tunes, most related to the current (sad) state of the world and all it’s fighting/loss. She pulls in a bunch of folks, but high profile singers here are Bonnie Raitt, Joan Baez, Jane Fonda, Anne Lemott, Odetta, Holly Near, Phoebe Snow, and Marianne Williamson (writers AND singers). That kind of power backup doesn’t quite overpower the place though, as Muldaur puts her band through the bases with some great funk and rhythm – mixing giant choir into background until showcasing them. Embedded Protests (#4) are heavy impact. Good for all mixes.

Playboys – “Playboy Swing 2” (JIP Recs. ) B

A kind of Texas swing variety music. Throws in Spanish flavor, swing, two-steps, and breathy-to-thin vocals by George McClure (who also writes a great many of the tunes and produces the CD) with occasional female backups (Kathy Chiavola –former Bloomingtonian—on some). Fine players, good instrumentals that defy categorization I think. Probably would have to call it Tex-Americana. Nice for all mixes though the vocals don’t do that much for me.

Scissormen – “Luck in a Hurry” (VizzTone) C-

Two words for you – Fuzz Tone. Garbled vocals over noisy/distorted to fuzz slide guitar and steady drum beat.
Can barely hear words over wide fuzzy electrocution slide. Drummer stuck on one beat. Occasionally he pulls out of it (#3) and reins in the fuzzy slide into a spare rendering of a Dylanesque vocal over woeful lyrics. George Thorogood far-gone to seed. Not recommended.

Stubbs, Matthew – “Soul Bender” (Indie) B+

Boosted by big talk from Jr. Watson (king of guitar Nazis), and Gordon “Sax” Beadle (tenor sax king), this 25-year old guitarist quickly made a splash on the West Coast with his tasteful playing—steeped in traditional style, but with his own touch. Not a singer, he paired with Janeiva Magness and John Nemeth (both great SWest Coast singers of note) and did his turns with Jr. Watson, and a host of others, finally taking the guitar spot in Charlie Musselwhite’s band. He’s the real deal and as tasty as Watson claims: “It’s not the notes, it’s the space between them.” This disc focuses on Stubbs’ unique guitar (with spare backups) -all instrumental. They make it, but I can’t help but wish for a vocal (a singer talkin’ here).

Swinging Angels- “Faster than Angels Fly” (You’re Going Up Rec) D

Pretty terrible singing, less than roadworthy/primitive playing. Lots of vocal backup much more shouting than singing. Probably better slow down and hang with the Angels. Not Recommended.

Walter Jr. – “The River Club” (Gatortone Music) B-

Swamp rock blues light by this fifty-ish guitar player who models guitar on Albert Collins and Sonny Landreth (guesting here on cut # 11). Likes to play guitar but says songwriting is the best of his stuff. Nothing flashy here, but sturdy swamp roadhouse stuff. Phrases like Dr. John but very breathy and without the grit. Seems pretty careful not to reveal his whole name.

Cathi's Reviews 9/3/08

2008-09-03T09:10:00.001-04:00

Bishop, Elvin – “The Blues Rolls On” (Delta Groove) A+

Elvin Bishop partners with a bundle of blues musicians this time. Kim Wilson, Warren Haynes, Angela Strehli, John Nemeth, Ronnie Baker Brooks, Tommy Castro – you name it. A poor white kid who knew nothin’ bout blues, but sent to college in Chicago, he soon dropped out and haunted the clubs, proclaiming himself “in heaven.” I love it. He KILLS here with a group of great musicians. Bishop’s vocals are sometimes his weak point, but here he pulls in some killer singers to augment his great guitar chops. Check out # 2 with Angela Strehli and John Nemeth doing the soul backups – mercy!—Ray Charles is hollarin’ yeah man. There’s just so much good stuff on this disc, it’s hard to single out everything. You got blues-rock, a little funk, soul vocals, a little NOLA slow one--struttin’ his stuff indeed. Talks with BB King on 5 before doing a “Roy Milton” tune. A feast for blues lovers.

Burks, Michael – “Iron Man” (Alligator) B+

Learning guitar at a young age, Burk’s father (occasional sideman for Sonnyboy II) paid him a dollar for every song he could figure out from beginning to end. The result was a guitarist who could back up just about any blues player, but eventually took a money job for Lockheed, before once again trying his hand with the blues. He delivers good quality electric blues-rock here…heavy on electric sustain blues. A tough guy sound for a tough-guy bluesman. Vocally he can growl or deliver a smooth vocal on the slow ones and include7 originals here. .

