Blues CD Reviews 104
Mississippi MacDonald
I Got What You Need
Another Planet Music
Publicity: Blind Raccoon
By Peter "Blewzzman" Lauro © Oct 2024
I Got What You Need is Mississippi MacDonald's ninth overall release; his sixth under his own name; and the third that I've had the pleasure of working with. For the recording, Mississippi Mac - on vocals and lead guitar - is joined by longtime bandmates Phil Dearing on guitars and keyboards, and Elliot Boughen on bass; with Jim Kimberly on drums, and Lucy Randall on backing vocals rounding out the band.
The disc's nine new tracks feature five original songs with four by Oliver 'Mississippi' MacDonald and a fifth by Phil Dearing.
You know those songs where hearing the first five seconds or less perk you right up and have you thinking "Oh yeah! This is going to be some killer slow blues"? Well, "Stop! Think About It" is one of those songs. Right out of the box Mac's mesmerizing guitar licks immediately cast that slow blues spell all over you and right after that, you all know what happens next: he starts emotionally belting out slow and soulful melancholic lyrics; the rhythm section soon softly joins in; then after a verse or two, much longer and even more scorching blues guitar licks carry what's left of you away. It's pretty much basic slow blues 101....with nothing about it being basic. It's this type of singing, this type of musicianship, and this type of songwriting that will indeed make Mississippi MacDonald a name you'll soon be hearing spoken in awards conversations.
As with lots of other aspiring young blues guitarists, Mac grew up listening to, studying, and learning from Kings - as in B.B., Albert and Freddie. On this original instrumental titled "3:35 AM", you'll surely feel the Texas Cannonball's hard driving influence.
On a track titled "Hard Luck And Trouble" (J. Ward), Mississippi MacDonald shows that, vocally and instrumentally, he can get down and rock the blues as good as anyone. It's a rhythm fueled smoker that also features intense performances by Jim (drums), Elliot (bass), and Phil (organ).
One of the most compelling performances of the lot goes down on a track by Phil that's titled "Sinking". The song is about a failing relationship that's quickly taking on water. Everything about this song is flawless and everyone's performances were masterful. Not being a musician myself, I sometimes wonder that after wrapping up a song of this magnitude, if the guys shake their own heads in awe while saying "Wow"! We just nailed that one. How the heck are we going to replicate that at a live show"? Take a bow, guys.
Unquestionably, the most beautiful song on the album is the Gospel classic "If I Can Only Hear My Mother Pray Again", (JW Vaughan/J Rowe/arr. O MacDonald). Think about the impact of that title. Using words like 'sing', 'laugh, or 'cry' in place of pray would not change one bit of the powerful statement it makes. The thought of being able to hear my mother again - even if it's to hear her holler at me - would indeed be a joy. Worthy of as much praise for the song's lyrics is the way this ensemble presented them. Everything from the spiritual vocal performance by Mac and Lucy; to the soul-searching rhythm; to the hymnal organ effects; marched me right into a pew and demanded my fullest attention. Wow!
The disc closes with another of Oliver's originals titled "Your Dreams". It's an emotional ballad featuring a duet with Phil and Mac putting on stunning but delicate piano and guitar runs and Mac putting on what may be his best vocal performance on the disc. It's a perfect follow-up to the preceding Gospel number and a perfect way to close out what I'm calling Mississippi MacDonald's best effort yet.
Other tracks on I Got What You Need - an album that should make a splash in some of the soul blues awards pools - are: the title track "I Got What You Need"(W. Norris); "We're Gonna Make It" (Barge/Davis/Mine/Smith); and another of Oliver's originals titled "Soul City One".
To find out more about Mississippi MacDonald, just go to - www.mississippimacdonald.com - and should you have not yet received your copy of "I Got What You Need" for airplay, please contact Betsie Brown at www.blindraccoon.com. Remember, wherever you go and whoever you contact, please let them know The Blewzzman sent you.
BT is Benny Turner's fifth release, and I'm very happy to say that I have now had the honor and pleasure of reviewing them all. To quote Benny: "I had a great time working on this album with some of my favorite musicians and reminiscing about my music history, from picking up the guitar again to revisiting my gospel roots, to finally recording some of my favorites......."
As I prepare to list those favorite musicians of Benny's, I'm going to take the liberty of saying that when Benny said "some", I'm pretty sure he meant "a whole lot". That said, with all of them being dear to him, and many to me as well, I'm going to attempt to name them all. For this project Benny - on lead and background vocals, bass, lead guitar, banjo, percussion and hand claps - is joined by: Bobby Gentilo on guitar, clavinet, piano, percussion and background vocals; Charlie Burnett on upright bass and background vocals; Nate Young on Wurlitzer, piano, clavinet and background vocals; Paul Murr on drums and background vocals; Will McFarlane, Derwin "Big D" Perkins, Billy Davis, Steve Grills, June Yamagishi and Jack Miele on guitar; Harrell "Young Rell" Davenport on harmonica; Clayton Ivey on Wurlitzer, keys and Hammond B3; Justin Holder, and Christy Engel on drums; Jeffrey "Jellybean" Alexander on drums; Sax Gordon on horns; Shawn Allen and Keiko Komaki on piano and B3; Dave Keyes on piano; Norwood "Geechie" Johnson on bass drum; Joe Krown on B3; Tiffany Pollack, Warner Williams, Marva Wright and Kassie Netherland Miele on background vocals; and making her recording debut, Nola Blue Records' very own, Sallie Bengtson on background vocals and claps.
BT contains three of Benny's originals and seven covers that were some of his, and his families, favorite recordings by some of their favorite artists.
Kicking things off is Benny's rendition of "Bump Miss Susie", a song by Rudolph Toombs that's often credited to Big Joe Turner. And just like Miss Susie herself, the song is a smokin' hot number. While Benny excitedly tells us about just how much Miss Susie enjoys bumping, the chorus line of "all night long" features Charlie, Bobby, Paul and Nate enthusiastically reminding us of just how long she enjoys doing it. Musically, the profound rhythm Charlie (upright bass) and Paul (drums) are thumping out is absolutely perfect to bump to; and the rousing guitar (Bobby) and piano (Nate) leads create a perfect bump party atmosphere. "
Going Down Slow" (James Oden) is a song that Benny says is one of the most requested songs at his live shows. With it being one of my favorites of this lot, I get why. Benny took a classic Howlin' Wolf slow blues song, and with his heartfelt and soulful lead and background vocals, he gave it an inspirational gospel feel. Musically, the song is nothing short of masterful: Benny, on the bass, Justin on the drums, and Clayton on the piano and B3 - have the slow blues rhythm groove nailed; while "Young Rell" and Will shine on the killer slow blues harmonica and guitar leads. With its several replays, this one just became the most requested track at the House of Blewzz as well.
The next two songs are songs where in addition to sounding absolutely fabulous, the band does an equally great job of allowing the vocalists to shine. On ballads titled "When I Call On You" (Dee Clark) and "Born This Time", Benny and Tiffany are flawless together. You know those live shows where from time to time the musicians leave the stage and the vocalist does a solo acapella type song? These are that song!
The story about how and why this track got recorded is as interesting as the track itself. Other than to tell you that it started in 2017 when Benny met Billy Davis - an original member of The Midnighters - while they were both billed at the Ann Arbor Blues Festival, you'll have to read the rest as Sallie Bengtson, the President of Nola Blue Records tells it on the liner notes. Although it's more of a compilation, Benny's calling it "Finger Poppin Time" (Hank Ballard). Along with Benny singing lead and all harmonies, the song is highlighted by Billy sounding as good as he did on guitar, back when the originals were recorded, and some killer piano leads from Dave Keyes.
The first of the final three songs on the disc is also the first of Benny's three originals. The song is called "Drunk" as in "If you see me on the ground, don't try to pick me up - unless you've got a bottle and a sixteen-ounce cup. I want to get drunk". According to the liner notes pertaining to this one, Benny wrote it with his late friend Jimmy Reed in mind. Hmmmmmm, I'd like to hear more about this inspiration.
Although some are more common than others, the thoughts that inspire original songs are literally endless. That said, this instrumental composition has to be one of the more unique. While Benny was writing it, It seems that the lazy, laid-back vibe the music created reminded him of "how the animals would lay around in the barnyard at the end of a long hot day in the fields." Hence the title "Sleepy Time In The Barnyard". It features Benny playing his first instrument - guitar. Joining him on what Benny calls "a down-home back porch country blues instrumental like he used to hear his family play when he was a boy in East Texas", are Bobby on guitar, Charlie on upright bass, Nate on piano, and Paul on drums.