Cummings, Albert – “Feel So Good-Live” (Blind Pig) B

Albert is a rocker who takes up a lot of room with all those heavy SRV chops. Like SRV he sticks with a three piece and tears up the landscape all around them. This is a party band as the live crowd will assert. A construction worker who was mad for SRV, he met up with Stevie’s band after SRV’s demise, and their recording together launched him big time. Blind Pig has a multi-record deal with him and he lets it hang out. A moderately good singer and a burning rocker on guitar, he’s having fun. This live recording has several pretty long tunes, but carries the crowd excitement. Not sure his live performance carries over to radio that well. Definitely a rocker.

King, BB – “One Kind Favor” (Geffen) 2008 A

BB is just so unique, it’s hard to imagine how even being produced by T-Bone Burnett would change his vintage sound. And of course, it doesn’t really. In fact, seems like Burnett mixes that huge horn band a little high over BB’s vocals on some tunes. But I’ve always liked the spare back-up instrumentation (like the early records) instead of the orchestra backup, yet BB’s stunningly soulful playing and vocal phrasing can’t be overcome/disguised. And when you turn the king loose on the slower ones, there’s nothing to stop BB’s Lucille from screaming and cryin’ all over your blues. Just can’t be bad with BB. They say this might be his “final” masterpiece.” I hope not. Sure don’t hear much so fine from many musicians, but can’t think of any others over 80 years old! Good for all mixes.

Magic Slim & Teardrops – “Midnight Blues” (Blind Pig) A

Magic Slim is a king of the live show. He knows how to get the crowd movin’ and just when to apply that guitar mojo. This doesn’t always come over on record, but the guy is FUN. This record brings that groovin’ Chicago feeling over as the steady support of his band testifies. Slim brings in a bundle of Chicago help too. The disc is produced by Nick Moss, and James Cotton, Little Ed (Imperials), Lonnie Brooks and Elvin Bishop tip the hat on various songs. Even Otis Clay warbles on track 13. Real Chicago stuff here, like you might find any blues night on the South Side.

McCall, Cash – “The Vintage Room” (Dixon Landing Music) B

Originally a fairly famous gospel singer, McCall was very tight with Willie Dixon and served a large group of R & B musicians as a session guitarist. (This disc is produced by Alex Dixon—Willie’s grandson—who contributes seven originals here.) He never seemed to “hit” it as a front man, and instead spent a great career as a session guy and producer (producing Willie Dixon’s famous album “Hidden Charms” for instance). However, in later years, he often sang with other groups like “Big Twist and the Mellow Fellows.” McCall definitely has the credentials, but this album seems to underscore the idea that though the blues run blue in his veins, he doesn’t seem to have the front man skills – or at least records don’t support that. I did play a great concert with him once and his vocals KILLED. Here they are slightly worn and don’t seem to catch his life spark. He’s a cool guy though I’ll tell you, and you can hear his tight friendship/influences with Willie Dixon all over this disc.

Cathi's CD reviews 8-30-08

2008-08-31T08:07:00.002-04:00

Aiken, Mike – “Hula Girl Highway” (Aspirion Rec.) B

Country-rock, big-time. Double guitar leads, and great mandolin solos. Sings nicely with wife…a bunch of friends having fun. Obviously like Duane Allman and George Jones. Medium but stable.

Bonamassa, Joe – LIVE-from Nowhere in Particular (JR Adventures/Blues Fdn.) A

A Collection of blistering rock-blues from ever-expanding talents of a kid who sucked down his mama’s milk while rockin’ to SRV, and opened for BB. King at age eight. He’s been dabbling with electricity ever since, remixing Led Zepplin and burnin’ circuits across the land. If you like your rock and blues sizzling, this is the action. Expressive voice on top of all that (not scream-fried), and a penchant for giving his tunes a framework and dynamics (who knew they came with a sustain pedal?). But he knows how to take it down to a rock steady blues beat and soar above that (#2), get back to bleedin’ a la Otis Rush (#3), or experiment with some Indian refrains electrified (#4)…you gotta love it. He’s stretchin’ the Jimi envelope, a guitar explorer. Live audience mixed to the back so you don’t hear too much of that…but they’re screamin’ “Yes!”

Denhert, KJ – “Lucky 7” (Motema Music) B

New York songstress who thinks of her music as urban folk-jazz…a sort of jazzy Lilith Fair contender. Expressive and smooth voice, backup accent vocals, and the jazz setting of tunes makes tunes easy on the ears. A Norah Jones-ish approach to jazz, but you can hear her Joni Mitchell jazz influences in many of the tunes. Good for all mixes.

Dive Bar Stalkers – “Rock the House” (Indie) D+

Super distoro rock. Need to toke up big and bring a flask, a girl in 7” heels and lotsa lipstick.
Not recommended.