The closing track and final original song is titled "Who Sang It First". It's a track that Benny co-wrote with Jim George and it first appeared on "Breakin' News: 10 Years of Blues" - the celebratory Nola Blue ten-year anniversary album. In actuality, the song is a re-write of Jim's original composition titled "Black Is Beautiful". The idea behind the song is that it really doesn't matter if you covered a song and did it better or worse than the original artists, as long as you remember who did it first. Jim describes his original song as a “tribute to all the black pioneers and artists who have paved the way, invented the music and enriched all our lives.” The sincerity that Benny exudes on his vocals, with beautiful backing help from Kassie and Tiffany - truly bring the song's lyrics to life.
Other tracks on another dynamite Benny Turner release include: "The Walk" (Jimmy McCracklin) and "Smoke My Peace Pipe (Smoke it Right)" (Wilson Turbington).
If you've not yet received a copy of BT for airplay, please contact Michelle Castiglia at - macradiopromo@gmail.com - and should like to find out more about Benny Turner just go to - www.bennyturner.com. Remember, whomever you contact, please tell them the Blewzzman sent you.
Although he now resides in Wisconsin, the fact that Jay Lang grew up in the Mississippi Delta will be quite evident in his music - the music he learned from playing with members of the Burnside Family. Delta and Piedmont style acoustic blues is what Jay excels in - either as a solo artist, a duo, or as a band - all of which will be featured on his latest release titled Blues Vol 1.
For the project, Jay Lang - on vocals, guitar and bass - is joined by: Paul Taylor and Brad Porter on drums; Harold Tremblay on harmonica; Bob Dowell on trombone; Eric Carlton on piano; and Nate Robinson on bass. Of the disc's eleven tracks, ten are Jay Lang originals.
It doesn't take more than the opening seconds of the opening track to validate what I said about Jay excelling in Delta and Piedmont style acoustic blues. The track is titled "Sweet Honey" and to make things clear, that's the term Jay uses to refer to her, not necessarily to describe her. This solo effort features Jay doing some killer pickin' on both the acoustic guitar and bass, and showcasing a voice that was custom made for the blues.
On a fast-paced track titled "No Name", Jay is joined by Paul Taylor on drums. Lyrically, Jay sings about going back to Mississippi to sing away his blues and the antics that take place when he gets there. Instrumentally, the guys are laying down the perfect traveling music for making the trip.
This is one of those songs with such clever and interesting lyrics that I wish I could type them out word for word. Here's a small sample...
"Gonna tell you about old 'Hopalong Tracy',
only got one leg but she's every bit a lady;
Don't see too well one eye is hazy,
don't look too close the other one is lazy;
Hopalong Tracy she don't care,
head held high and debonair;"...
And that's just the first of four verses.
From his masterful story telling style to his flawless pickin', everything about this track is perfectly done.
How do you write about a song that is so interesting, but you just can't quite figure out what to say because you're lost? Simple, you just ask the songwriter. That said, after a detailed explanation from Jay, I now fully understand who he is and why "Bootsy's Walking In the Rain". The song is a true story of a well-dressed, always drunk, street character called Bootsy. Day-in, day-out, hot, cold, rain or shine, Bootsy - who also happens to be a few cards short of a full deck - would hang out in front of a beer barn trying to hustle free drinks. Since Jay worked there, he had this explanation - "After a couple years of him coming around we think we pieced together a reasonable background for the guy. We figured he had some sort of mental health issue, he slept at a family member’s house, but they wouldn’t let him stay in their place alone. So, when the family member went to work, they locked Bootsy out of the house all day". Now that I've totally bored you, let me just say you gotta give this one a good listen. The laid-back music vibe, with excellent harmonica leads by Harold, is the perfect backdrop for another fabulous storytelling performance from Jay.
"Pine Box" just might be my favorite track on the disc. It features Jay's usual fine pickin' and singin'; a toe tappin', head bobbin' rhythm from Brad on a snare drum; and good ol' barrelhouse piano playin' from Eric. It's the kind of sound you just might hear, walking by some obscure joint somewhere in the French Quarter, that stops you in your tracks and brings you right in. The song is about the inevitability of death and being comfortable with the thought. As Jay sees it, "When I die, bury me in an old pine box. I don't need nothing fancy, just fill my grave with rocks". That comfort may come from another song on the disc titled "I've Been Saved". It's another of Jay's masterful solo performances where he confidently and spiritually addresses knowing he'll be saved when Jesus visits him on his dying bed.
As the saying goes, it's always good to have something to fall back on. Should his music career hit a glitch, Jay can always get into sales. From his description of its ingredients, one of which is forty proof; to its healing characteristics, for man or beast; to its many other uses, which includes shining your shoes; to his high pressure closing points of supplies being limited, so you must act fast; I found myself wanting to take advantage of that buy one get one free offer for his "Snake Oil". They just don't make products like that anymore, right Jay? Being one who can relate, this song did remind me of my days of pimping rug and upholstery cleaner to crowds of sucke.....I mean needy customers at home shows. Musically, with Brad (drums) and Nate (bass) joining in, the track does provide Jay with a forceful rhythm that's just right to sell, sell, sell to.
Other tracks on Blues Vol 1 include: "Short Skirt"; "My Sweet Mama"; "Shake it, Break It" (Charley Patton); and "Too Much".
If you've not yet received a copy of Blues Vol 1 for airplay, please contact Jay Lang at - jhlang@gmail.com - and should like to find out more about Jay just go to - www.jaylangmusic.com. Remember, when you contact him, please tell Jay his new friend the Blewzzman sent you and that I'm hoping there will be a Blues Vol 2.
Bands like Chicago Bob And The Blues Squad are one of the many reasons I love what I do. If it wasn't for doing these reviews, there are scores of bands I would not have come in contact with and that means I, like many of you, would have missed out hearing some good music from some very good local and regional artists. This band is one of them.
Occasionally, I'll write about albums where when I read the names of who the members of the band played with it sounds like I'm reading a festival lineup. The bottom line is, although that reads well, it doesn't always sound well. With Chicago Bob And The Blues Squad, you won't find impressive resumes, but you will hear some very good traditional blues; with some very good, and humorous, non-traditional lyrics; from a very good bunch of musicians.
Chicago Bob And The Blues Squad are a bunch of transplants from both coasts and the mid-west who are now collectively pleasing audiences in Arizona. They are: front man and bandleader "Chicago Bob" Frascone on vocals and harp; Bob Tencer and Pete O'Reilly on guitar; Gordon Jennings on bass; Carlos B. Jones on drums; along with guest vocalist Kristin "Little Ms. Kris" Jennings on "Hound Dog", the only cover among ten original tracks.
Once Carlos joins in on the drums, following Gordon's deep bass lines on the intro, it's immediately obvious the rhythm on "Whatcha Gonna Do" will indeed be a profound one. Once Pete and Bob T. get the sparring session going on lead guitars, the track becomes one heck of a production. Lyrically, because Chicago Bob's got no money and can't pay his bills; his woman left him because she had her fill; his cat married a mouse; his chickens they won't lay; his dog won't listen no matter what he'll say; his hog is on a diet; his horsey threw a shoe; and bad luck sticks to him like glue; the poor sap thinks he has no life. After hearing the next verse, I gotta say I agree with him.
"It's Over" is a toe tappin' shuffle and from what I'm hearing Chicago Bob say, I'm quickly thinking a pattern is developing here. The abuse he's taking from his woman culminates when he hears her on the phone saying "c'mon over tonight, he won't be home". That's it, she's outta here, and as the title of the song clearly states, it is indeed over! Musically, Pete and the Bobs create quite the blues sandwich: Pete starts things off with some spicy guitar leads; followed by Chicago Bob blowing some tasty harp; then Bob T. tops things off with some of his savory guitar licks; which all add up to a delicious mid-song musical interlude.
The fast pace the guys are laying down on this one is perfect traveling music.....the kind that's perfect for when you're "Gonna Hit The Bricks". Although that term is usually associated with walking, I'm thinking that's way too slow for Chicago Bob. He needs to get outta Dodge like really fast, and from that speeding locomotive sound he's blowing on his harp, a train just might be the ticket.
This one's called "You're So Spoiled" and for the life of me, even though it may be true, I cannot understand why Chicago Bob has a problem with it. Ya see, his girlfriend's daddy has a lot of money and some of the things that bother him include: her driving a Porsche (while he drives a broken-down old truck); her vacationing in Europe (while he spends his on his porch). Get over it, Bob, this song could be called "What The Hell Do I See In You?" and she could be singing it. Musically it's another rhythm fueled smoker that also features a lot of guitar work.....and the way these two smoke, that's a good thing.
So, with the word mid about to soon be removed from me being in my mid-seventies, I've sadly been to my share of funerals, and I can't begin to tell you how many sentimental, humorous and downright bizarre things I've seen be buried with the deceased. However, I gotta think that Mrs. Chicago Bob might not want to fulfill her husband's request to "Bury My Motorcycle Next To Me". C'mon, it's a Harley! She's either gonna sell it, ride it, or - if she's like any of the other woman he sings about in his songs - give it to her boyfriend...?? Musically, Gordon and Carlos are in a solemn rhythm groove; Pete and Bob T. are taking turns laying down some slow and low-down dirty blues licks; and the Harley rider himself is emotionally belting out some slow and soulful blues; this is real deal stuff right here.
On her only appearance on the disc, Kristin does a fabulous job of covering "Hound Dog" (J. Leiber, M. Stoller), the song made famous by Big Mama Thornton then sung by just about everyone who ever stood in front of a mic - regardless of genre - and that's a strong testament for the song. When being sung by a woman, the song requires sass, confidence, range, a bit of growl, and of course a good singing voice. For this rendition, "Little Ms. Kris" easily checked all the boxes.
So, my favorite sound to ever come out of a harmonica came from the hands and mouth of Jimmy Reed. For me, there is nothing like hearing that high end, note stretching stuff. Once I heard that sound kicking off "Money Grows On Trees", I knew I'd be all over this one. Of course, the guys are working their usual magic behind him, but Bob may just be at disc's best right here. Lyrically, the mirth and merriment continue. As Bob tells it, because his wife spends money like it grows on trees, he decided to call the doctor 'cause she's got a spending disease. That's exactly why that Harley will never get buried with you, Bob.
Other interesting (just listen to their titles) tracks on this excellent release include: "You Is A Dirty Rat"; "One Foot In The Grave"; "Two Legged Dogs"; and "Yell, Scream & Holler".
If you've not yet received a copy of Gonna Hit The Bricks for airplay, please contact Gordon Jennings at - chicagobobandthebluessquad@gmail.com - and should like to find out more about Chicago Bob & The Blues Squad, just go to their website - www.ChicagoBobandtheBluesSquad.com. Remember, when you contact them, please tell them their new fan the Blewzzman sent you.
At the band's website it states that "The Otilia Donaire Band features Otilia combining her singing talents with some of the Bay Area's finest blues and rock musicians that consistently deliver a fun and interactive show filled with a huge repertoire of upbeat/danceable classic blues, rock, R&B and soul/funk tunes that'll keep you on the dance floor". That said, although I've not had the pleasure of seeing their live show, I will tell you that after listening to Bluesin' It Up, I can attest to having just heard some quite masterful musicians providing the perfect platform for Otilia to showcase her spectacular vocal skills.
Those maestros backing up vocalist Otilia Donaire are: Joe Lococo on guitar and vocals; Dave Shul on guitar; Armando Rosales on rhythm guitar and piano; Musical Director Chris Matheos on bass; Robi Bean on drums; Greg Rahn and Pamela Charles Arthur on keys; Edgar San Gabriel on bass; Daniel Casares on sax and horn arrangements; John Halblieb on trumpet and horn arrangements; and Rich Armstrong also on horn arrangements.
Bluesin' It Up contains twelve tracks that feature nine originals and three covers, with several of the originals being reworked songs that had appeared on her "Queen Bee" EP. Now, let's go listen to some.....
The opening track is a very cleverly written original song titled "Wrong Side Of 45" and I gotta tell ya, in my comments about the song there will not be any sympathy offered from a guy who's on the wrong side of seventy-five. It seems that waking up one morning and realizing that's age forty-five she's seeing behind her in the mirror, causes Otilia to have bit of a mid-life crisis. On the other hand, once she accepts that being on the right side of the ground trumps being on the wrong side of 45, the panic becomes manageable. Musically, it's a barnburner with just about everyone in the credits laying it out like they aren't on the wrong side of anything.
Another original, "Without You", has a bit of an old school R&B feel that features Otilia using impressive range as she soulfully belts the hell out of some blues. With Chris (bass) and Robi (drums) laying down a most powerful rhythm behind them, Greg and Joe are literally in a free for all on the organ and guitar, respectively. If I'm ever at an Otilia Donaire band live show, I'm requesting this one.
"Queen Bee" is another similar smoker with pretty much the same things going on. That said, as far as Greg is concerned, he could very well be at disc's best on what I believe is a Hammond B3 organ. Lyrically, Otilia is on the prowl and about to pounce - and I do mean pounce - on her prey. Being sultrily told "Hey there handsome, you'll do tonight. Get over here handsome, you're gonna be my man. You're gonna take me outta this place and deliver me to the promised land", by this gorgeous lady, this guy either has the biggest......err.....smile he ever had on his face, or his knees are knocking so bad he won't be able to walk.
On another of her originals, you don't need to hear Otilia say "Meet Me In My Dreams" more than once before you say "Okay". You also don't need to hear her say much more than that for you to think "Damn, this gal can sing". This is the kind of stuff I can listen to all day long.
On this Koko Taylor song, as Otilia sings the opening line of 'They call me the "Voodoo Woman", cause you know the reason why...' all I can say is "oh yes I do"! Simply said, as soon as you start singing, a spell is cast on every man within listening range. Throughout this disc, the many rhythm musicians and their various instruments have pretty much been a standing highlight and once again, - with Robi beating up the skins and, this time, Edgar laying down the smokin' bass lines - this is true. Of course, it's always a pleasure hearing Joe Lococo going absolutely loco on lead guitar as well. Very well-done cover.
Yes, I know I've said this many times and I hope to say it many more - when it comes to hearing a female singer nailing a bluesy ballad I just melt. That said after hearing Otilia's intoxicating presentation of an original song titled "Over You", I'm close to being a hot mess. Wow! Wow! Wow! Even the music - highlighted by the sensuality exuding from the horns of Daniel and John and the B3 and piano work coming from the hands of Greg and Armando - is sexy as all hell. This could be one of the better slow dance songs ever.
The disc closes with a Willie Dixon song and if that has you thinking it's probably the disc's most traditional blues track, you'd be quite right. Just like Muddy made you believe he was every bit of the Hoochie Coochie Man when he sang it, Otilia is as serious as a heart attack about being the "Hoochie Coochie Woman". While Chris and Robi are nailing the slow blues rhythm groove - this time with help from Pamela on the B3 - Joe is smokin' it on the lead and slide guitar licks. The band certainly did a well-done rendition of this blues classic.
Other tracks on this outstanding album include: "Love Sick Blues"; "Mama Didn't Raise No Fools"; "On My Way To San Francisco"; "Sugar Coated Love" (JD Miller); and "Tired Of Loving You".
With them in Northern California and me in Southern Florida, seeing the band live is quite the long shot. That said, the Blewzzman has his fingers crossed.
On another note, I don't know if the band intends on participating in the now open Blues Music Awards submission process but should they, I like them for a nod in one of those "new or emerging artists" categories.
If you've not yet received a copy of Bluesin' It Up for airplay, please email Otilia at - otiliadonaire@gmail.com - and should you like to find out more about this fabulous artist and band, just go to her website - www.OtiliaDonaire.com. Remember, when you do contact her, please let her know that her new fan and friend, the Blewzzman, sent you.
As a successful and respected part of the music industry - for many years and on several levels, most notably as the owner and operator of Blind Raccoon - longtime Memphis resident Betsie Brown could not have chosen a more perfect artist to feature on the debut release of her new Memphis based record label, Overton Music, than Vaneese Thomas. When you think Memphis and music, the surname Thomas is akin to royalty. It was not much less than ninety years ago when her father - the late, great and legendary Rufus Thomas, started it all as a ten-year-old tap dancer who never looked back. With so many accomplishments to his credit, his best one may have been passing the talent gene onto his family; vocalist extraordinaire and "Memphis Queen" herself, Carla Thomas; masterful keyboardist, the late Marvell Thomas; and of course, another extraordinary vocalist and baby of the family, Vaneese Thomas.
Stories In Blue is the ninth release by Vaneese and it is the fourth that I have had the honor and pleasure of working with. Along with Vaneese, on vocals and electric piano, those making the music are: Ross Pederson on drums; Paul Adamy on bass; Al Orlo on guitars; Dave Keyes on keyboards; Tim Ouimette on trumpet and horn arrangements; Andy Drelles on clarinet and saxophone; Walter Barrett on trombone and tuba; with Emily Bendiger, Berneta Miles, Jason L. Terry and Darryl Tookes on background vocals. All of the disc's seven tracks were written and/or co-written by Vaneese.