Justice, Jon – “The Rebound” (Indie) B-

Swamp, rockin’ blues of all originals, Justice has a good singing voice, and the band’s got the blues-rock chops, but nothing stands out & grabs me; songs all sound the same-ish. Most would probably work in all mixes.

Raines, Darrell – “Moanin’ Time” (Bluzpik) B

Soft-voiced singer from Florida has a relaxed/light approach to the blues, which doesn’t always support the tunes he does, but his guitar and instrumentation are in the pocket and keep you hooked. Lazy tune choice makes me want a drink (smile)—good for clubs.

Reverend Peyton’s Big Damn Band – “The Whole Fam Damnily” D

(Planetary)

An Indiana (God Bless Us) comedy band that plays like the Shaggs after high school. All songs have a one-trick drum part behind them – marching comedy, marching blues, marching talk songs. Not Recommended.

Thomas, Irma – “Simply Grand” (Rounder) A-

Grammy-winning New Orleans blues diva sings her stuff with 12 different backup pianists. Music is acoustic and low-key, allowing the focus to be on the vocals and the wonderful piano variety of her backing artists. Known as a soul singer, Thomas to me is more a ballad crooner with a blue-soul tinge. She’s best in person, but this record puts her over nicely. Very cool to hear the different touches of the players—sounds like parlor music in the crooning blues fashion… female backups are tasty. All good for mixes.

Torrez, Omar – “The Beat Outside” (Omar Torrez Music) C

Winner of the Bumbershoot Jimi Hendrix contest, Torrez sings and writes tunes that sound somewhat like Prince with superfluous chord changes, and a boy-on-the-brink attitude. He’s got the toolbox, but not the cool. Promising…but not recommended.

Various Artists – “A Brief History of the Blues” (Universal) A

A collection of some of the blues masters and songs they made famous. A nice over-all hearing of tunes done by the originators and a few done by younger artists covering the older soldiers. Good for all mixes. Nice collection—largely acoustic, but mellow/dynamic bands (remember dynamics?).

Woods, Mitch – “Jukebox Drive” (El Toro Records) B

A jump-swing pianist, Woods sings like he’s fronting Louis Jordan’s band, and really fond of the boogie woogie. A real swingin’ jump band, reminiscent of the Love Dogs. His backing band has some hot players and call themselves the “Lazy Jumpers.” Double bass, sax and everyone veterans of jump. Strong sax support gives it a special umpf. Woods sings like a Big Bopper shouter.

Cathi's CD reviews 8-24-08

2008-08-24T16:12:00.002-04:00

Cocker, Joe – “Hymn for my Soul” (Adaven Productions) B

The vocal troubadour pulls some favorites out for interpretation—sometimes really hitting paydirt and sometimes just missing, but there’s always something to be found in his soulful approach to the tunes. Nods to George Harrison, Stevie Wonder, Dylan, and all the old-time back-up gals (Merry Clayton, etc.) add the cool revue feel for an”which Cocker is famous. Good for we old-timers, soul-pop vocalizers, and evening drink fans.

Coen, Davis – “Blues Lights for Yours & Mine” (Indie) C-

Not recommended.

Indigenous – “Broken Lands” (Vanguard) B+

Really fine Native American family (kids of an Indian musician turned tribe spokesman) write a basketful of new tunes, burnished by stinging lead guitar and nice backup vocals. Past CDs made it sound like they’d spent a lot of time woodsheddin’ in the Jimi Hendrix closet, but this group with all self-penned tunes is pullin’ out to formulate their own unique rock and blues sound. Great sound that reminds me of a combination of Jimi, (yes), Los Lonely, Boys (yes!), and Paul Thorn (YES!). Just getting’ better. Still a little heavy on Jimi, which limits the morning mix use, but I’ll wait!

Johnson, Whitey – “Gary Nicholson Presents WJ” (Palo Duro Rec) A

I’d listen to the phone book if wizard songwriter Gary Nicholson’s name is on it. At first glance this disc commanded attention with a support crew of Kim Wilson, Colin Linden, Delbert McClinton, etc. all lined up to back Johnson. Songwriting credits to Wilson, McClinton and Nicholson in various couplings didn’t hurt either. Then I realized that “Whitey Johnson” IS Gary Nicholson—a blues persona he changes into in the second half of his concerts. This guy has a lock on wordsmithing, but show here genre doesn’t limit him. The native Texan (playing and songwriting since he was 10—immensely successful at writing other artists’ hits, Nicholson here turns to the music he loves to do in the living room. This disc has some band material, but most of it is minimal – mostly acoustic here with piano, harp and guitar.