On the disc's opening track, all it took was the opening line of "Yeah, Yeah, Yeah, Yeah" for Vaneese to showcase that oh so soulful voice of hers. The song is titled "Do Y'all" - as in "Do y'all know where the blues comes from, do y'all?". Most of you should, but just in case, Vaneese is not only very happy to give you a quick lesson, but she's also highly qualified as well.
"When You Were My Man" tells the all too familiar story of a lost lover. As in most of those stories, the relationship that was once wonderful suddenly wasn't anymore. Using fabulous range and timely descant, with her emotional and heartfelt presentation of the song's melancholy lyrics, Vaneese may be at disc's best on this one. Musically, led by the masterful work of Ross (drums), Paul (bass) and Dave (organ), it's a rhythm fueled smoker with a perfect amount of perfect blues guitar leads from Al.
Sadly, when you read about the events that took place in 1917, it's difficult finding anything that doesn't relate to WW I. That said, although Vaneese does mention that "war was raging" and "life was hard", this is actually a fun song about "1917", which in the Thomas family is "the year of Rufus". With the song being a tribute to her father, just some of the joyful lines you'll hear are: "Colorful attire can take you higher, leave you wanting more"; "His voice was a jewel and his blues gave you fuel"; "He'd light up a room when he came in, and the stories he told could warm your soul better than a bottle of Gin"; "Life was hard but he was a star, you'll remember him forever and a day". Yep, that's the Rufus Thomas I knew. The upbeat rhythm combined with the barrelhouse piano leads from Dave; and the lively horns, with outstanding trumpet and clarinet leads from Tim and Andy; all create such a Dixieland vibe that might get you wrongly thinking Rufus was born in N'awlins.
Stories in Blue fittingly closes with a song called "End of The Road". To quote Vaneese, "This song wasn't written with any particular idea of impending death but rather the joy of knowing I'll someday be relieved of all the stress and pain of life here on earth". Those sound like the words of a very content woman. As the explanation of the song may indicate Vaneese, and what I'll call 'the background choir', will take you to church with their fabulously done acapella style vocal performance. As Vaneese warns, "Heaven is just a breath away" and we should all be lucky enough to be as content with that as she is.
Other tracks on yet another very well-done album by Vaneese Thomas include: "Wandering", "The Last thing On My Mind", and "7 Miles From Home".
The timing for this next statement could not have been more perfect. Just yesterday (8/20) I received an email from the Blues Foundation announcing that "The Blues Music Award submission process is now open". That said, let me now announce that if I were still a nominator, Stories In Blue would be one of my recommendations for more than one soul category.
If you've not yet received a copy of Stories In Blue for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should you like to find out more about Vaneese Thomas, just go to her website - www.vaneesethomas.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
When your band is together for forty years, changes are expected - as a matter of fact, I've noticed some since I last reviewed Blues With Horns - Volume 1 back in 2017. What's not expected is making those changes without really changing. That's exactly what Chris Daniels and the Kings with Freddi Gowdy have done. The release of their twentieth album - 40: Blues With Horns Volume II - in celebration of their fortieth anniversary, features them doing the same old dynamite thing - keeping the sounds of the big-band era alive.
For this extravaganza, along with Chris Daniels on vocals & electric, slide and acoustic guitars, the Kings are: Freddi Gowdy on vocals; Steve Ivey on drums; John Thornburg on bass and vocals; Colin "Bones" James on guitars; Bob Rebholz on alto sax, flute and horn arrangements; Darryl "Doody" Abrahamson on trumpet and vocals; Darren Kramer on trombone and horn arrangements. Special guest Kings include: Sam Bush on fiddle and mandolin; Sonny Landreth on slide guitar; Tom Capek on B3 organ and keyboards; Christian Teele on percussion; Steve Conn on accordion and B3; Hazel Miller, Mark Oblinger, Linda Lawson, Robert Johnson and Kenny Andrus on vocals. 40: Blues With Horns Volume II contains ten tracks of which half are originals.
Starting off with John's thumpin' bass lines and the blaring horns of Bob, Darryl and Darren, it didn't take more than the intro on "Jump (When My Baby Says)" (D. Steen) for the Kings to jump right into what they specialize at. This is dance floor filling swing music at its finest. Between this track's ferocious rhythm and the high energy vocals of Chris, Freddi and a bunch of backups singing "How high, high, high?" when their baby says "Jump, jump, jump!"; I'm thinking it's the dancers doing all that high jumpin'.
Referring to 'What's inside, what you can share", this uplifting original features Chris and Freddi claiming that "Everybody's A Millionaire". As warm and fuzzy as that sounds, I'm sure there will be a lot of listeners wishing they meant that monetarily instead of philosophically. Like pretty much every other track, I could go down the line on this one and mention everyone I mentioned in the credits paragraph above. Energy wise, the meter always tops off at high; the vocals - with and without backup - are always powerful; the guitar work - be it lead, rhythm, acoustic or slide - always smokes; and rhythmically - be it the bass, the drums, the percussion, the horns, or the keyboards - because the Kings never do anything half fast, the pace is always in your face fast.
It's not like the title of this original isn't enough to induce you, but should you need some extra incentive, the music will surely encourage you. To paraphrase a line in the song, when you hear that rock and soul music, you'll want to "Dance, Dance, Dance". Although "I Like Funky Music" (F. Gowdy, L Wilkins) was the title of the second track, if you like funky music you just might not find any funkier than this one. On this rhythm fueled smoker with crazy good horn, organ, drum, bass and guitar leads, Christian Teele takes it over the top with his monster percussion work.
So as "Dance, Dance, Dance" comes to an end, don't even think of sitting down just yet. Instead, just head right over to "Congo Square" and keep your booty shakin'. As you might expect on a song that he co-wrote, in the midst of more monster rhythm and percussion - special guest Sonny Landreth shines on slide guitar.
Okay, now you can take a breather. After the thunderous, rambunctious and ferocious musical presentations I've heard thus far, I had no idea this group could chill as good as they do. On a very laid-back song titled "Stealin' Candy" (S. McCormick, J. Vester), the band showcases their impressive versatility. Featuring a soft rhythm, subtle horn leads and soothing acoustic guitar work, Chris, Freddi and Hazel put on a stunning vocal presentation. Although it's a cover, probably because they're cool, the band sounds like they own this one. It's a song about never worrying about an encounter with a storm because "When You're Cool (The Sun Shines All The Time)" (DeVito, Nicholson, Welch). Heading up this one's fabulous horn blowing, Darryl totally kicks it with his smoking trumpet leads.
Like I said when I reviewed Blues With Horns - Volume 1 back in November of 2017, 40: Blues With Horns Volume II will be a strong candidate for nominations in the soul blues categories of the upcoming awards ceremonies. Other tracks on this most excellent release include: "I Need Some Good Luck Bad" (D. Steen); "I Like Your Shoes" (F. Gowdy, L Wilkins); and "Under Pressure" (F. Gowdy, L Wilkins)
If you've not yet received a copy of 40: Blues With Horns Volume II for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about Chris Daniels And The Kings With Freddi Gowdy, just go to their website - www.chrisdaniels.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
"Ain't Goin' Back" is the fourth release from Doug Duffey And BADD, and the second of theirs that I'm having the pleasure of working with. Rather than explain to you how the band got its name, I'll just list the members in a particular order, highlight some letters, and let you figure it out yourself. BADD consists of: Ben Ford on bass; Adam Ryland on drums; Dan Summer on guitars, electric and acoustic bass, percussion, vocals and trumpet; and the boss man, Doug Duffey on vocals and keyboards. For this project they are joined by Dave P. Moore, a.k.a. "P-Mo", on harmonica; Jonathan Patterson, a.k.a. "J-Pat" on trombone; and Bert Windham on trumpet. As with most everything they do, the disc's twelve tracks are all originals penned by the Double D's. Describing their style of music as "100% original Louisiana blues, Delta soul, R&B, Bayou funk, and Swampadelic", it's no wonder the likes of George Clinton, Funkadelic, Marcia Ball, Rare Earth, and others along that style of performers have turned to them for material.
One of the things that most impressed me about this album was its masterful songwriting and the lyrics on the disc's opening track will attest to that. The song is titled "Whirlpool", and I'm going on record as calling it the 'national anthem for insomniacs'. If, like Doug - and many millions of others - you've laid in bed on many a sleepless night with thoughts just swimming around inside your head, you'll easily relate to this one. Perhaps, instead of counting sheep while lying awake, we all may now have a uniform song to sing. Now that's what you call a harmony section.
Now that I've listened to "You Got What It Takes", I think I'm as confused as Doug might be. From what I'm hearing, he may be wondering - I know I am - if a woman who's got what it takes to take everything you got is a good thing or a bad thing? Lines like this certainly don't help:
"Baby how you move it; baby, baby how you sway.
When you shake it on down; when you shake it all the way.
Honey you can make a man crazy; baby you can make a man insane.
Keep him so mixed up and hazy; just like a drug in his brain."
Do you want some of that or not?
Besides his great vocal work, with his killer organ leads Doug sets the tone for the rich rhythm groove the guys are in; and guitar wise, Dan's rhythm runs and are as strong as his leads. Excellent track.
With Adam and Ben in subtle rhythm groove behind them, this one is all about Doug and Dan singing and playing their hearts out. The song is called "The Wishing Game" and the emotional and melancholic lyrics tell the sad tale of someone loving someone who loves someone who doesn't love them. Everyone's wishing and no one is winning. Unquestionably, some of the disc's best vocals and guitar work are going on right here.
Musically and vocally, "Front Porch Blues", is a similarly melancholic but masterful track. The song is about a man sitting on his front porch watching life go on around him, while comfortable with not going anywhere. Knowing he probably hasn't much time left, he finds himself wishing the gentle breeze that's blowing will just keep on blowing until it blows his blues away. Speaking of blowing the blues away, "P-Mo" is doing just that with his fabulous harmonica work.
Although they don't do it often, they do do it well. On a smoker called "No Mercy", BADD flat out gets bad ass. That said, it kind of goes without saying that Adam and Ben are at their rockin' best on the drums and bass, respectively; Although not needed, Doug's giving them a lot of extra support with pounding piano leads; and Dan, is as about as ruthless on the guitar as he's been yet.
"Well I'm sitting outside the station, an open ticket in my hand.
Yeah, I'm sittin' outside the station, an open ticket in my hand.
I got no real destination, I'm searchin' for the "Promised Land.
I got no real destination, I'm searchin' for the promised land."
Sounds to me like Doug is about to eventually have that question about the grass being greener on the other side answered.
The disc closes with the title track, "Ain't Goin' Back". It's another of many tracks that feature what is obviously BADD's patented sound - smooth and easy rhythm behind well sung and well written lyrics, that are accompanied by amazing acoustic and electric guitar work.
Other tracks on this excellent release are: "Rock It All Night"; "Get 'er Outa Yo Head"; "Turn It Around"; and "Gallus Pole".
If you've not yet received a copy of Ain't Goin' Back for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about Doug Duffey And BADD, just go to their Facebook page - https://www.facebook.com/profile.php?id=100063681722740. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
If you are someone who attended the 2024 International Blues Challenge in Memphis, or if you are someone located in the Nashville area, then I'm pretty sure I won't be telling you anything you don't already know about the winning band - Piper & The Hard Times. As a matter of fact, because the chances are high that you've seen their live shows, I envy you. That said, Piper & The Hard Times are the only band I've ever heard that can make a recording feel like a live show. Between Piper's ear popping, eye opening, attention commanding vocals; plus, the bands profound sound and the intensity level at which they present it; somehow it all creates an amazing audio illusion effect like you're right there with them.
Although I've come to know differently, had I been forced to make a bet as to what Piper's career prior to music was, I'd go 'all-in' on a U. S. Army Drill Sergeant. Had he been, another bet I'd have made is that with his statuesque frame and that powerfully growling voice, he would have been responsible for creating many a tough and well-trained soldier.
Review
Piper & The Hard Times are: Al "Piper" Green on vocals; Steve "The Conductor" Eagon on guitar; Dave "Sexy Boy Himself" Colella on drums & percussion; Amy "The Professor" Frederick on piano and Hammond organ; and Parker "Ph Funkstick" Hawkins on bass. For this project they are joined by several special guests: Shaun Murphy and Lisa Oliver-Grey on backing vocals; Chris "Freight Train" Floyd on harmonica; Eddie Meyer on tenor sax; and Dick Aven on tenor and baritone sax. Revelation, the band's debut release contains twelve all original songs.
On this track you'll quickly learn that Piper is not referring to the band when he talks about "The Hard Times". Lyrics like:
"Walked in the house, no power, things are dead.
I ain't got no money, the car needs gas and my two kids ain't fed.
It's off to work, job number two.
Every dollar I make ain't worth a dime and my wife's about to shoot"
will obviously attest to that.
Musically and vocally, as I've already indicated, this is one of many all-out, full blown smokers. The rhythm is relentless; the guitar leads are frenzied; and vocally, when - and how - Piper says, "Brother, can you spare me a dime?", you'll find one! Speaking of vocals, this one features Shaun Murphy working her usual magic on backups and harmonies.
On a track titled "Heart For Sale" I think the fine print in the classified ad needs to include 'broken several times and in need of repair'. Along with the usual masterful instrumentation, this track features fabulous piano highlights from Amy and killer tenor sax leads from Dick.
Being a connoisseur of the style, I'm comfortable with saying that Piper & The Hard Times even take slow blues to a whole other level. As a matter of fact, I'm going out on a limb and saying that this may very well be the first time you hear these words used in unison, but "Preacher Blues" is cutting edge slow blues done to perfection. The song is about a preacher who "pretends to see the light........and believes what he believes only when the time is right." With his deeply emotional, heartfelt and somewhat angry vocal presentation, Piper makes it quite clear how frustrated he is with the hypocrisy of it all. As they should be on this type of song, Dave (drums) and Parker (bass) are in a tight, slow, but a bit edgy rhythm groove; Steve's scorching slow blues licks have a touch of added raunch; and the tone on Chris's harmonica leads have a growl that I'm sure had Piper smiling. Excellent track!
On the title track, Piper tells of how having a "Revelation" helped him deal with, and step away from, the things that caused him to be a 'troubled man" (the title of the opening track). Along with the hard driving rhythm from the rest of the band, this one features outstanding Hammond organ runs from Amy and tasty tenor sax leads from Dick. Vocally, should you need one, Piper may just be the cause of you having a revelation of your own. That said, it's not as if he needs it, but it's hard to not appreciate help from backing vocals - especially when they sound like Lisa's.
I almost feel like I shouldn't say anything about this track because I don't want to spoil the surprise....err, I mean shock of you hearing the insane pick-up line Piper uses on a woman - but I have to. So, the song opens with a light and laid-back conversation that finds Piper telling his friends about a hot woman he met. Then, in a loud and crazed voice that would scare the tease out of her hair, he tells them how he leaned over and told her "I C R A V E Y O U ! I want to misbehave with you! I crave you, want to do dirty things with you!". Even more unbelievable than that is when I was expecting to hear she smacked him upside the head, is that she came back with "I will take you places you've ain't never, never been". So much for the old fashioned "Hi, may I buy you a drink"?
The album closes with "Twenty Long Years", a song on which Piper & The Hard Times give their most traditional performance. Wearing his heart on his sleeve, this slow, very bluesy, autobiographical ballad, features Piper lamenting over the uphill battle he and the band had to continually fight during this not only long, but rough period of time. Musically, there are so many masterful and flawless performances going on behind him but yet, Piper's story - and equally important, how he's telling it, is what this one's all about. Give your replay button a few taps with this one.
Other tracks on Revelation include: "Trouble Man"; "Working Farm Blues"; "Come Back Knockin'"; "Why Not Me"; "You're Gonna Miss Me"; and "Walk With Me".
Winning the International Blues Challenge is quite an accomplishment, and it definitely opens some doors. However, it is this listeners belief that this must have album is going to kick down doors. Coincidentally, just this week, the Blues Foundation opened up its Blues Music Awards submission process and I think you just might get where I'm going with this. Mark my words, Piper & The Hard Times will become a force to be reckoned with within the blues world. Who knows, one day they may actually have to consider changing the name of the band to Piper & The Formerly Hard Times.
Radio airplay copies of Revelation will be sent out starting August 1. To request an airplay copy, please email Michelle Castiglia @ macradiopromo@gmail.com - and to find out more about Piper & The Hard Times just visit them at - www.piperandthehardtimes.com. As usual, whomever you contact, please tell them their friend the Blewzzman sent you.
Old Diamonds & Uncut Gems is the fourth release for Sacramento based Red's Blues. It was recorded live at the Starlet Room in Sacramento, CA on October 4, 2023. I could be wrong, but my interpretation of the album's title has me thinking that it's a clever way of letting the listener know that in addition to some of their previously recorded songs - 'the old diamonds' - the album does indeed contain five new originals - 'the uncut gems'.