Lil Ed & Imperials – “Full Tilt” (Alligator) A-

One of Chicago’s premiere rockin’ party bands, Lil Ed (Williams) and the Imperials go at it full-tilt and no survivors. Ed brandishes his slide guitar like a laser through the rockin’ blues – hollarin’ the blues with a heavy, heavy rock beat. Impossible not to love in a club; sometimes a little much on record. Yet the world is chock full of “Ed Heads” and he always delivers. He’s a club dawg and knows how to change up on those beats when the time comes, but if you’re stuck on the job and need to jump up, throw on your high-heel sneakers and shake the booty till you’re dizzy – Ed’s your man. Moderation is not his middle name.

Los Lonely Boys – “Forgiven” (Epic Records ) A-

Southern California trio that hit big with their great dance grooves and tight harmonies strike again. Somebody’s been woodsheddin’ with Hendrix again, but mix that with great vocals and production by Steve Jordan and you’ve got a wicked good CD. Lots of rhythm and BIG SOUNDING bass with stinging guitar overlay. Great variety of urban beath (though predominantly midtempo) along with great male harmonies. Yikes. Not really suited for morning mix.

Salgado, Curtis – “Clean Getaway” (Shanachie) A-

A powerful singer who adds soul to anything he sings. A life-threatening health condition keeps every new CD Salgado puts out a gift. It’s great to hear his great phrasing and vocal expression, even though his moderate rock-soul tune choices sometimes leave me feeling less than charged up. Yet when he chooses material that lets that voice stretch out (like “Who’s Lovin’ You”) wow…you know what all the fuss is about.

Washington, Walter “Wolfman – (Zoho Music) B

Music from de club. Wolf Man is very taken with entertainment a la James Brown. Heavy on the horn arrangements and plenty of wah wah, stumble beat. Good for New Orleans clubs tuff. Shake your booty stuff perculating on medium. Not really my cuppa

Cathi's Reviews 7-20-08

2008-07-20T13:38:00.003-04:00

Back Door Slam – “Roll Away” (Blix Street Records) A
I wasn’t expectin’ this…A CREAM-like band – adeptly pulled off. Lead singer has a great voice and clearly the guitarist is channeling a combo of Robben Ford, Robin Trower, Jeff Healy and a little SRV. Pretty exciting to hear some fresh guitar slingers in that genre that sound like more than a tray of silverware falling on the floor. Even more so that they write their own stuff. Davy Knowles is a force to be reckoned with – Songwriter, all guitars, mandolin, lap steel and backing vocals. And he’s in his early 20’s. Lookout--I think we’re going to hear a lot of this guy. If you liked SRV and electricity running up your arms this is your guy. Not really for morning mix – and not for afternoon either unless you want to get charged. Whoopass guitar work and playing all around from these UK youngsters..

Back Door Slam – Special EP (Blix Street Records) A
See above review….
Four more tunes on a short EP for promo's sake - more of the same good stuff.

Bell, Leroy – “A Change is Coming” (Martez Music ) B

Singer Songwriter with a smooth voice and a troubadour approach. Sensitive lyrics and acoustic voicings that move into aggressive drumming and power rhythm cords…puts his work on the fence between mellow and electric rock—starting mellow and jumping into big time beat. Interesting.. but not great for morning mix.

Donna Jean & The Tricksers – “The Morning Comes” (Ice Nine) D
Donna Jean covers the Grateful Dead and I’d personally be grateful if she didn’t. Not recommended.

Fowler, Rick – “Back On My Good Foot” (Jammates Records) C

Big time Geo Thorogood rock-blues hopes. Medium rocker vocals. Stomper rock blues. He’s got the guitar chops-briefly showcased in #3 before the cheesy Farfisa organ comes in. I made it to the fourth tune, but I already sold my white go-go boots and gave up drinkin’ Jack, so I couldn’t take it longer than that. Not recommended.

Neal, Kenny – “Let Life Flow” (Blind Pig) B+

One of the talented and musical Raful Neal family. Family members Kenny Jr. Darnell, and Frederick all play in support, as does Lucky Peterson on keyboards. Blind Pig artist Robin Rogers & Shelly Magee throw in a cool backup vocal thing on #11. Kenny puts in some great harp and guitar, vocals and a little bass on the tunes. Very cool musicianship and some rhythm change-ups to keep it interesting—nice horn section—smooth all over the disc. Neal’s a good singer; you almost don’t notice what a mellow/adept guitarist he is. He’s a complete package.