For this project, Red's Blues consists of the husband and wife team of Richard "RW" Grigsby on bass, vocals and harmonies and Beth Grigsby on vocals and harmonies; and the bands other two regulars - Doug Crumpacker on guitar, vocals and harmonica; and Tim Wilbur on drums, percussion and vocals. Their special guests include: Sid Morris on piano, organ and vocals; Robert Sidwell and Jon Lawton on guitar; Dave Earl on harmonica; John Cocuzzi on piano; and Marty Deradoorian on saxophone. Of the fifteen song performance, eleven are band originals.
The opening track, "Broke Down In The Fast Lane", is actually the title of the bands last album. Since I reviewed that one back in the fall of 2020, other than a musician change or two, not a lot has changed. This apparently true tale is about being in one of those "where in the hell is a cop when you need one?" situations. As Beth frankly states, "I've never cared much for the CHP, but now I'm praying for the blue lights to rescue me". With car horns blaring as they whiz by and radiator fluid leaking and mixing with the rain, Beth's hoping for an angel with a tow bar and a chain. This slowed down shuffle features an appropriate chug-a-long type rhythm by RW and Tim; a melancholic guitar vibe by Doug; and somewhat of a lively - almost optimistic that help is on the way - piano lead, by Sid.
If there was an upside to insomnia, Beth - or as she's known by her fans, 'Sacramento Red' - may have discovered it. After tossing and turning all night long, wondering how it all went wrong, she woke up "Singing A Brand New Song". Hmmm, maybe I should keep a pen and paper on my nightstand. Musically, while Robert and Sid take turns lighting up the guitar and piano leads, the rhythm section is laying down an island vibe that had to have this crowd movin' and grovin'.
Now, I have no idea what kind of a venue the Starlet Room is, but the picture Beth's vocals are painting on this sultry presentation of a song called "Poor Girl", has me imagining her in a tight fitting floor length dress, dazzling an appreciative crowd in a dimly lit, smoke filled jazz lounge. That said, with the smooth and jazzy groove they're in behind her, the band seems to be supporting my thoughts. Very well done track.
When this one came on, I knew I immediately recognized it from my last review. That said, here were my thoughts then and I'm stickin' to them..... "As many times during this track that you might want to shout out "Wooly Bully" - and there will be several - don't! This one is titled "Forty Years Of Trouble" (RW & B Grigsby) and musically, Sid's organ led rhythm is a bit reminiscent of that Sam The Sham And The Pharaohs classic....." That said, this version does get taken to a whole other level with a monster performance by Marty on saxophone. Ya gotta step it up at a live show and on this one, Red and the guys did just that.
These next two songs create an interesting segue. The first one is a smokin' shuffle called "Stonebroke" (Gary Primich). It features Beth belting out bluesy lyrics about financial woes. It seems that no matter how hard she tries, she's gonna be stonebroke till the day she dies. Musically, this is one of my favorite tracks. RW (bass), Tim (drums) and Sid (piano) are in a fabulous foot tappin', head bobbin', body swayin' groove; Robert's lead guitar work is some of his best; and as you might expect on a Gary Primich track Dave is tearing it up on his fiery harp leads.
On the second of these two songs, things seem to have turned around for Beth, 'cause she's quite happy to let us know that she "Ain't Worried No More" (Mike Morgan). Yep, things are looking up and the sun is shining bright. Musically, the groove is as tight as above, but with Jon Lawton killing it on the slide guitar, things definitely get taken up a few notches on this one. At song's end, the crowd's raucous applause is a testament to this one!
Well, my interpretation of the album's title - as good as I thought it was - wasn't even close. On "Lizzie's Blues", while Beth pays homage to Memphis Minnie - it all becomes clear:
"Well Memphis Minnie, I wish I could say I knew you when;
Yeah Memphis Minnie, I wish I could say I knew you when;
'cause you were a pure diamond in an uncut gem."
In a world full of men, you were the queen of the guitar;
In a world full of men, you were the queen of the guitar;
Ran miles in those shoes, nobody knew how far."
Great slow blues number with heartfelt vocals; tight laid-back rhythm; piercing blues harp notes from Doug; and another masterful performance from Jon with his scorching blues licks.
When you do a Floyd Dixon cover, you might as well let the piano player shine, right? Right! And on a track called "San Francisco Blues", Sid does just that - not only with his fabulous piano leads but his vocals as well. That said, this five-and-a-half-minute long song also includes nearly a two-minute-long stunning guitar leads by Robert and Doug.
Other tracks on Old Diamonds & Uncut Gems include: "Looking For A Hustle"; "Road Scholar"; "Putting My Foot Down"; "Black Eyed Sally's"; "Mighty Long Time" (Rice Miller); "Sally Lou"; and "Sherry Ann".
To find out more about Red's Blues just go to their website - www.redsbluesband.com - and if you've not yet received a copy of Old Diamonds & Uncut Gems for airplay, you can email Beth at - sacramento.red@yahoo.com. As usual, when you contact Beth or the band, please tell them their friend the Blewzzman sent you.
It was just thirteen months after I reviewed Gerald McClendon's Can't Nobody Stop Me Now - his first release in over twenty years - that I found myself reviewing his next release titled Let's Have A Party. I recall being impressed by the short time frame between these releases and mentioning that I hoped it was an indication of a lot more things to come from the "Soul Keeper". Apparently, it was. This, his third release in less than four years, is titled Down At the Juke Joint.
Similar to those last two releases, this one also contains twelve original tracks that were penned, recorded, produced, mixed and mastered by Twist Turner. The talented bunch making the music on Down At the Juke Joint are: Gerald McClendon, of course, on vocals; Mary Lane on second vocals; Tony Llorens on piano, Fender Rhodes, and Hammond organ; Joe Burba, Maurice John Vaughn and Mark Wydra on guitar; Mike Jackson on sax; The Delta Roots Horns horn section; David Forte and Harlan Terson on bass; and Twist on drums, faux harmonica, strings, guitar, Hammond organ and harpsichord.
Make no doubt about it, with the stellar bunch of musicians Twist has put together for this - as he did on Gerald's prior two releases, as well - you will hear a good amount of fabulous rhythm grooves, lots of outstanding keyboard work, awesome horn accompaniments and leads, and killer guitar performances. Yet, with all that going on behind him, it will be hard to not be carried away by Gerald's vocals.....this man can sing!
The album's first two tracks seem to create the perfect segue. The opener finds Gerald lamenting over the loss of his lady - who up and bolted with absolutely no notice. Sadly, his pleas for her to come on home "Back Where You Belong", never even get to be heard. As alluded to earlier, the rhythm from David (bass) and Twist (drums) is spot on - they seem to create the beat of Gerald's broken heart; and the Delta Roots Horns, led by stinging sax leads from Mike, just ooze with soul.
The second track has Gerald realizing that there's absolutely nothing he can do to get his woman back. Sincerity that would soften a rock isn't even working, "It's Too Late, She's Gone". The fabulous rhythm on this one is led by the keyboard and organ prowess of Tony and Twist.
Okay, let's put these melancholy and emotional moods aside and go see what's happening "Down At The Juke Joint". After all, isn't that the place that's supposed to help do that? It sure is, and it's already working for Gerald. On top of enjoying some pulled pork, baby backs and mac and cheese, he met someone to party with as well. On this duet with Mary Lane, they're obviously "having a ball, drinkin' alcohol".
Hmmmmm, the buzz has apparently worn off and as usual, the problem did not go away. Gerald's right back doing what he does best - belting out sorrowful lyrics on a bluesy ballad. The pain of sleeping all alone - or trying to - is a constant reminder that a "House Ain't A Home", when you' baby is packed up and gone. On his only appearance, Maurice Vaughn John is masterful on the slow blues licks that all too frequently are associated with pain.
Get hurt enough times and you get tough, right Gerald? This time, after being in a relationship that he can no longer take, it's Gerald who is saying "So Long". Also on his only appearance, Mark Wydra adds such a beautiful guitar sound that kind of softens the sadness of the song.
On this track, the mood goes from sorrowfully soulful to soulfully funky. However, it's only the music that's uptempo because with lyrics like "You've 'Been Talkin' Smack', behind my back", you know where this one's going.
Hearing Gerald sing "Our love grows stronger every day, deeper and deeper in every way" was heartwarming. There's only so much heartache one man can take and I gotta tell ya, he was starting to make me cry. Now the question is, will it last? "Only Time Will Tell". This one's highlighted by outstanding leads from Joe Burba on the guitar and Mike Jackson on the sax.
So here I am, more than halfway through the disc and I just realized that I've said something about the first seven songs in a row. Obviously, I've made my point, and this seems like a pretty good way to close out this review.
Other tracks on this super soulful release by the "Soul Keeper" himself include: "She's Trying To Drive Me Crazy"; "Cryin' Time Again"; "You Make Me Happy"; "I'll Be In Your Corner"; and "Your (sic) So Fine".
Although they are a long ten months away, as they say in the betting world, I'm calling this one an 'early favorite' at the 2025 Blues Music Awards.
If you've not yet received your copy of "Down At the Juke Joint" for airplay, just contact Betsie Brown at www.blindraccoon.com - and should you like to find out more about Gerald McClendon just go to his website - www.geraldMcClendon.com. Remember, wherever you go and whomever you talk to, please tell them that the Blewzzman sent you.
The Mean Old Fireman is actually a real life first responder - based out of the Boston, MA area - whose name is Ned Bolle. Rescue 3 is his third release and I have had the pleasure of working with all three. For this project, the team of musicians include: Ned on vocals, guitars, bass, bass ukelele and banjo; Peter Chase on harp; Christina Lacoste on backing vocals and accordion; Tom Martin on bass; Shockwell Morency on percussion and vocals; Joey Pafumi on drums; Marty Phillips on sax; John Wadkins on keyboards and piano; and Rory Walsh on drums and percussion. The album contains nine tracks, of which five were penned by the mean old guy.
The album opens with "I'm Not Crying", a song by Nashville legend Jack Pearson. According to Ned, the song attracted him because of its "Combining a funky, infectious groove; a strong melody and lyrics; jazz influences; and non-traditional chord progressions; that puts a fresh face on the blues". Yep, that's Jack Pearson, and yep, the Mean Old Fireman's rendition did indeed touch on all that. The track kicks off with Marty Philips blowing out a funky sax groove that immediately leads into Rory (drums), Tom (bass) and John (keyboards) all getting on board the funk train. Things soon get jazzy and bluesy as Marty and Ned spar on jazzed up sax riffs and smokin' blues guitar licks.
Ned claims that he was just nine years old when he first heard the term 12 bar blues. Thinking it was a song about twelve drinking establishments is what eventually inspired him to write this song. It's called "12 Bars" and it literally references twelve joints that were prominent during the golden age of live music in Boston. As the story goes, suffering from getting dumped, Ned could use a drink. The problem that ensues is that one of the joints he goes to turns out to be a place where "a beer and a beating" is common fare; another is where "the music is too loud and it's full of a damn disc crowd; and before you know it, while actually naming everyone, Ned does indeed encounter the 12 bar blues. Lyrically, vocally and musically, this is very entertaining seven-and-a-half minute long song and who knows, some of you may actually know the places Ned sings about.
"Highland Blues" is something Ned created as a result of sounds he heard while the TV was on in his motel room. Somehow, the sound stuck with him, and the rest is history. It's a very quick two-minute instrumental with a very quick pace. It features Ned on guitars and bass and Joey on drums doing their best interpretation of 'Scotland The Brave'.
If Boston is, or ever was your home, then you are surely familiar with a song by The Standells titled "Dirty Water" (Ed Cobb). Having picked up on the song's underlying blues vibe, the Mean Old Fireman took it and created a downright dirty and slow blues version of it. While not changing the lyrics at all, Ned and the band not only made this one their own, but they made it one of the best versions I've ever heard. Musically, Ned is both masterful on the slow, drawn out blues vocals and the slow and low down blues licks on the guitar as well; Marty is putting on a 'blues saxophone 101' class, while belting the hell out of the blues on his sax leads; Peter, on his only appearance, and a killer one at that, has me wondering why more songs didn't feature this monster harmonica maestro; and because songs like this just don't work if you don't have a rhythm section laying down a precise rhythm groove, Rory, Tom and John are doing just that on the drums bass and keyboard respectively. Being nearly eight minutes of slow blues being done perfectly, this was certainly my favorite track.
On the one-sheet that accompanied the disc, Ned states that he wrote this song on a hot hazy summer afternoon on his front porch. Just give one listen to Ned playing the guitar, bass uke, and banjo; John playing the piano; Rory playing the drums and added percussion; and Christina playing the accordion; and you wouldn't have needed that explanation. This "Romp" has porch written all over it.
How do you take a song as unique as "Werewolves Of London" (Warren Zevon) and make it even more unique? You simply put it in the hands of the Mean Old Fireman. Now that I've aroused your curiosity, you'll just have to give this one a listen. I'll tell you how you can do that in just a few more minutes.
Other tracks on Rescue 3 include: "Werewolves Of London" (the acoustic version); "Lynn, Lynn"; and "The Emptiest Drum".
Also, I'd like to thank Ned for the very informative information he provided on the one-sheet. It's refreshing to see the realization that the more listeners and reviewers know, the better the listening and writing experience is.
If you've not yet received your copy of "Rescue 3" for airplay, just contact Ned at - ned@meanoldfireman.com - and should you like to find out more about the Mean Old Fireman, or purchase a copy of the CD, just go to his website - www.meanoldfireman.com. Remember, please tell the (not so) mean guy that his friend the Blewzzman sent you.
Answering his own question of "Why record an album that is a tribute to a tribute band? - which appears on the album's liner notes, B. Christopher's answer is: "It is simply a record that I had to make as a personal marker to where I found rhythm and blues music. It was these songs that were my first stepping stone to the music of Elmore James, John Lee Hooker and Matt "Guitar" Murphy. The performances from The Blues Brothers soundtrack and live albums have had a lasting impact on me that has sustained for decades and I suspect will be there until the end".
He even chose the title of the album from the classic Elwood line that states: "It's 106 miles to Chicago, we've got a full tank of gas, half a pack of cigarettes, it's dark and we're wearing sunglasses". To which Jake replies "Hit it!".
Review
Although assembling a band as renowned as the members of The Blues Brothers Band would be tough, B. Christopher did one heck of a job trying. The maestros on this project include: the album's producer and band leader B. Christopher on guitar; Eddie Testa on lead vocals; the legendary Anton Fig on drums; Nick Douglas on bass and backup vocals; Blues Music Award winner Bruce Katz on keys; Grammy Award winner Andy Snitzer on tenor and baritone sax; Ryan Keberle on trombone; original Blues Brother Band member Tom "Bones" Malone on baritone sax; Studebaker John on harmonica; and Sharlotte Gibson on backup vocals.
Things kick off with that classic drinking song whose title contains the words that many of us have uttered lots of times - "Hey Bartender". Telling you nothing you don't already know, the song is indeed a sing-a-long, dance floor filling smoker. With all the horns, including the Mississippi saxophone, in play; the keyboard wailing - as you might expect in a Floyd Dixon song; this rhythm on this one, led by heart thumpin' beats from Anton (drums) and Nick (drums); is totally ablaze. With that all pumping them up, Eddie and B. are killing it on the vocals and lead guitar.
Just like the band did in the movie, not a beat was missed between the end of the last track and the start of this one - "Everybody Needs Somebody To Love" (B. Berns/S. Burke/J. Wexler). Also, not much has changed as well, it's another full throttle performance by everyone involved. Having never heard of Eddie Testa before, I've got to tell you, he's quickly making a fan of me. His vocals, along with the deep bass backups of Nick and the contrasting soprano style harmonies of Sharlotte, combine to make this one hell of a well sung song.
Why stop now, when you're on a roll? This is the perfect spot to do a seven-minute ass kickin' rendition of "Sweet Home Chicago" (R. Johnson). With the instrumentation on this disc, and the talented players on those instruments, it is so easy to sound redundant. So yes, this is another rhythm fueled smoker. Individual highlights feature Eddie making me shout "hell yes" every time he belts out the line " C'mon baby, don't you want to go....."; ferocious drum work from Anton; barrelhouse piano runs from Bruce; sizzling tenor sax and trumpet leads from Andy and Tony, respectively; and some killer (sweet home) Chicago style blues licks from the boss man on guitar.
With it having won Henry Mancini an Emmy, two Grammys, and being inducted into the Grammy Hall of Fame, "Peter Gunn" is most likely one of the best, and most recognizable TV theme songs of all time. From a sheer musical point of view, being an instrumental with nothing but masterful musicianship, it's number one on my list. From the very aggressive opening rhythm beat, to the fierce horn section leads, to the rhythm guitar runs, the guys did this one justice by pretty much playing it note for note and sounding as good as the original version.