Payne, Jackie/Steve Edmonson – “Overnight Sensation” (Delta
Groove) B

Old timer Jackie Payne does more than justice to the blues vocals over Steve’s adept blues guitar. Rich and bluesy but sometimes a little too big band-ish for me. Never my favorite arrangements for blues. That’s just me. Good musicianship, just nothing that really moves me here.

Redding, Lipbone – “Party on the Fire Escape” (BePop Rec) A-

Excellent musicianship that keeps things lean – a standup bass, drums and LipBone on vocals, guitar and “Lipbone” – he does the lip kazoo in such a way it really sounds like a trombone. All three musicians are so adept, they can put over very cool urban tunes with mucho descriptive “furniture.” It’s amazing the sound this trio can put out – change ups in rhythm that gets you twitchin’ to dance along with maybe a cold one in hand. Surprising refreshing…from mellow to latin and back--and most songs laced with humor and clean vocals he sprinkles with growls and inflections that bring a smile. A Bronx Mississippian – heh. Most good for morning mix.

Rogers, Robin – “Treat Me Right” (Blind Pig) A-

North Carolina street singer with a penchant for the blues, Rogers got some real notice on her last album—aimed more toward blues. She then toured as an opener for Johnny Winter, Buddy Guy and Robert Cray etc. She’s establishing herself as a blues chanteuse. She has a clear voice which sometimes seems like a blues—performer defect, but she uses it and a growing “shouter” talent to put blues over well (example # 11). Plays harp too. Songs like # 2 smack of some heavy Koko Taylor influence. The vocals on this disc are more pushy and assertive than her last – methinks she’s here to stay, and has already stepped out with husband Tony, to form a none-too-shabby songwriting partnership. Her “recovery” from a rocky/partying lifestyle for a “second chance” makes her all the more appreciative of what the blues can mean. You can hear that hard-won maturity in her voice. Band adds tight musicianship.

Ruffin, Marshall – “Rich Man’s Dime” (Jammates Records) B-

Twenty-three year old acoustic singer who sounds like he drank bad wine and woke in jail most of last month. Vocals raspy, and lazylike phrasing like Tom Waits though about 22 hangovers ago. This five-song EP is mostly acoustic with a little percussion backup. Strange ranger…you Tom Waits fans might give him a try – he’s a little too arty for me. Definitely not blues…must be Americana or singer-songwriter.

Satan & Adam – “Word on the Street: Harlem Recordings 1989”
(Modern Blues Harp.com) C
This is the first recording by this harp/guitar duo in a decade. They began as pickup street buskers who ran into each other…and so they remain--an old black man and a young white dude who loves the blues. Throughout any kind of attention they received, and recording too, they stuck with street singing and busking. This double disc set is made up of live street recordings, rough, raw gravelly vocals, and crowd talk and reaction--which Adam claims are where it really “lives.” The tunes are long (Big Boss Man is 15.53 minutes long!) because as long as they feel it, they keep going. Musicianship is way loose—Satan stomps that tambourine into overload and is pretty fond of overdrive guitar – which is interesting for a street guitarist, but this is street dawg stuff. Last number Satan gives a big speech to a radio announcer about the bible. Strange record. Not recommended or radio friendly..

Suter, Alexis P. Band – “Just Another Fool” (Hipbone) B+

Big mama blues, with expressive, sultry, then growly vocals. Band has steady vocal backup which really create a soul-revue feel to the music. Mostly originals, co written by Suter and backup singer Vicky Bell, and then some by band member combinations. Some are not necessarily keeper tunes, but then she throws that big barrel voice on ‘em with the real-thing phrasing and I call amen. I think better song choices would really make a difference for this band. Still, Suter delivers the big-mama vocals, and Vicki Bell, Linda Pino and Glenn Turner turn in fine call-and response backups. First soul-blues singer I’ve heard in a LONG time that delivers gut bucket stuff. Those slow ones (#3, 7) drip serious mojo…help me Lord! (Pass the bourbon). This a collaboration band and they really come through as one. Levon Helm is a big fan; he recorded their first release on his own label.

Thompson, Teddy – “A Piece of What You Need” (Verve) A-

Son of Richard and Linda Thompson, Teddy has inherited a rich warm voice and a penchant for the hook line. He writes good stuff, usually relationship-centric, and sometimes a little introspective, but compelling. This album gives a “Sgt Pepper” feel on some songs – using trumpets, etc., but rich backup vocals and his unique and melodic vocals really put over his hooky songs. Better with each listen. Don’t get behind the under the rug introspection (#10) that much, but wow…most of his stuff lives in your head longer than you thought it would. Most good for all mixes. # 2 – a great tune, is spoiled right at the get go with an emphatic “shit”, but mostly FCC clean. Recommended. I’m glad this kid is young – much more comin’…