One of the album's, and the movie's as well, most energetic performance is "Gimmie Some Lovin" (S. and M. Windwood/S. Davis). Making Rolling Stones top 500 songs it was the Spencer Davis Group's biggest hit and started off what would become a most amazing career for the then fifteen-year-old Stevie Windwood. Again, since this is a tribute album and making covers your own never comes into play, the guys did this - and every other track - justice by keeping it very real. With the whole band in a fierce jam mode behind him, Eddie, with strong backup from Sharlotte, puts on the album's most compelling vocal presentation.
Other tracks on this excellent release by The B. Christopher Band include: "She Caught The Katy" by Taj Mahal, and a fabulous instrumental version of Otis Redding's "I Can't Turn You Loose".
If you've not yet received a copy of 106 Miles To Chicago for airplay, please contact B. Christopher at - bchristopherband@gmail.com - and should you like to find out more about the band, just go to - www.bchristopherband.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
The following was taken from the one sheet provided by Mark Pucci Media: "After nearly forty years of musical and personal camaraderie, drummer and producer Bob Christina began studio work with Matt "Guitar" Murphy on what would become Murphy's final project. After Matt passed in June of 2018, the fate of the project was placed in Christina's hands. He began an outreach to musicians who were friends of Murphy, played with him, or were otherwise influenced by him. The response was overwhelming, with no less than 72 outstanding musicians represented on 'True Blues Brother: The Legacy of Matt "Guitar" Murphy'...................."
Review
It's common knowledge that Matt "Guitar" Murphy was not known for his songwriting, however, the first song on each disc of this historic 23-song double album is two of his original instrumentals. Along with one co-written and performed by multi-Grammy-winner Tom Hambridge and Richard Fleming, the rest, of course, are recognizable songs from many very recognizable songwriters.
Disc one opens with the very appropriately titled "Matt's Boogie". It may only be a two-and-a-half minute long instrumental, but that may very well be enough time for the dancers to work up a sweat. This smoker features Matt and Ricky "King" Russell on guitar; Bruce Bears on organ; Bob Worthington on bass; and Fran Christina on drums.
Get out the fancy frilled and colorful parasols and let's get this dance parade down Bourbon Street started. Just as Chuck Berry did on his original recording, with some help from Michelle Brett on background, Dave Howard is rockin' the vocals on this rendition of "You Never Can Tell". Additionally, Neal Vitullo on guitar; Richard Reed on keyboard; Tommy Reed on bass; Bob Christina on drums; and The Mitchfest Horns who are: Dave Cafro and Doc Chanonhouse on trumpet; and Klem Klimek on tenor sax; are all over the gyrating, umbrella shaking and sing-a-long groove inducing groove.
Along with Brian Templeton soulfully and powerfully belting out the vocals on this Deadric Malone shuffle titled "I Feel Right Again", this tracks' highlights are many: Johnny Juxo (keyboard) Tommy Reed (bass) and Bob Christina (drums) are locked into one of those killer rhythm grooves; Nick Adams, along with some stinging notes, is laying down some killer guitar runs; and Collin Tilton and his tenor sax are absolutely on fire.
"Something's Got A Hold On Me" (P. Woods, E. James, L. Kirkland), and I'm pretty sure it's the way that Christine Ohlman - a.k.a. The Beehive Queen - is belting the hell out of the vocals very similar to the way Etta did. Musically, the track features Cliff Goodwin and Ricky "King" Russell on guitar, Bob Worthington on bass, and Bob Christina on drums.
Every one of my regular readers knows that it's an extra treat for me when the disc's best slow blues song also happens to be its longest. At five-and-a-half minutes, Willie Dixon's "I Can't Quit You Baby" is that song. Along with the fabulous gut wrenching, range roving vocals being belted out by Phil Diiorio, the track checks all the killer slow blues boxes: Marty Ballou on bass and Bob Christina are all over the rhythm that drives these kind of tracks; James Montgomery, sometimes soft and slow in the background and other times strong and stinging, is masterful on the harmonica; and Troy Mercy - who I admittedly never heard of - is blowing me away with what in my opinion, is so far the disc's best guitar work.
So, when I saw the lineup on this one - Ronnie Earl and Nick Adams on guitar, Ron Levy on keyboard, and Jaimoe and Bob Christina on drums - before even listening I knew I'd be saying something about it. As it turned out, "Suffering Soul" (G. Browley, M. Simpkins) was quite an interesting and well done instrumental.
Disc one closes with the song referred to in the opening paragraph. It's titled "Jack Rabbit Boy", and once you hear it you'll understand why I took the liberty of emphasizing the jack rabbit part of its title. It's an all-out power trio rocker with Tom Hambridge on vocals and drums, Rob McNelley on guitar, and Tommy MacDonald on bass.
Disc Two opens with Matt's other original, a five-minute-long shuffle also appropriately titled "Matt's Shuffle". In addition to Matt showcasing exactly how he earned his middle name, the track also features Bob Worthington (bass) and Bob Christina (drums) banging out a poppin' rhythm vibe, and killer organ highlights from Bruce Bears. This is the kind of instrumental I could listen to all day long.
Next up is another one of those 'wow' ensembles for me. Although it's a Willie Dixon song titled "Evil", with Bob Margolin tearing it up on lead and slide guitar, and Jerry Portnoy wailing away on harmonica, its got big ties to Muddy. Throw in two maestros on the piano and drums - Chuck Leavell and Bob Christina - along with Craig Rawding belting out the powerful cautionary vocals, and you could very well have one of disc two's best tracks right here.
Those Roomful Of Blues alumni appearing on this track have absolutely no need to feel "Lonesome", there are plenty of them. With Fran Christina on vocals and drums, Duke Robillard on guitar, Greg Piccolo on sax, Al Copely on piano, and Marty Ballou on bass, you should all understand that without saying a word about the song I already told you how dynamite it is.
Interestingly, when I saw a track on disc one titled "Mother Earth", I immediately thought of the Living With The Animals album by Mother Earth - which was my introduction to the great Tracy Nelson. Now here she is doing a Gospel style rendition of "Same Old Blues" (Don Nix). Backed by the angelic sounding The Refine Singers Choir of Melody Forrest, Roslyn Campbell and Angel Cooper, Tracy and the ladies have me wanting to say they stole this one. However, Chuck Leavell on piano, Tommy Reed on bass, Bob Christina on drums, and Tom Ferraro - reminding me of the version by Freddie King - on guitar, all have something to say about that.
"Tired Of Sleeping Alone" is another of those five-minute-long slow blues ballads which floats my blues boat at high tide. Ricky "King Russell, the songs' writer and guitarist does a masterful job of holding and stretching the songs melancholic lyrics with a super soulful and emotional presentation. This is how you sing the blues. With Matt, also on guitar, Bob Worthington and Bob Christina again on rhythm, it's the Mitchfest Horns, this time with Bob Hassen on baritone sax, Paul Lieberman on tenor sax, Doc Chanonhouse on trumpet, and Josh Kane on trombone, that make this one work so well.
Great ensembles are pretty much the common denominator on just about all of these disc's tracks, but from my perspective, there are some that stand out a bit more than others. Putting together Joe Beard on guitar and vocals, his son Chris Beard on guitar, Billy Boy Arnold on harmonica, Brian Leach on bass and Kenny "Beedy Eyes" Smith on drums on Muddy's "Let Me Hang Around" is definitely one of them.
Other tracks on disc one include: "Mother Earth" (L. Simpkins, P. Chapman); "I'm Lost Without You" (P. Chapman): a forty-one second take on "Peter Gunn" (H. Mancini); "Think" (A. Franklin, T. White); and "Way Down South" (F. Murphy, M. Murphy).
Other tracks on disc two include: "Rocket 88" (J. Brenston, A. Rachell); "Sugar On The Floor" (P. Matthews); "Give Me Time" (S. Maghett); "Shake A Tailfeather" (V. Rice, O. Hayes, A. Williams); a fifty second take on "Peter Gunn" (H. Mancini); and "You Wasn't Doin' Too Good" (Joe Beard).
Back in my days of being on the nominating committee for the Blues Music Awards, "Best Historical Release" was a category that was off limits to the nominators. I'm sure there were many valid reasons why but I always thought the foundation didn't trust us with such a treasured category (smiling). With that said, if that category still exists, I trust that the powers that be will see to it that True Blues Brother: The Legacy of Matt "Guitar" Murphy makes it on the ballot.
On a side note, kudos to Debra Clark Graphics for the excellent design work on the product packaging.
If you've not yet received a copy of "True Blues Brother: The Legacy of Matt 'Guitar' Murphy" for airplay, please contact Michelle Castiglia at - macradiopromo@gmail.com - and should you like to find out more about Bobby Christina's Caravan, just go to - www.bobbychristina.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
